An EEG Neurofeedback Interactive Model for Emotional Classification of Electronic Music Compositions Considering Multi-Brain Synergistic Brain-Computer Interfaces

This paper presents an in-depth study and analysis of the emotional classification of EEG neurofeedback interactive electronic music compositions using a multi-brain collaborative brain-computer interface (BCI). Based on previous research, this paper explores the design and performance of sound visualization in an interactive format from the perspective of visual performance design and the psychology of participating users with the help of knowledge from various disciplines such as psychology, acoustics, aesthetics, neurophysiology, and computer science. This paper proposes a specific mapping model for the conversion of sound to visual expression based on people’s perception and aesthetics of sound based on the phenomenon of audiovisual association, which provides a theoretical basis for the subsequent research. Based on the mapping transformation pattern between audio and visual, this paper investigates the realization path of interactive sound visualization, the visual expression form and its formal composition, and the aesthetic style, and forms a design expression method for the visualization of interactive sound, to benefit the practice of interactive sound visualization. In response to the problem of neglecting the real-time and dynamic nature of the brain in traditional brain network research, dynamic brain networks proposed for analyzing the EEG signals induced by long-time music appreciation. During prolonged music appreciation, the connectivity of the brain changes continuously. We used mutual information on different frequency bands of EEG signals to construct dynamic brain networks, observe changes in brain networks over time and use them for emotion recognition. We used the brain network for emotion classification and achieved an emotion recognition rate of 67.3% under four classifications, exceeding the highest recognition rate available.

What is visual Vaporwave? Vaporwave arts and their history and position in China

By Vaporwave we refer to a digital-born electronic music genre and a trend in visual aesthetics. It emerged in some US-based online communities in the early 2010s, and now its visual expressions are in vogue in Chinese visual media context. In this article, Vaporwave’s aesthetics are discussed through three stages of analysis. In the first part, the paper outlines relevant theories and general features of Vaporwave’s (both visual and musical) aesthetics; next, the paper focuses on Vaporwave's visual characteristics, and, to provide a deeper understanding of its visual aesthetics, I discuss a school of painting derived from early twentieth-century Italy—Metaphysical art. In the second part, the article discusses why and how vaporwave aesthetics are inseparable from some Japanese visual characteristics and how it is represented in China, with particular reference to examples of Japanese comics from the 1980s/early 1990s and one popular Chinese video-focused social media TikTok in recent years. In the third part, the article focuses on illustrating Vaporwave's visual features in the Chinese context in recent years, and several examples are provided.

Idea paper: An envelope model of ecological disturbance

Disturbance is common in natural ecosystems, but increasingly defines them. While there are many descriptions for the dynamics of an ecosystem's response to disturbance, there are few descriptions for the dynamics of the disturbance itself. I describe a novel application of a model based on the production of amplitude envelopes in acoustics and electronic music synthesis, with varying parameters Attack, Decay, Sustain, and Release (ADSR). I show that varying the parameters of the ADSR model is sufficient to produce and vary the qualitative disturbance regimes described by previous authors, and is capable of producing dynamics not previously considered. I tested the utility of the ADSR model by applying it to a logistic growth model. I found that manipulating the attack and release parameters of the ADSR model changes the population dynamics estimated by these models. This implies that responses to disturbance are determined not only by the resilience and resistance of the ecological system, but also the dynamics of the disturbance itself. My hope is that the ADSR model will prove useful to researchers in either describing disturbances in long-term ecological data, or in producing disturbances for simulations or experiments.

The Null Piece and Reality Check

Two frameworks are described, within the larger framework of Pure Data, that aim to facilitate the creation and preservation of electronic music that is performed live in real time. These are not part of Pd itself, because they are more directly tailored to a specific application space than Pd should be. They are nonetheless designed, like Pd, to minimize any unnecessary stylistic imposition on creators of electronic music. The Null Piece is a starting point for building live performance patches. It provides basic audio routing and parameter control while leaving other choices as free as possible. Reality Check is an attempt to aid in the long-term maintenance of a musical realization by verifying whether a piece still runs as intended despite the inevitable evolution of hardware and software.

Iterative Design for Approachable, Mobile-Based Collaborative Electronic Music Instruments

<p>The steep learning curve for technology for electronic music creation enforces a barrier to entry for new electronic musicians that prevents them from enjoying the playful process of creating music, without significant investment of time, energy, or money. This thesis argues that this barrier to entry should be abolished by using creative technology as a platform in order to begin the democratisation of electronic music creation processes. By drawing upon specific values inherent to the playful process of creating music, this thesis suggests a framework for iterative design of social, electronic musical instruments. The combination of implementing this framework and informing design directions upon user feedback has resulted in the creation of Pyxis Minor, a new, smartphone and tablet based, electronic musical interface/instrument that allows users of any prior musical background to have a playful creative and social experience of making music. This is important for distinguishing that the apparent barrier to entry for electronic music creation may be unnecessary, and it is possible to develop instruments and interfaces for the playful creation of electronic music that fulfil the needs and requirements of a diverse range of users.</p>

Iterative Design for Approachable, Mobile-Based Collaborative Electronic Music Instruments

<p>The steep learning curve for technology for electronic music creation enforces a barrier to entry for new electronic musicians that prevents them from enjoying the playful process of creating music, without significant investment of time, energy, or money. This thesis argues that this barrier to entry should be abolished by using creative technology as a platform in order to begin the democratisation of electronic music creation processes. By drawing upon specific values inherent to the playful process of creating music, this thesis suggests a framework for iterative design of social, electronic musical instruments. The combination of implementing this framework and informing design directions upon user feedback has resulted in the creation of Pyxis Minor, a new, smartphone and tablet based, electronic musical interface/instrument that allows users of any prior musical background to have a playful creative and social experience of making music. This is important for distinguishing that the apparent barrier to entry for electronic music creation may be unnecessary, and it is possible to develop instruments and interfaces for the playful creation of electronic music that fulfil the needs and requirements of a diverse range of users.</p>

Between Computer Automation, Voltage Control and Literature: A portrait of Peter Zinovieff

The life and times of Peter Zinovieff (1933–2021) have been amply commented upon and there are numerous testimonies of his role on developing electronic music as well as his strong impact on musicians throughout the 1970s. However, besides his important role in developing synthesisers, sound processing and various other devices, he is now recognised as a significant pioneer in music with computers. His collaboration with Harrison Birtwistle’s opera The Mask of Orpheus has been deemed an important contribution to contemporary music in Great Britain. Finally, his late return to composition and performance shows his lifelong attachment to innovation and experimentation in music.