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Interactive Multimedia
Music Technologies
Kia Ng
University of Leeds, UK

Paolo Nesi
University of Florence, Italy

Information science reference

Hershey • New York
Acquisitions Editor: Kristin Klinger
Development Editor: Kristin M. Roth
Editorial Assistant: Jessica Thompson
Senior Managing Editor: Jennifer Neidig
Managing Editor: Sara Reed
Copy Editor: Angela Thor
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Printed at: Yurchak Printing Inc.

Published in the United States of America by

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Copyright © 2008 by IGI Global. All rights reserved. No part of this publication may be reproduced, stored or distributed in any form or by
any means, electronic or mechanical, including photocopying, without written permission from the publisher.
Product or company names used in this set are for identification purposes only. Inclusion of the names of the products or companies does
not indicate a claim of ownership by IGI Global of the trademark or registered trademark.

Library of Congress Cataloging-in-Publication Data

Interactive multimedia music technologies / Kia Ng & Paolo Nesi, editors.

p. cm.
Summary: “This book illustrates how interactive music can be used for valorizing cultural heritage, content and archives not currently
distributed due to lack of safety, suitable coding, or conversion technologies. It explains new methods of promoting music for entertainment,
teaching, commercial and non-commercial purposes, and provides new services for those connected via PCs, mobile devices, whether
sighted or print-impaired”--Provided by publisher.
Includes bibliographical references and index.
ISBN 978-1-59904-150-6 (hardcover) -- ISBN 978-1-59904-152-0 (ebook)
1. Music--Data processing. 2. Interactive multimedia. I. Ng, Kia. II. Nesi, Paolo.
ML74.I57 2008
780.285--dc22
2007023452

British Cataloguing in Publication Data

A Cataloguing in Publication record for this book is available from the British Library.

All work contributed to this book set is new, previously-unpublished material. The views expressed in this book are those of the authors, but
not necessarily of the publisher.
Table of Contents

Preface . ................................................................................................................................................. xi

Acknowledgment . .............................................................................................................................. xvi

Chapter I
Interactive Multimedia MUSICNETWORK: An Introduction / Kia Ng and Paolo Nesi....................... 1

Chapter II
MPEG Symbolic Music Representation: A Solution for Multimedia Music Applications /
Pierfrancesco Bellini, Paolo Nesi, and Giorgio Zoia............................................................................ 12

Chapter III
XML Music Notation Modelling for Multimedia: MPEG-SMR / Pierfrancesco Bellini...................... 26

Chapter IV
Optical Music Imaging: Music Document Digitisation, Recognition, Evaluation,
and Restoration / Graham Jones, Bee Ong, Ivan Bruno, and Kia Ng................................................... 50

Chapter V
Optical Music Recognition: Architecture and Algorithms / Pierfrancesco Bellini,
Ivan Bruno, and Paolo Nesi................................................................................................................... 80

Chapter VI
Challenges of Designing a Markup Language for Music / Jacques Steyn.......................................... 111

Chapter VII
Alternative Design Goals for a General Music Markup Language / Jacques Steyn............................ 133

Chapter VIII
Interactive Systems for Multimedia Opera / Michael Oliva................................................................ 151
Chapter IX
Driving Sound Synthesis with a Live Audio Signal / Cornelius Poepel............................................. 167

Chapter X
How Technology Can Support Culture and Learning / David Luigi Fuschi, Bee Ong,
and David Crombie.............................................................................................................................. 195

Chapter XI
Web-Based Music Intelligent Tutoring Systems / Somnuk Phon-Amnuaisuk
and Chee Keh Siong............................................................................................................................. 231

Chapter XII
Digital Rights Management Technologies and Standards / Jaime Delgado
and Eva Rodríguez............................................................................................................................... 249

Chapter XIII
Possibilities, Limitations, and the Future of Audiovisual Content Protection /
Martin Schmucker................................................................................................................................ 283

Chapter XIV
Online Music Distribution / Francesco Spadoni................................................................................. 325

Compilation of References ............................................................................................................... 364

About the Contributors .................................................................................................................... 387

Index.................................................................................................................................................... 392
Detailed Table of Contents

Preface.................................................................................................................................................... xi

Acknowledgment................................................................................................................................... xvi

Chapter I
Interactive Multimedia MUSICNETWORK: An Introduction / Kia Ng and Paolo Nesi....................... 1

The MUSICNETWORK project was cosupported by the European Commission to bring music industry
and related research areas into the interactive multimedia era. It represented a virtual Centre of Excellence
during the period of the project, and today an international association where music content providers,
cultural institutions, industry, and research institutions work together, drawing on their collective assets
and mutual interests, to exploit the potential of multimedia music contents with new technologies, tools,
products, formats, and models. Due to large gaps between needs and real products and solutions, many
products in the market fail to exploit the potential of new multimedia technologies effectively. MU-
SICNETWORK helps research solutions to reach the market by seeking agreements between different
actors and formats, by bringing together research institutions, industries, small and medium enterprises
(SMEs), and experts to build the required momentum to study and define multimedia music modelling
and coding for the new age. MUSICNETWORK activities, actions and services are provided through
the project Web site, which can be found online at http://www.interactivemusicnetwork.org.

Chapter II
MPEG Symbolic Music Representation: A Solution for Multimedia Music Applications /
Pierfrancesco Bellini, Paolo Nesi, and Giorgio Zoia............................................................................ 12

The evolution of digital communication devices and formats has recently produced fundamental changes
in the practical approach to music representation and notation, transforming them from a simple visual
coding model for sheet music into a composite tool for modelling music in computer and multimedia ap-
plications in general. As a consequence, a multilayer model of music representation is needed for several
purposes in addition to sheet music production or visual display, such as audio rendering, entertainment,
music analysis, database query, music performance coding, music distance learning, and so forth.
The symbolic music representation is a standard for modelling music notations, proposed inside
the MPEG multimedia framework. Symbolic music representation generalizes the main music notation
concepts to model the visual aspects of a music score, and audio information or annotations related to
the music piece, allowing integration with other audiovisual elements by multimedia references. The
Symbolic Music Representation standard overcomes the limitations of a widely accepted format like
MIDI, which is in line with its main purpose to model music events, whereas it reveals important limita-
tions in producing audio and visual representations with satisfactory results.

Chapter III
XML Music Notation Modelling for Multimedia: MPEG-SMR / Pierfrancesco Bellini...................... 26

The evolution of information technology has changed the use of music representation and notation in
software applications, transforming and extending them from a simple visual coding model for music
scores into a tool for modelling music for computer programs and electronic devices in general (e.g.,
keyboards), to support the exploitation of the multimedia characteristics lying behind music notation and
representation. The MPEG symbolic music representation (MPEG-SMR) is a new emerging standard
for modelling music notation within the MPEG multimedia framework. MPEG-SMR provides an XML-
based language to model most of the music notation in terms of the visual and audio aspects, as well
as music score annotations. MPEG-SMR also provides a language to define the music score formatting
rules, supporting personalisation for the score visual presentation, custom symbols, and control visual
rendering of the common notation symbols.

Chapter IV
Optical Music Imaging: Music Document Digitisation, Recognition, Evaluation,
and Restoration / Graham Jones, Bee Ong, Ivan Bruno, and Kia Ng................................................... 50

This chapter presents the applications and practices in the domain of music imaging for musical scores
(music sheets and music manuscripts), which include music sheet digitisation, optical music recognition
(OMR), and optical music restoration.
With a general background of optical music recognition (OMR), the chapter discusses typical ob-
stacles in this domain, and reports currently available commercial OMR software. It reports hardware
and software related to music imaging, discusses the SharpEye optical music recognition system, and
provides an evaluation of a number of OMR systems.
Besides the main focus on the transformation from images of music scores to symbolic format, this
chapter also discusses optical music image restoration and the application of music imaging techniques
for graphical preservation and potential applications for cross-media integration.

Chapter V
Optical Music Recognition: Architecture and Algorithms / Pierfrancesco Bellini,
Ivan Bruno, and Paolo Nesi................................................................................................................... 80

Optical music recognition is a key problem for coding western music sheets in the digital world. This
problem has been addressed in several manners, obtaining suitable results only when simple music con-
structs are processed. To this end, several different strategies have been followed to pass from the simple
music sheet image to a complete and consistent representation of music notation symbols (symbolic
music notation or representation). Typically, image processing, pattern recognition and symbolic recon-
struction are the technologies that have to be considered and applied in several manners the architecture
of the so-called OMR (optical music recognition) systems. In this chapter, the O3MR (object oriented
optical music recognition) system is presented. It allows producing, from the image of a music sheet,
the symbolic representation and save it in XML format (WEDELMUSIC XML and MUSICXML). The
algorithms used in this process are those of the image processing, image segmentation, neural network
pattern recognition, and symbolic reconstruction and reasoning. Most of the solutions can be applied
in other fields of image understanding. The development of the O3MR solution with all its algorithms
has been partially supported by the European Commission, in the IMUTUS Research and Development
project, while the related music notation editor has been partially funded by the research and development
WEDELMUSIC project of the European Commission. The chapter also includes a methodology for the
assessment of other OMR systems. The set of metrics proposed has been used to assess the quality of
results produce by the O3MR with respect to the best OMR on market.

Chapter VI
Challenges of Designing a Markup Language for Music / Jacques Steyn.......................................... 111

XML-based languages for music have constraints not applicable to typical XML applications, such as
for standard text documents or data sets. Music contains numerous simultaneous events across several
dimensions, including time. The document model for a piece of music would thus look very different from
serialised text documents. Most existing XML-based music markup languages mark music typography,
following the print traditions of music scores. A general music markup language should include much
more than mere print. Some of the challenges designing an XML-based markup language for music are
considered. An SVG-based music symbol design grid is proposed to meet the challenge of music typol-
ogy. An XML-based Music Symbol Language is used to design symbols on this grid. Resulting symbols
are positioned in 3-D music space, which is introduced to address the challenge of topography.

Chapter VII
Alternative Design Goals for a General Music Markup Language / Jacques Steyn............................ 133

Design goals determine the particular structure of a markup language, while the philosophy of what
markup languages are about determine the framework within which its structure is developed. Most
existing markup languages for music reflect low-level design strategies, compared to design that ad-
heres to the high-level philosophy of markup languages. An approach to an XML-based music markup
language from the perspective of SGML would differ from an approach from a markup language such
as HTML. An ideal structure for a general markup language for music is proposed that follows a purist
approach and that results in a different kind of XML-based music markup language than most present
music markup languages offer.
Chapter VIII
Interactive Systems for Multimedia Opera / Michael Oliva................................................................ 151

This chapter considers the development of systems to deliver multimedia content for new opera. After
a short overview of the history of multimedia in opera, the specific requirements of opera are analysed,
with emphasis on the fundamental musicality of operatic performance. Having considered the place of
multimedia elements in the narrative and acting space, the relevance of previous practice in electroacous-
tic music and VJing is considered as a model for a working approach. Several software and hardware
configurations explored, including the use of gestural control by the actors themselves. The creation of
a keyboard based “video instrument” with a dedicated performer, capable of integration into the pre-
existing musical ensemble, is recommended as the most effective and practical solution.

Chapter IX
Driving Sound Synthesis with a Live Audio Signal / Cornelius Poepel............................................. 167

An overview on problems and methods to map performers’ actions to a synthesized sound is presented.
Approaches incorporating the audio signal are described, and a synthesis method called “audio signal
driven sound synthesis” is introduced. It uses the raw audio signal of a traditional instrument to drive a
synthesis algorithm. The system tries to support musicians with satisfying instrument-specific playabil-
ity. In contrast to common methods that try to increase openness for the player’s input, openness of the
system is achieved here by leaving essential playing parameters nonformalized as far as possible. Three
implementations of the method and one application are described. An empirical study and experiences
with users testing the system implemented for a bowed string instrument are presented. This implemen-
tation represents a specific case of a broader range of approaches to the treatment of user input, which
has applications in a wide variety of contexts involving human-computer interaction.

Chapter X
How Technology Can Support Culture and Learning / David Luigi Fuschi, Bee Ong,
and David Crombie.............................................................................................................................. 195

From the authors’ perspective, technology is both a tool and a developing factor that can foster culture
and learning development. This chapter focuses on the interrelations that interleave education, technology,
content accessibility, and intercultural issues. With an introduction and related background, language
learning is used as an example further to explain these issues. This chapter then discusses authoring and
content development for e-learning applications (including authoring tools, virtual communities, and
forums), and examines technology and accessibility issues in this context. The current state of e-learning
is introduced along with a description of different tools and approaches. The chapter concludes with an
overview of e-learning and the marketplace.
Chapter XI
Web-Based Music Intelligent Tutoring Systems / Somnuk Phon-Amnuaisuk
and Chee Keh Siong............................................................................................................................. 231

Our work bridges two interesting topics: the research in the area of Web-based applications and the area
of learning technologies. We give an overall picture of the current development in Web-based music
intelligent tutoring system (WMITS). The term WMITS is coined by us to describe the two main areas
in our focus. In this chapter, we address the following issues: (i) the pedagogical aspect of teaching and
learning music, (ii) the background of music intelligent tutoring system, and (iii) our WMITS system for
teaching music theories. A Web-based environment offers strengths in terms of accessibility and self-paced
learning. However, the environment has a great drawback in terms of interactivities between the users
and the system. Our design addresses this issue by developing a specialised client tool. The client tool
provides an interactive environment for score editing, which is crucial for learning music theories. The
system incorporates three major inference techniques (i.e., deductive, inductive, and Bayesian inference)
in dealing with music theories and uncertain knowledge such as students’ understanding.

Chapter XII
Digital Rights Management Technologies and Standards / Jaime Delgado
and Eva Rodríguez............................................................................................................................... 249

This chapter discusses technologies and standards related to digital rights management (DRM). Firstly,
it presents DRM systems that are multimedia information management systems that take into account
digital rights and protection. These systems enable the controlled distribution and use of multimedia
content through the digital value chain. Then, this chapter presents current initiatives, standard and pro-
prietary, that specify a DRM system. It focuses in the MPEG-21 standard initiative, mainly in the parts
of this standard that normatively specify the different pieces and formats needed by a complete DRM
system. Finally, this chapter presents one of the key components of DRM systems, rights expression
languages (RELs), that have been defined to express content usage rules.

Chapter XIII
Possibilities, Limitations, and the Future of Audiovisual Content Protection /
Martin Schmucker................................................................................................................................ 283

This chapter explains the fundamental principles of audiovisual content protection. It explains the basic
knowledge that is needed to understand the fundamentals of digital rights management (DRM) systems
and their problems. Starting with a general introduction about copyright and content protection, available
protection technologies are described and analyzed. The basic concepts of DRM solutions are explained
and problems discussed. Potentials and practical limitations are analysed based on the digital music
industry value chain. An outlook is given on solutions that are under development and that stronger
consider the needs of the customers. In the conclusion, future solutions are discussed.
Chapter XIV
Online Music Distribution / Francesco Spadoni................................................................................. 325

This chapter analyses multiple aspects of online music distribution, investigating the major problems,
the different approaches and business models, considering the different points of view and perspectives,
presenting the emerging technologies and digital rights management standards, analysing issues for rights
clearing, intellectual property protection, content retrieval, and metadata management.
The chapter presents the structure of the developing market of digital music and multimedia content
distribution, considering all the stakeholders and their mutual relationships, as well as the legal frame-
work. It highlights the importance of the needs of end-users and consumers of music when considering
the major problems, as well as the new behaviours and possibilities originated by the availability of
music in digital form
This chapter is aimed at many different audiences, from policy makers to music end-users and
consumers, to content creators, publishers, and distributors, as well as technology providers, and in
general, to all the players in the digital music content value chain.

Compilation of References................................................................................................................ 364

About the Contributors..................................................................................................................... 387

Index.................................................................................................................................................... 392
 xi

Preface

Currently, there is a wide range of interactive multimedia technologies that can help evolve the music
market to the next level; to enhance and to provide musical content in a more effective, more readily
accessible, faster, and more easy-to-use manner.
Content owners, producers, and distributors such as publishers, archives, libraries, conservatories,
music shops, music information-technology industries, and educators recognise the usefulness and po-
tential of these developments. There are many opportunities to exploit these novel technologies and a
great deal of interest from the relevant parties. However, there are concerns about losing the rights and
ownership of content. This obstacle is further increased by the widening gap and the lack of effective
knowledge transfer between the industrial and research communities.
Many multimedia music content owners and distributors are converting their archives of music scores
from paper into digital formats, such as images and machine-readable symbolic notation, in order to excel
in the market. Typically problems arise due to the requirements of archives that have been organised
differently, where several other related digital objects are collected (e.g., images, documents, lyrics,
videos, etc.). Issues such as standards and formats (machine representations), integrated cross-media
datasets, digital rights management, and tools are important considerations and invaluable knowledge.
The new functionalities of multimedia interactive music can be used for:

• Valorising cultural heritage, content, and archives that are not currently distributed due to digital
rights issues, suitable coding models, and conversion technologies.
• Promoting music and products for entertainment, for distance teaching, for archives, for commercial
and noncommercial purposes.
• Providing new services for consumers connected via personal computers, mobiles, and other de-
vices, and widening accessibility for impaired users.

This book aims to provide the latest insights and future directions integrating relevant experiences,
information, and knowledge in these domains to help bring the music content industries, information
technology companies, and research communities closer, and to bring music into the interactive mul-
timedia era. With a primary focus on the activities and findings of the MUSICNETWORK (see http://
www.interactivemusicnetwork.org), cosupported by the European Commission, this book consists of
analyses, knowledge, and application scenarios, as surveyed, analysed, and tested. These include music
representations and the developments in the standardization of machine-readable symbolic music nota-
tion representations of MPEG ISO; music imaging (e.g., optical music recognition); with informative
discussions on efficient mechanisms for distributing and sharing multimedia music content (such as
e-commerce, mobile applications, etc.); rights control and management, towards more secure and new
formats to exploit new functionalities with interactive multimedia technologies. These subject areas are
xii

useful to professionals and researchers working in the field of interactive multimedia-related technologies,
computer music, music technology, publishers, librarians, e-business, digital media, digital rights, music
representations, cultural, learning and teaching, and many other interdisciplinary domains, including
students, researchers, businesses, and SMEs (small and medium enterprises).
To provide the background context and motivations, this book starts with an introductory chapter,
“Interactive Multimedia MUSICNETWORK: An Introduction,” to present the MUSICNETWORK
that was cosupported by the European Community under the fifth framework programme. The aim of
the MUSICNETWORK is to help bring the music content providers, cultural institutions, industry, and
research institutions to work together, to reduce the barriers between the technology and content pro-
viders, and to improve the exploitation of new interactive multimedia technologies. It brings together
research institutions, industries, SMEs, and experts to build the required momentum in order to study
and define multimedia music modelling and coding for the digital era, and finally to open new markets
and possibilities with new technologies and solutions.
With a large number of participants, the MUSICNETWORK addressed several aspects of music
within a set of working groups including:

• Music notation: Examines all aspect of coding music notation, such as modern music notation,
format conversion, fonts, and defining standards for music symbols, and started the work on MPEG
Symbolic Music Representation (MPEG SMR).
• Music libraries: This group has a cross-domain perspective including museums, archives, industry
catalogues, and other collections.
• Music multimedia standards: Studies and analyses of multimedia standards for music coding,
including audio and video coding (e.g., MPEG7, MPEG21, etc.), portable Internet formats, media
integration, and other standardization aspects, with MPEG and others.
• Music distribution: Examines the distribution of coded music including streaming, Internet, dis-
tribution models (B2B, B2C, P2P, etc.), mobile systems, WEB-TV, and transaction models (online,
off-line, kiosks, etc.).
• Music protection: Focuses on issues related to the protection of coded music, such as encryption,
fingerprint, watermark, digital rights management, profiling functionalities, active and passive
protection, and other security issues.
• Music accessibility: Examines music coding for print-impaired people (visually impaired, dyslexic,
etc.), and studies accessibility issues, user interfaces, computer-assisted software and devices, and
the provision of music in alternative formats.
• Music imaging: Concentrates on issues relating to imaging and processing of sheet music, printed
music scores, and handwritten manuscripts, including music image acquisition, acquisition of music
with different types of page support, digitising ancient music, coding for images, optical restoration
and preservation, and optical music recognition (OMR, also known as optical character recognition
for music) and evaluation of OMR systems.
• Music audio: This working group is focused on audio processing aspects such as conversion from
audio to music notation, query by content, beat tracking, audio shrinking and stretching, audio
recognition,and so forth.
• Music education: This group analyses and works on educational aspects of music with the sup-
port of the information technology and pedagogical aspects. In particular it deals with the aspects
of cooperative work on music notation, performances, playing instruments by using Internet sup-
port, e-learning, distance teaching, courseware tools, assessing music performances, self learning,
software tools for music education, and so forth.
 xiii

• Music culture: This working group addresses the cultural aspects of music and musicology. It
considers historical interpretation, context, and so forth.

The chapters of this book present a selection of the most relevant activities in the previously men-
tioned sectors, highlight key achievements, and analyze main results. Most of the results produced by
the project have a strong international value and involved many participants globally.
As one of the main results of the MUSICNETWORK,Chapter II on “MPEG Symbolic Music Rep-
resentation: A Solution for Multimedia Music Applications” by Pierfrancesco Bellini, Paolo Nesi, and
Giorgio Zoia presents an overview of the development of the MPEG SMR (Symbolic Music Repre-
sentation) standard that was started by the MUSICNETWORK and has recently been accepted by the
MPEG ISO global multimedia standard organization. The chapter discusses the MPEG SMR design
and development including its decoder for the MPEG-4 standard, for interactive TV, PC, and mobiles.
A large part of the work performed in this area has been coordinated by the MUSICNETWORK. The
authors believe that the MPEG SMR development represents a crucial step that will bring the next phase
of multimedia music development into all forms of electronic devices that will further support interoper-
ability and widen accessibility to music enjoyment, research, culture, as well as education.
Music notation and representation is one of the fundamental aspects of the new knowledge presented
in this book. Chapter III “XML Music Notation Modelling for Multimedia: MPEG-SMR” by Pierfran-
cesco Bellini outlines the structure of the forthcoming MPEG SMR ISO standard, and proposes the
formalization in terms of XML for music representation and provides several examples. This chapter
discusses the continuous growth of the MPEG SMR (XML and binary formats), which includes model-
ling of music representation, multilingual lyrics, integration of music representation and multimedia,
formalization of a language for the automatic formatting of music representation, music representation
streaming, and so forth.
In order to take advantage of new interactive multimedia capabilities and possibilities such as those
discussed in this book, paper-based music scores have to be transformed into machine-readable repre-
sentations. This book devotes two chapters to music imaging issues and presents two OMR systems.
Chapter IV “Optical Music Imaging: Music Document Digitisation, Recognition, Evaluation, and
Restoration” by Graham Jones, Bee Ong, Ivan Bruno, and Kia Ng, introduces the background of mu-
sic imaging-related issues including digitisation, processing, restoration, and automatic transcription
of digitised music score to recognise musical features (from the image of the digitised score), and
convert them into machine-readable formats (e.g., MPEG SMR). With a general overview, the chapter
discusses challenges in this domain, digitisation issues, and necessary components including hardware
and software. It also presents the design and development of SharpEye, which is one of the most popu-
lar commercial OMR systems. After that, the chapter presents an approach for the evaluation of OMR
systems and evaluates a number of systems (SharpEye, SmartScore, and O3MR) using this approach.
This chapter also presents automated recognition and graphical restoration issues that are important for
the preservation of a vast amount of invaluable paper-based heritage, including printed music scores and
handwritten manuscripts that are deteriorating over time due to natural decaying of paper and chemical
reaction (e.g., printing ink and paper).
Following the theme of OMR, Chapter V “Optical Music Recognition: Architecture and Algorithms”
by Pierfrancesco Bellini, Ivan Bruno, and Paolo Nesi, presents the design and development of the O3MR
system for optical music recognition. The O3MR solution has been realised with a large set of methods
and technologies to analyse and process images of music scores. Experimental results reported demon-
strate a high efficiency in the correct location of basic symbols. With a neural-network-based classifier,
a rule-based music grammar, and iterative aggregation process, the system supports reconstruction of
xiv

notation of varying complexity, which is represented with the WEDELMUSIC XML model.
In Chapter VI “Challenges of Designing a Markup Language for Music,” Jacques Steyn analyses the
background development of music representations using markup languages. Steyn makes comparisons
with other representations (e.g., text and mathematics markup languages) and discusses considerations
such as paged or scrolled rendering, writing systems, and reusability and scalability issues. This chapter
highlights the particular challenges of markup languages for music, such as multiple and simultaneous
events that need to be synchronised.
This is followed by a chapter on “Alternative Design Goals for a General Music Markup Language”
by the same author. In this chapter, Steyn notes that “Design goals determine the particular structure of
a markup language, while the philosophy of what markup languages are about determine the framework
within which its structure is developed.” In this context, this chapter presents brief surveys of related
representations including SGML, DSSSL, HyTime, and SMDL, together with HTML and XML. With
several XML-based music applications examples, the author proposed an ideal structure of XML for
music, and discusses design criteria and application issues.
Chapter VIII “Interactive Systems for Multimedia Opera” by Michael Oliva, presents current trends
towards technology-enhanced performing arts, exploring interactive multimedia technologies for stage
performance and how they increase artistic possibilities. It describes the background, the design, and
the development of several software applications and hardware systems to deliver multimedia content
for operas, and discusses gestural control interfaces. It analyses requirements, presents a recent perform-
ance, and recommends effective and practical approaches to these issues. The author believes that the
requirements and integrations of these new elements should be performed centrally from the beginning
and not simply applied “atmospherically or decoratively.”
Chapter IX “Driving Sound Synthesis with a Live Audio Signal,” Cornelius Poepel discusses is-
sues of musical expression, challenges of real-time computer-based systems. The chapter introduces an
audio synthesis method called “audio signal driven sound synthesis” that uses the raw audio signal of a
traditional instrument to drive a synthesis algorithm. This method can be used for the augmentation to
various existing musical instruments as well as new instruments.
The author discusses an application of the method with a bodiless viola that allows the player to
explore new sonic dimensions of electronic sounds with an interface (the playing of the instrument) that
is already familiar to the player. Since the synthesis engine is driven by the audio signal of the bodiless
instrument, nuances of articulation and playing technique can be represented in the synthesized sound
even if not tracked, as it is necessary in common parameter driven approaches. The chapter also reports
user tests and comments from expert players who have tested the system and discusses plausible future
directions.
Chapter X “How Technology Can Support Culture and Learning” by David Luigi Fuschi, Bee Ong,
and David Crombie discusses the interleaving interrelations of education, technology, content acces-
sibility, and intercultural issues. It presents a wide range of related background for contextualisation,
and uses language learning as an example for the discussions. The authors suggest that technology is
both a tool and a factor that can foster cultural and learning development, and presents the evolution
of educational models and developments with respect to technological innovations. The chapter also
considers accessibility issues, together with tools and approaches to e-learning, considerations on the
market sectors, standards, regulation, and related issues.
Chapter XI “Web-Based Music Intelligent Tutoring Systems” by Somnuk Phon-Amnuaisuk and
Chee Keh Siong, presents a Web-based, intelligent music-tutoring system for music theory. It considers
the pedagogical aspects of music learning and teaching, and discusses the pros and cons of Web-based
systems for learning and teaching. The chapter discusses the key challenges including the lack of domain
 xv

specific content authoring tools, intelligent feedback, and presents the design and development of an
interactive multimedia environment for music score editing. In order to provide further understand of the
performance of individual students and to analyse students’ behaviours and performances, monitoring
functionalities and modelling of learning (using a Bayesian network) are explored. With the framework,
technical details, and results analysis, the chapter also discusses several potential future trends, includ-
ing multimodal interface, standardisation requirements of teaching materials for music, and intelligent
systems for music theory tutoring.
DRM systems can be viewed as multimedia information management systems that take into ac-
count digital rights and protection functionalities. They enable controlled distribution and usages of
the multimedia content through the digital value chain. In Chapter XII “Digital Rights Management
Technologies and Standards,” Jaime Delgado and Eva Rodríguez discuss the background, state-of-the-
art developments, and requirements related to digital rights management (DRM), with particular focus
on the technological advancements and standardisation activities.
The chapter discusses a number of selected initiatives (standard and proprietary) that specify a DRM
system or the elements that form a DRM system, including MPEG-21, Open Mobile Alliance (OMA)
DRM, TV-Anytime DRM, DReamM, and so forth. It also presents current industry solutions, such as
Windows Media DRM 10 and Helix DRM, and discusses their components and architecture. It further
describes the MPEG-21 standard initiative, with particular focus on the different pieces and formats that
normatively specify and are needed by a complete DRM system, such as the digital item declaration,
rights expression language, intellectual property management, and protection and event reporting. The
chapter presents the Rights Expression Languages (RELs) in detail, as one of the key components of
DRM system that define the content usage rules, and addresses interoperability issues between RELs.
Following the theme on DRM, Chapter XIII “Possibilities, Limitations, and the Future of Audiovisual
Content Protection,” by Martin Schmucker, briefly discusses DRM and presents several key developments
of technologies for the protection of digital content including the so-called passive protection technolo-
gies, particularly on watermarking and fingerprinting (perceptual hashing). These passive protection
technologies are less interfering with content usage and enable new protection applications. For each
method, the general principle, characteristics, requirements, and limitations are described.
The chapter further considers different application contexts and discusses issues from related parties,
such as the content owner and consumer, and discusses examples of conflicts between security require-
ments and consumer issues. It analyses current technological possibilities and practical limitations,
studies the music industry value chain, and the influences of DRM. The final section discusses potential
future trends and solutions.
Chapter XIV “Online Music Distribution,” by Francesco Spadoni, presents the development of online
music distributions and related issues including its challenges, business models, market structure, new
technologies, and distribution media, together with DRM issues including rights clearing, intellectual
property protection, content retrieval, and metadata management. It also discusses the legal framework
and the developing market of digital music, and the quality and accessibility aspects of online music
distribution services. In the final section, this chapter summarizes the findings and projects towards
plausible future trends.
This book consists of a collection of selected chapters that encompass information, experiences, and
knowledge to bring the music industries and research communities closer, and to bring music into the
interactive multimedia era. With a wide range of background research and introductory materials that are
supported by relevant references for further reading, this book aims to show the latest possibilities and
to ponder potential future directions. Real-life application scenarios are used to explain the concepts and
provide further understanding on how to apply the new knowledge provided. This book covers key ele-
ments of interactive multimedia music; from data acquisition to processing, representations, preservation,
protection, management to digital distributions, together with applications and market considerations. In
its different chapters, this book provides comprehensive coverage of the interdisciplinary subject area
of interactive multimedia music.
xvi

Acknowledgment

We very much appreciate the effort, collaboration, and participation of many people, including col-
leagues and friends, a long list of partners, institutions, organisations, and over 1,000 registered mem-
bers without whom MUSICNETWORK and this book would not exist. Thanks to all the authors who
submitted chapters and all the reviewers for their invaluable help and insightful contributions. Thanks
to the European Commission IST 5th Framework Programme for cosupporting the MUSICNETWORK
project, and the EC project officer Ian Pigott.
Thanks to many special people working behind the scenes who have helped and supported us over
the course of the project and during postproject activities (such as the establishment of the MUSIC-
NETWORK International Association and the completion of this book), including the DSI team at the
University of Florence, the ICSRiM team at the University of Leeds, and many others.
A special thanks to all the staff at the IGI Global, particularly to Kristin Roth, Ross Miller, Jessica
Thompson, and Jan Travers, for their assistance and guidance.
Last but not least, we would like to thank our families for their support and understanding throughout
this project.

Kia Ng, PhD

ICSRiM, University of Leeds, UK
http://www.kcng.org

Paolo Nesi, PhD

DSI, University of Florence, Italy
http://www.dsi.unifi.it/~nesi
 

Chapter I
Interactive Multimedia
MUSICNETWORK:
An Introduction

Kia Ng
University of Leeds, UK

Paolo Nesi
University of Florence, Italy

AbstrAct

The MUSICNETWORK project was cosupported by the European Commission to bring music industry and
related research areas into the interactive multimedia era. It represented a virtual Centre of Excellence
during the period of the project, and today an international association, where music content providers,
cultural institutions, industry, and research institutions work together, drawing on their collective as-
sets and mutual interests, to exploit the potential of multimedia music contents with new technologies,
tools, products, formats, and models. Due to large gaps between needs and real products and solutions,
many products in the market fail to exploit the potential of new multimedia technologies effectively.
MUSICNETWORK helps research solutions to reach the market by seeking agreements between different
actors and formats by bringing together research institutions, industries, small and medium enterprises
(SMEs), and experts to build the required momentum to study and define multimedia music modelling
and coding for the new age. MUSICNETWORK activities, actions, and services are provided through
the project Web site, which can be found online at http://www.interactivemusicnetwork.org.

IntroductIon providers into the interactive multimedia era.

This is the result of a collaborative effort by
The main achievement of the MUSICNETWORK many people from different contexts, including
has been the creation of an effective community content providers, institutions, research centres,
to bring European music industries and content industries, and experts in the field of multimedia

Copyright © 2008, IGI Global, distributing in print or electronic forms without written permission of IGI Global is prohibited.
 Interactive Multimedia MUSICNETWORK: An Introduction

music. Since the early beginning of its establish- applications in the area of multimedia music, and
ment, the MUSICNETWORK community has also in the area of digitisation and conversion of
been pursuing a common goal to study different archives and digital collections by both reducing
aspects of music coding, protection, and distribu- technical problems and creating awareness about
tion in order to improve the existing standards the capabilities offered by present technologies
and to foster wider exploitation of music related and solutions.
contents, tools, and applications.
What has been clear since the beginning was
the need to identify suitable models and solutions Music is not only an auditory
to integrate and make available the knowledge experience
coming from music publishers, digital libraries,
universities, standardisation bodies, research Music is part of an integrated multimodal com-
institutions, music associations, end-users, munication. It can be integrated with many other
music schools, information technology compa- related aspects of the music piece to provide
nies, commercial content distributors, and other necessary contextual information to enrich the
players in music industry. To address this need, experience of the user. For example, a handwrit-
the MUSICNETWORK project implemented ten music score can be shown in synchronisation
concrete actions for integrating these types of with actions of a performer, such as a soloist or
knowledge and bringing music into the interactive a conductor, during a live performance. Besides
media era (see Figure 1). A set of activities was music scores, other related information, such as
implemented to provide a better understanding a composer’s biography, can also be associated
of the real requirements, to better assess to the with the music and/or performance. All these
state-of-the-art research and technology, to in- additions can offer the user a wider view and
tegrate currently available technologies, and to greater knowledge about a musical piece and/or the
strategically steer all these activities toward the composer. This approach can introduce different
project’s objectives. musical genres to a wider audience and enhance
From what has been done over the last few cultural understanding and knowledge.
years, we believed that these activities have accel- Another important application of interactive
erated the process of development and adoption of multimedia music lies within the context of music

Figure 1. The MUSICNETWORK activities, © MUSICNETWORK


Interactive Multimedia MUSICNETWORK: An Introduction

education. Interactive multimedia technology MusIcnetWorK’s ActIvItIes

can enrich the students’ learning activities with And servIces
improved effectiveness, better experiences, and
greater enjoyment. For this purpose, interactive MUSICNETWORK offers a unique set of services
multimedia music should have the following to the community:
aspects:
• Innovation and stimulation:
• Coding of symbolic music notation, sym- ◦ Stimulating new services and exploi-
bolic music representation. tation of new multimedia functional-
• Coding of music score image sequences. ities
• music descriptors. ◦ Opening new markets for content dis-
• Multilingual lyrics linked to symbolic nota- tribution, for example, e-publishing,
tion. advertising, entertainment, edutain-
• Music notation symbols or lyric related im- ment, infotainment, with mobile and
ages. pervasive systems
• Video related/synchronised to music nota- ◦ Suggesting models and formats for
tion symbols, image scores, documents, or interactive multimedia music coding,
lyric text. distribution, and protection
• Audio files related and synchronized with ◦ Promoting guidelines for the adoption
music in symbolic format and images of of standards in connection with stan-
music scores. dards bodies such as the ISO MPEG
• Protection aspects of audio and/or video • Knowledge and information:
and/or music scores such as watermarking ◦ Giving a clear view of the present mar-
or fingerprint. ket and state-of-the-art technologies,
• Verbal description of videos and documents, best practices and trends
and scores for visually impaired users. ◦ Providing access to a large state-of-the-
art database, requirements, technolo-
The MUSICNETWORK identified a lack of gies, and solutions
coordination and standardization in the area of ◦ Providing information and support on
multimedia music modelling, and most of the European Commission initiatives in
available multimedia standards neglect music interactive multimedia music area
notation. Therefore, recognising the relevance ◦ Offering training on latest technolo-
of the integration of music and multimedia as gies, standards, and solutions
an enabling technology for developing new ap- • Visibility and accessibility:
plications and markets, the MUSICNETWORK ◦ Offering wider visibility for research
started an activity to integrate a symbolic music and technology innovations
representation (SMR) into the MPEG standard. ◦ Offering free access for everyone to
This activity has achieved successful results all kinds of information
within the MPEG forum. Currently, a draft of the ◦ Creating an environment where skills
MPEG SMR standard has been produced. More of partners can easily be identified and
information can be obtained from the Web site located
of MPEG ad hoc Group (AHG) on SMR hosted • Consultation and standardization:
by the MUSICNETWORK at http://www.inter- ◦ Collecting and surveying challenges
activemusicnetwork.org/mpeg-ahg/ and proposing solutions for obstacles


 Interactive Multimedia MUSICNETWORK: An Introduction

concerning interactive multimedia AXMEDIS2006 in Leeds, UK), Allegro con

music and innovative technologies Bit 2006 in Rome (Italy), and others
◦ Mediating the work of companies • Maintaining a Web portal for supporting
and research centres with the work of all of the above-mentioned services (see
standardisation bodies http://www.interactivemusicnetwork.org).
◦ Identification of requirements
◦ Production of call-for-technologies
with the standard bodies the WorKIng groups (Wg)

These technical objectives have been, and are The MUSICNETWORK addresses several aspects
addressed by, a set of activities in order to create of music involving a large group of participants,
a collaborative environment where content pro- from many different countries, with different
viders and corporate users may access research cultures and a wide range of technological skills.
results and technological solutions to make the Participation is always welcome from everyone
technology transfer easier and simpler. These interested in the subject areas, with no limitation
activities include: on geographical or cultural issues. Hence, most
(if not all) of the results of the project are valuable
• Coordinating a set of expert working groups for European countries and beyond.
on the most important topics and producing The MUSICNETWORK has established
guidelines, state-of-the-art reports, and so several different working groups to focus on
forth, in order to understand the obstacles issues of particular importance, and to provide
and challenges in bringing music coding, opportunities for the experts and practitioners,
distribution, and protection into the interac- as well as all interested parties, to get involved
tive multimedia era. in the work. The WGs include:
• Managing an MPEG Ad Hoc Group on
Symbolic Music Representation. Further • Music notation: This group examines each
information, events, and documents are and every aspect of coding music notation,
available at http://www.interactivemusic- including modern music notation, format
network.org/mpeg-ahg/. conversion, lyric modelling (multilingual
• Organising a set of workshops and confer- aspects), fonts, and defining standards for
ences and inviting experts and decision music symbols, standardization into MPEG,
makers to highlight and discuss the technical and other bodies.
and business challenges. • Music libraries: This group has a cross-
• Organising a set of open workshops that domain perspective including museums,
often colocated with other conferences, archives, industry catalogues, and other
including Web Delivering of Music (WE- collections. It deals with metadata; infor-
DELMUSIC) 2003 and 2004, MPEG Meet- mation- and content-based retrieval; digital
ing (March 2004), International Association libraries; technological, legal, and standard-
of Music Libraries (IAML), International ization developments; sharing documents
Association of Music Information Centre and contents.
(IAMIC), Automatic Production of Cross • Music in multimedia standards: This
Media Content for Multi-Channel Distribu- working group examines multimedia stan-
tion (AXMEDIS2005, in Florence, Italy, and dards for music coding, including audio


Interactive Multimedia MUSICNETWORK: An Introduction

and video coding (MPEG-7, MPEG-21, tation, performances, virtual conducting,

etc.), portable formats for the Internet, syn- virtual orchestra, playing instruments by
chronization, media integration, and other using Internet support, e-learning, distance
standardization aspects with MPEG and teaching, courseware tools, assessing music
other bodies. performances, self learning, software tools
• Music distribution: This group examines for music education, and so forth.
the distribution of coded music, including • Music culture: This working group ad-
streaming, Internet, distribution models dresses the cultural aspects of music and
(B2B, B2C, P2P, etc.), mobile systems, musicology. This helps to consider music
WEB-TV, mobile, and transaction models in the related historical period, and also
(online, off-line, kiosks, virtual shops). the interpretation of the music in its related
• Music protection: This group is devoted musical context.
to issues related to the protection of coded
music, such as encryption, fingerprint, wa-
termark, digital rights management (DRM), The MUSICNETWORK
profiling functionalities, active and passive participants
protection, and other security issues.
• Music accessibility: This working group Analysis on the profiles of MUSICNETWORK
examines music coding for print-impaired participants has been regularly performed, during
people (visually impaired, dyslexic, etc.), and the development of the project, to:
studies accessibility issues, user interfaces,
computer-assisted software and devices, • Refine the services and the models provided
and the provision of music in alternative to the participants.
formats. • Understand if other needs could be satisfied
• Music imaging: This working music imag- or emerge.
ing group focuses on issues related to imag- • Identify the best model for the business
ing and processing of music score (printed plan.
music scores and handwritten manuscripts),
including music image acquisition, acquisi- The latest analysis was carried out on a sample
tion of music with different types of page of approximately 940 participants from about 230
support, digitising ancient music, coding for qualified institutions. The data used for the analy-
images, optical restoration and preservation, sis were collected from questionnaires filled in by
and optical music recognition (OMR). participants when they registered and whenever
• Music audio: This working group is focused they modified their profiles. Unfortunately, not all
on audio processing aspects such as conver- participants filled in the questionnaires and hence,
sion from audio to music notation, query by the number of data entries actually used for the
content, beat tracking, audio shrinking and analysis was smaller than the sample size.
stretching, audio recognition and compari- The first set of questions was used to get a
son for personalization. better understanding of the participants’ profiles.
• Music education: This group analyses and In this document, only country distribution is
works on educational aspects of music with reported (as illustrated in Figure 3). In the most
the support of the information technology recent survey, it was found that 70% of the par-
and pedagogical aspects. In particular, it ticipants are from Europe (18 states), and 12% of
deals with cooperative work on music no- the participants from the US and Canada.


 Interactive Multimedia MUSICNETWORK: An Introduction

Figure 3. Distribution of MUSICNETWORK participants by country

0

131
0

108

95
00

78
0

65
0

36 36
0

29
24 22 22
19 18 17 16 14 13
0

12 12 11 10 9 8 8 7 7 7 6 5 4 4
0
UNITED KINGDOM

IYALY

UNITED STATES

GERMANY

FRANCE

NETHERLANDS

SPAIN

NIGERIA

DENMARK

GRECE

BELGIUM

CANADA

SWEDEN

AUSTRALIA

AUSTRIA

IRELAND

NORWAY

SWITZERLAND

PORTUGAL

GHANA

CHINA

SOUTH AFRICA

TURKEY

BRAZIL

HUNGARY

POLAND

FINLAND

ISRAEL

SINGAPORE

SLOVENIA

NEW ZEALAND
Figure 4. Distribution of MUSICNETWORK participants by type in percentage







0

0
IT providers

Industrial activity
Public or private researchers

End user, music lover, etc.

Broadcaster: radio and tv

Archive, library

Music information center

Industrial association
Professional

Associations for content

Content producer

Content Distributor
Student

Standardization body

Legal bodies
Educational institutions

Figure 4 shows the distribution of the partici- has attracted more technology consumers than
pants’ different types of affiliations. As can be seen providers.
from the distribution chart, the most important This is considered as a success, since the
groups are researcher, professional, student, and project has mainly been focussed on stimulating
content producer. the understanding and usage of interactive multi-
We have also studied this set of data by reclas- media music technologies. One of the conclusions
sifying them into two groups: (1) participants who could be that the consumers are interested in the
registered with the MUSICNETWORK to offer technology itself. This is evident from the analysis
the role of technology provider and (2) participants reported in the next section, which shows what
who are interested as technology consumers. It consumers are looking for. This analysis has been
is interesting to note that MUSICNETWORK performed in two steps: firstly, the general area


Interactive Multimedia MUSICNETWORK: An Introduction

of interest, and secondly, what kind of services obviously the most dominant aspect for most of
was of greater interest. the MUSICNETWORK participants. Therefore,
This analysis was carried out using the infor- some of the WGs may seem to be less relevant
mation the users stated during the registration. than the others. This is natural and expected since
Fifteen categories on the area of interests that their related market is smaller.
match the subject domains of the WGs have been The types of services required by the partici-
used to analyse the distributions on the area of pants have also been analysed. Table 2 lists the
interest, so that the technical area of the interest type of requirements together with the number
can be identified (see Figure 5). of requests.
By “distribution” we mean the technology From the table, it is evident that the most
for distributing content via the Internet, and it requested services from MUSICNETWORK
is the most requested topic by the analysis. The participants are related to the ease of access
reason may be found in the distribution of nota- to information. Other services, such as discus-
tion (partially), audio files, and other general sion forums and contacts, proved to be of less
contents. All these aspects are of great interest to importance.
the participants. Hence, protection and copyright The number of downloads performed by
should be considered as part of the distribution. participants can also be a good measure of their
From the analysis, it is clear that distribution is areas of interest. It has been noticed that users

Table 1. Providers vs. consumers

Number %
Technology Providers 558 41.77
Technology Consumers 778 58.23
Total 1336 100

Figure 5. Distribution of MUSICNETWORK participants’ interests

Theory
Information retrieval
Legal
Research
Accessibility
Tools
Education
Imaging
Audio
Standards
Production
Library/archive
Protection
Notation
Distribution
0     0  


 Interactive Multimedia MUSICNETWORK: An Introduction

Table 2. Distribution of MUSICNETWORK participants’ needs

Description of Services Requested Number %

Information and News on Technology, the future 111 50

Collaboration and Contacts for technical aspects 78 35

Conferences and Workshops 14 6.3

Market and Commercial contacts 10 4.5

Dissemination diffusion of results, and models 8 3.6

Total 221

Figure 6. Trend of growth of the MUSICNETWORK

00

Number of registered users:

Web pages (registered institutions):
00 decine di Number of login:
Number of forum messages:
Number of uploaded documents:
New sletter subscribers:
New sletter:
000 Countries:

00

00

00

00

0
D 0

D 0
Ju 

Ju 
Au 

Au 
Ap 

Ap 


N 

N 
S e 0

S e 0
Fe 

Fe 

Fe 
Ju 

Ju 
0

0

0
M 

M 
Ja 

O 

Ja 

O 

Ja 
0

0
-0

-0
l-0

l-0
-0

-0

-0
-0

-0
0

0
r-0

r-0
-0

-0

-0
n-

n-
-

-
n-

n-

n-
b-

g-

b-

g-

b-
p-

p-
ov

ov
ar

ar

ar
ct

ct
ay

ay
ec

ec

ec
M

M
D

have mainly been focusing on a number of spe- The number of downloads related to the activi-
cific areas reported in the next table. The most ties and documents produced by each individual
attractive documents have been those produced working group has also been analysed and pre-
in the context of music notation and distribution sented in Table 4. Notation, Imaging, Protection
(around 38,000 downloads in total). & Distribution, and Library working groups are


Interactive Multimedia MUSICNETWORK: An Introduction

Table 3. Topics of interest

Topics of Interests Sub Areas % for Topic
Notation
Imaging
Music Notation (symbolic and imaging) 52.87%
MPEG-AHG
Glossary
Distribution
Distribution and protection 11.02%
Protection
Library Library 6.54%

Standard Standard 3.82%

Educational
Education and Culture 4.48%
Culture
Accessibility Accessibility 2.45%
Audio Audio 1.00%
Overview 1.41%

Events 16.40%

Total 100%

Table 4. Areas of interest of the MUSICNETWORK participants

Area of Interests Number of Downloads

Imaging 16,031
Notation 22,234
AHG 5,945
WG 19,688
Glossary 258
Protection & Distribution 25,633
Distribution 13,660
Protection 11,973
Library 15,298
Education 5,658
Standards 6,454
Accessibility 3,941


 Interactive Multimedia MUSICNETWORK: An Introduction

among the most attractive in terms of participants’ field of multimedia music modelling and coding.
interest. Protection & Distribution WGs have been The fast and continuous growth of MUSICNET-
considered jointly since distribution technologies WORK activities further confirms the success of
have no sense without protection and DRM. the project.
The MUSICNETWORK is now an inter-
national association with a wide range of part-
the groWth of the nerships, many members, and many exciting
MusIcnetWorK activities that will continue to build on the suc-
cessful achievements of the project so far. If you
Figure 6 illustrates the evolution of a set of very are interested in the activities, membership, and
simple metrics over the course of the MUSICNET- services of the association, you are welcome to
WORK project. Together they provide an overview join the association to participate in the activi-
about the evolution of MUSICNETWORK as a ties and development of the MUSICNETWORK
whole, since the start of this monitoring process association for the advancement and success of
in December 2002, when the first services of the this interdisciplinary domain.
project were activated.
From the graph, it is evident that MUSIC-
NETWORK is now still growing, although at a AcKnoWledgMent
slower speed than it was at the very beginning.
Additionally, it seems that, since December 2003, The authors would like to acknowledge all the
MUSICNETWORK reached the critical mass partners of the MUSICNETWORK project,
when the forum activities started. including over 1,000 participants and more than
260 institutions and companies that are registered
with the MUSICNETWORK to collaborate and
conclusIon to contribute to its work and growth.

In this chapter, we have presented, analysed,

and discussed the MUSICNETWORK project. references
From the analysis and evaluation data obtained,
we believe that the MUSICNETWORK project Bellini, P., Crombie, D., & Nesi, P. (2003). MU-
has achieved its aim as a Centre/Network of SICNETWORK: To bring music industry into
Excellence to bring the music content provid- the interactive multimedia age. In Proceedings
ers, cultural institutions, industry, and research of the EVA Florence, Italy.
institutions to work together, to provide a large
Bellini, P., & Nesi, P. (2001, November 23-24).
number of services to SMEs in the area of mul-
WEDELMUSIC FORMAT: An XML music
timedia music.
notation format for emerging applications. In
Moreover, MUSICNETWORK can help re-
Proceedings of the 1st International Conference
search solutions to reach the potential marketplace
of Web Delivering of Music, Florence, Italy (pp.
and assist in finding the appropriate matches
79-86). IEEE Press.
between those who have technical solutions to
offer and those who could be benefited from CANTATE project. (1994). Deliverable 3.3:
these solutions. This has been achieved, thanks Report on SMDL evaluation, WP3. CANTATE.
to the support and contribution of many research Retrieved from http://projects.fnb.nl
institutions, industries, SMEs, and experts in the

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Chapter II
MPEG Symbolic Music
Representation:
A Solution for Multimedia
Music Applications

Pierfrancesco Bellini
University of Florence, Italy

Paolo Nesi
University of Florence, Italy

Giorgio Zoia
EPFL, Switzerland

AbstrAct

The evolution of digital communication devices and formats has recently produced fundamental changes
in the practical approach to music representation and notation, transforming them from a simple visual
coding model for sheet music into a composite tool for modelling music in computer and multimedia
applications in general. As a consequence, a multilayer model of music representation is needed for
several purposes in addition to sheet music production or visual display, such as audio rendering, en-
tertainment, music analysis, database query, music performance coding, music distance learning, and
so forth. Symbolic music representation is a standard for modelling music notations, proposed inside
the MPEG multimedia framework. Symbolic music representation generalizes the main music notation
concepts to model the visual aspects of a music score, along with audio information or annotations re-
lated to the music piece, allowing integration with other audiovisual elements by multimedia references.
The symbolic music representation standard overcomes the limitations of a widely accepted format like
MIDI, which is in line with its main purpose to model music events whereas it reveals important limita-
tions in producing audio and visual representations with satisfactory results.

Copyright © 2008, IGI Global, distributing in print or electronic forms without written permission of IGI Global is prohibited.
MPEG Symbolic Music Representation: A Solution for Multimedia Music Applications

IntroductIon of the innovative and emerging applications in

interactive multimedia music, as highlighted in
Music is mainly accessed through its audible the MPEG requirements on symbolic music rep-
representation, while music notations have been resentation (ISO document ISO/IEC SC29WG11,
developed to visually represent the information W6689). The most relevant among these require-
needed by performers to play, through specific ments are briefly reported and commented on in
instruments, the musical work and reproduce this chapter. Some of the innovative applications
music as intended by the author. The visual integrate 3-D virtual reality, complex anima-
representation of music has reached the present tions, and synchronizations, and they are already
format by means of many years of evolution. spreading in everyday life, together with many
Thus, the edition of music scores for professional emerging prototypes and tools from research
publishing and visualization is one of the earliest and development projects that explore new areas
applications of music notation on computers, and and possibilities. These new applications can be
it is mainly focussed on visual arrangement and categorised briefly as:
rendering of music symbols (Blostein & Haken,
1991; CANTATE, 1994; Selfridge-Field, 1997), • Multimedia music systems for music tuition,
(many commercial applications exist: Sibelius for example: VOYETRA, SMARTSCORE,
(http://www.sibelius.com), Finale of Coda (http:// PLAYPRO, PIANOTUTOR, IMUTUS
www.finalemusic.com/ ), Capella (Capella, 2005)). (self-tuition system for recorder in which the
Sheet music publishing requires the production pupil has the possibility of receiving sug-
of high-quality music scores, in terms of visual gestions and observing the correct posture
rendering. of the hands provided by a 3-D scene recon-
The evolution of information technology has struction) (http://www.exodus.gr/imutus/),
recently produced changes in the usage of music MUSICALIS (self-tuition system for several
representation in practice, transforming music instruments in which the user may receive
notation from a simple visual coding model for suggestions and other information) (http://
music score to a tool for modelling music in com- www.musicalis.fr/), Freehands (allowing the
puter programs and electronic tools in general. visualization and the annotation of music
In the last few years, several XML-compliant scores, http://www.freehandsystems.com/),
mark-up languages for music modelling have Yamaha tools for music education (http://
been presented (and a review is also reported in www.digitalmusicnotebook.com/home/),
this book), among them: MNML (musical nota- and so forth.
tion markup language), MusicML, MML (music • Multimedia music tools for edutainment
markup language), MusicXML (Good, 2001), and infotainment in archives such as
WEDELMUSIC (http://www.wedelmusic.org) WEDELMUSIC (integrating music notation
(Bellini, Della Santa, & Nesi, 2001; Bellini & Nesi, and multimedia for building and distributing
2001), CAPXML (Capella, 2005), and so forth. multimedia music cultural content with
Most of them are mainly focused on modelling digital rights management) (http://www.
the music elements to preserve and interchange wedelmusic.org) (Bellini, Barthelemy, Bru-
them among other applications. Past efforts for no, Nesi, & Spinu, 2003), or for producing
standardizing music notation were attempted in multimedia content to document and assist
the past with SMDL (SMDL, 1995) and NIFF the user in theatres such as in OPENDRAMA
(NIFF Consortium, 2005). Only a few of the (http://www.iua.upf.es/mtg/opendrama/).
mentioned formats can cope with part of the needs


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