Pub Date : 2004-09-13DOI: 10.1109/WDM.2004.1358093
P. Cano, Markus Koppenberger, Sira Ferradans, A. Martinez, F. Gouyon, Vegard Sandvold, V. Tarasov, N. Wack
Content-based audio processing researchers need audio and its related metadata to develop and test algorithms. We present a common repository of audio, metadata, ontologies and algorithms. We detail the hardware implementation, in the form of massive storage and computation cluster, the software and databases design and the ontology management of the current system. The repository, as far as copyright licenses allow, is open to researchers outside the music technology group to test and evaluate their algorithms.
{"title":"MTG-DB: a repository for music audio processing","authors":"P. Cano, Markus Koppenberger, Sira Ferradans, A. Martinez, F. Gouyon, Vegard Sandvold, V. Tarasov, N. Wack","doi":"10.1109/WDM.2004.1358093","DOIUrl":"https://doi.org/10.1109/WDM.2004.1358093","url":null,"abstract":"Content-based audio processing researchers need audio and its related metadata to develop and test algorithms. We present a common repository of audio, metadata, ontologies and algorithms. We detail the hardware implementation, in the form of massive storage and computation cluster, the software and databases design and the ontology management of the current system. The repository, as far as copyright licenses allow, is open to researchers outside the music technology group to test and evaluate their algorithms.","PeriodicalId":310813,"journal":{"name":"Proceedings of the Fourth International Conference onWeb Delivering of Music, 2004. EDELMUSIC 2004.","volume":"64 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122751720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-09-13DOI: 10.1109/WDM.2004.1358112
M. López-Sánchez, X. Noria, J. Rodríguez-Aguilar, G. N. Gilbert, Stephan C. Schuster
Over the past few years it has become clear that the Internet will play an ever greater role in the distribution of digital contents. Our main aim is to provide businesses in the digital contents sector with a tool, which enables them to take informed business strategy decisions and become more competitive by adapting their traditional business models to the new, demanding reality. To achieve this objective, we have implemented a first version of a music market model called SimWebA that is based on multiagent simulation technology. In our simulations, agents represent market stakeholders that act autonomously according to their interests and interact with other agents inside the market environment. This allows end users to investigate the implications of a variety of decisions and strategies by running simulations starting from different initial conditions.
{"title":"Multi-agent simulation applied to on-line music distribution market","authors":"M. López-Sánchez, X. Noria, J. Rodríguez-Aguilar, G. N. Gilbert, Stephan C. Schuster","doi":"10.1109/WDM.2004.1358112","DOIUrl":"https://doi.org/10.1109/WDM.2004.1358112","url":null,"abstract":"Over the past few years it has become clear that the Internet will play an ever greater role in the distribution of digital contents. Our main aim is to provide businesses in the digital contents sector with a tool, which enables them to take informed business strategy decisions and become more competitive by adapting their traditional business models to the new, demanding reality. To achieve this objective, we have implemented a first version of a music market model called SimWebA that is based on multiagent simulation technology. In our simulations, agents represent market stakeholders that act autonomously according to their interests and interact with other agents inside the market environment. This allows end users to investigate the implications of a variety of decisions and strategies by running simulations starting from different initial conditions.","PeriodicalId":310813,"journal":{"name":"Proceedings of the Fourth International Conference onWeb Delivering of Music, 2004. EDELMUSIC 2004.","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129982763","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-09-13DOI: 10.1109/WDM.2004.1358111
U. Wolz, Mike Massimi, E. Tarn
We present r-MUSIC, client-server architecture for sharing music through a persistent resource in which the music data is not shared among users, but is streamed from personal digital music players to a stationary high fidelity speaker system. The client side of this system is installed on the personal digital music players. Users' music selections are transmitted through a wireless interface to the r-MUSIC server, which mediates a song title queue. Users call referenda on songs in the queue, and then vote on the popularity of songs, to mediate if and when they will be played. Our architecture includes a vote balancing mechanism that prevents users and their songs from becoming either too dominant or isolated. The power of this system is that an ad hoc group can share music without the need for a formal mediator. Mediation occurs entirely through collaboration.
{"title":"r-MUSIC, a collaborative music DJ for ad hoc networks","authors":"U. Wolz, Mike Massimi, E. Tarn","doi":"10.1109/WDM.2004.1358111","DOIUrl":"https://doi.org/10.1109/WDM.2004.1358111","url":null,"abstract":"We present r-MUSIC, client-server architecture for sharing music through a persistent resource in which the music data is not shared among users, but is streamed from personal digital music players to a stationary high fidelity speaker system. The client side of this system is installed on the personal digital music players. Users' music selections are transmitted through a wireless interface to the r-MUSIC server, which mediates a song title queue. Users call referenda on songs in the queue, and then vote on the popularity of songs, to mediate if and when they will be played. Our architecture includes a vote balancing mechanism that prevents users and their songs from becoming either too dominant or isolated. The power of this system is that an ad hoc group can share music without the need for a formal mediator. Mediation occurs entirely through collaboration.","PeriodicalId":310813,"journal":{"name":"Proceedings of the Fourth International Conference onWeb Delivering of Music, 2004. EDELMUSIC 2004.","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130569523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-09-13DOI: 10.1109/WDM.2004.1358104
A. Martino, X. Perramon, J. Delgado
We present a technique for the canonicalization of MPEG-21 REL licenses based on the semantics of their elements. Although the representation format used in these licenses is XML, our canonicalization is not based on the canonical XML specification because it is concerned only with the syntactic level of XML, and we want to define a canonicalization that produces the same result for all licenses that are semantically equivalent. In this paper we list the main rules that we have defined for this semantic canonicalization focused on the specific case of MPEG-21 REL licenses. Finally, we discuss a possible generalization that could be used for specifying semantic canonicalization rules in any other XML application. However, it must be realized that defining a single and universal semantic XML canonicalization is a virtually impossible task, because in general it will be infeasible to consider every possible semantics.
{"title":"Secure representation of multimedia content licenses","authors":"A. Martino, X. Perramon, J. Delgado","doi":"10.1109/WDM.2004.1358104","DOIUrl":"https://doi.org/10.1109/WDM.2004.1358104","url":null,"abstract":"We present a technique for the canonicalization of MPEG-21 REL licenses based on the semantics of their elements. Although the representation format used in these licenses is XML, our canonicalization is not based on the canonical XML specification because it is concerned only with the syntactic level of XML, and we want to define a canonicalization that produces the same result for all licenses that are semantically equivalent. In this paper we list the main rules that we have defined for this semantic canonicalization focused on the specific case of MPEG-21 REL licenses. Finally, we discuss a possible generalization that could be used for specifying semantic canonicalization rules in any other XML application. However, it must be realized that defining a single and universal semantic XML canonicalization is a virtually impossible task, because in general it will be infeasible to consider every possible semantics.","PeriodicalId":310813,"journal":{"name":"Proceedings of the Fourth International Conference onWeb Delivering of Music, 2004. EDELMUSIC 2004.","volume":"25 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130454074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-09-13DOI: 10.1109/WDM.2004.1358099
D. Crombie, Roger Lenoir, Neil McKenzie
By building on recognised design for all methodologies, systems should be constructed in such a way that the mainstream solution should be easily adaptable and extensible to add functionality for niche markets. Accessibility can be considered to be an interplay of various processing domains. These processing domains relate to processes in production and perception of musical material. Through clear separation of the technological descriptions of music storage and music manipulations procedures, the ideal 'mix' of the interplay between the processing domains - logical, gestural, visual and analytical - can be described. The process of contriving a procedure to interface the various processing levels should be based on use. The representation of the interplay between the various user groups should always remain accessible. If all relevant entities in a representation system remain accessible, creating meaningful mappings is a matter of connecting the appropriate entities.
{"title":"Integrating music representations within MPEG environments","authors":"D. Crombie, Roger Lenoir, Neil McKenzie","doi":"10.1109/WDM.2004.1358099","DOIUrl":"https://doi.org/10.1109/WDM.2004.1358099","url":null,"abstract":"By building on recognised design for all methodologies, systems should be constructed in such a way that the mainstream solution should be easily adaptable and extensible to add functionality for niche markets. Accessibility can be considered to be an interplay of various processing domains. These processing domains relate to processes in production and perception of musical material. Through clear separation of the technological descriptions of music storage and music manipulations procedures, the ideal 'mix' of the interplay between the processing domains - logical, gestural, visual and analytical - can be described. The process of contriving a procedure to interface the various processing levels should be based on use. The representation of the interplay between the various user groups should always remain accessible. If all relevant entities in a representation system remain accessible, creating meaningful mappings is a matter of connecting the appropriate entities.","PeriodicalId":310813,"journal":{"name":"Proceedings of the Fourth International Conference onWeb Delivering of Music, 2004. EDELMUSIC 2004.","volume":"151 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123384850","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-09-13DOI: 10.1109/WDM.2004.1358103
Josep Polo, J. Prados, J. Delgado
Two main rights expression languages (RELs) exist to describe licenses governing the access to digital multimedia content: MPEG-21 REL and ODRL (open digital rights language). Both RELs are powerful and complex enough. The use of different RELs could divide the network commerce in two separate factions. We propose a way for interworking between them. They have many similarities that permit to translate expressions from one language into the other one. In the Distributed Multimedia Applications Group (DMAG) we are developing utilities that permit to translate licenses between both RELs. Furthermore, the DMAG has developed a set of applications to generate and check licenses in both RELs. This work first describes the current situation of the RELs. Then the ODRL and MPEG-21 REL are introduced. Later, the interworking between MPEG-21 REL and ODRL is exposed and the DMAG licenses generator and checker are described.
{"title":"Interworking of rights expression languages for secure music distribution","authors":"Josep Polo, J. Prados, J. Delgado","doi":"10.1109/WDM.2004.1358103","DOIUrl":"https://doi.org/10.1109/WDM.2004.1358103","url":null,"abstract":"Two main rights expression languages (RELs) exist to describe licenses governing the access to digital multimedia content: MPEG-21 REL and ODRL (open digital rights language). Both RELs are powerful and complex enough. The use of different RELs could divide the network commerce in two separate factions. We propose a way for interworking between them. They have many similarities that permit to translate expressions from one language into the other one. In the Distributed Multimedia Applications Group (DMAG) we are developing utilities that permit to translate licenses between both RELs. Furthermore, the DMAG has developed a set of applications to generate and check licenses in both RELs. This work first describes the current situation of the RELs. Then the ODRL and MPEG-21 REL are introduced. Later, the interworking between MPEG-21 REL and ODRL is exposed and the DMAG licenses generator and checker are described.","PeriodicalId":310813,"journal":{"name":"Proceedings of the Fourth International Conference onWeb Delivering of Music, 2004. EDELMUSIC 2004.","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125133408","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-09-13DOI: 10.1109/WDM.2004.1358115
M. Dubosson-Torbay, Y. Pigneur, Jean-Claude Usunier
The goal of this paper is to sketch the value chain and the business models of the online distribution of music. The perspective of the online digital music market is rather deceiving but the opportunities seem to remain high. Considering the rise of the P2P networks of free music digital files, it seems reasonable to assume this new way to distribute music meets consumer needs. Based on a review of the literature and executive interviews, the paper presents the traditional distribution models; then it addresses how P2P piracy deals with the copyright issues, and describes some emergent business models that could be an answer to illegal digital music distribution.
{"title":"Business models for music distribution after the P2P revolution","authors":"M. Dubosson-Torbay, Y. Pigneur, Jean-Claude Usunier","doi":"10.1109/WDM.2004.1358115","DOIUrl":"https://doi.org/10.1109/WDM.2004.1358115","url":null,"abstract":"The goal of this paper is to sketch the value chain and the business models of the online distribution of music. The perspective of the online digital music market is rather deceiving but the opportunities seem to remain high. Considering the rise of the P2P networks of free music digital files, it seems reasonable to assume this new way to distribute music meets consumer needs. Based on a review of the literature and executive interviews, the paper presents the traditional distribution models; then it addresses how P2P piracy deals with the copyright issues, and describes some emergent business models that could be an answer to illegal digital music distribution.","PeriodicalId":310813,"journal":{"name":"Proceedings of the Fourth International Conference onWeb Delivering of Music, 2004. EDELMUSIC 2004.","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130331436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-09-13DOI: 10.1109/WDM.2004.1358097
Michel Girer, B. Gunther, M. Schmucker, F. Spadoni
Although MPEG-21 has the power to become the underlying protocol for content creation and content exchange applications, obstacles can be identified, which might impede its potential powerful position. These obstacles would result from an incomplete set of requirements if not all relevant use cases are considered thoroughly. Additionally, potential users might not be aware of the possibilities provided by MPEG-21. Within the MUSICNETWORK [MN] project, interests of people distributing music and musical related content are represented. One of the activities of MUSICNETWORK is the contribution to standardization activities. Several application scenarios are currently being investigated in order to overcome both previously mentioned obstacles. We sketch the "sheet music publisher" application scenario and describe one use case in detail. Based on these use cases we derive requirements and explain how MPEG-21 can influence this use case.
{"title":"MPEG-21 and music notation applications","authors":"Michel Girer, B. Gunther, M. Schmucker, F. Spadoni","doi":"10.1109/WDM.2004.1358097","DOIUrl":"https://doi.org/10.1109/WDM.2004.1358097","url":null,"abstract":"Although MPEG-21 has the power to become the underlying protocol for content creation and content exchange applications, obstacles can be identified, which might impede its potential powerful position. These obstacles would result from an incomplete set of requirements if not all relevant use cases are considered thoroughly. Additionally, potential users might not be aware of the possibilities provided by MPEG-21. Within the MUSICNETWORK [MN] project, interests of people distributing music and musical related content are represented. One of the activities of MUSICNETWORK is the contribution to standardization activities. Several application scenarios are currently being investigated in order to overcome both previously mentioned obstacles. We sketch the \"sheet music publisher\" application scenario and describe one use case in detail. Based on these use cases we derive requirements and explain how MPEG-21 can influence this use case.","PeriodicalId":310813,"journal":{"name":"Proceedings of the Fourth International Conference onWeb Delivering of Music, 2004. EDELMUSIC 2004.","volume":"747 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132229410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-09-13DOI: 10.1109/WDM.2004.1358095
I. Kondo, K. Kojima, S. Ueshima
We discuss a new method of distributed jam session over network by employing the style of club DJ performance. DJ's are music performers, and they construct a music piece by combining materials prepared beforehand one by one. As a result, two and more DJ's join to complete a musical content in a session by the fusion of individual materials. Usual Internet streaming systems with client/server architecture are not appropriate under such an environment that each performer has a symmetric role in a jam session, because the control of time line cannot be defined in a bottom-up fashion. We here propose a feasible way of the distributed jam session over the Internet by modeling actual jam session as a document aggregation and binary relation among those documents over time line. We introduce a notion of scene and its synchronization to achieve a jam session, and employ RDF/RSS to represent a session. In our approach, we divide a session into subsections based on a basic structure that musical contents hold, and allocate musical phrases to the subsections to complete a whole session. By the experimental session, we have confirmed the effectiveness of our method, and also obtained an observation of quantitative features of the distributed jam session.
{"title":"A study of distributed jam session via content aggregation","authors":"I. Kondo, K. Kojima, S. Ueshima","doi":"10.1109/WDM.2004.1358095","DOIUrl":"https://doi.org/10.1109/WDM.2004.1358095","url":null,"abstract":"We discuss a new method of distributed jam session over network by employing the style of club DJ performance. DJ's are music performers, and they construct a music piece by combining materials prepared beforehand one by one. As a result, two and more DJ's join to complete a musical content in a session by the fusion of individual materials. Usual Internet streaming systems with client/server architecture are not appropriate under such an environment that each performer has a symmetric role in a jam session, because the control of time line cannot be defined in a bottom-up fashion. We here propose a feasible way of the distributed jam session over the Internet by modeling actual jam session as a document aggregation and binary relation among those documents over time line. We introduce a notion of scene and its synchronization to achieve a jam session, and employ RDF/RSS to represent a session. In our approach, we divide a session into subsections based on a basic structure that musical contents hold, and allocate musical phrases to the subsections to complete a whole session. By the experimental session, we have confirmed the effectiveness of our method, and also obtained an observation of quantitative features of the distributed jam session.","PeriodicalId":310813,"journal":{"name":"Proceedings of the Fourth International Conference onWeb Delivering of Music, 2004. EDELMUSIC 2004.","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132215026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2004-09-13DOI: 10.1109/WDM.2004.1358113
Cornelia C. Krueger, P. Swatman, K. V. Beek
The online music market has changed significantly and fundamentally over the past few years, as more and more new players - many of them originally from other sectors - enter the market space of the original media companies. Although these new entrants provide the media companies with the opportunity to adapt their business to the new demands of the Internet, they are also competitors who are themselves able to offer music over the Net. In this paper we describe the current state of play in the online music sectors in Europe at May 2003. The outcomes are based on "expert talks" and an online survey. After initially discussing the justification for our chosen research approach, we describe the research design. We then report our findings. Finally we identify the key driving factors for online music today: the new competitive environment, the appropriate payment systems, the focus on core competences, end devices and the consumers.
{"title":"E-business models in the online music sector - a survey of 10 European countries","authors":"Cornelia C. Krueger, P. Swatman, K. V. Beek","doi":"10.1109/WDM.2004.1358113","DOIUrl":"https://doi.org/10.1109/WDM.2004.1358113","url":null,"abstract":"The online music market has changed significantly and fundamentally over the past few years, as more and more new players - many of them originally from other sectors - enter the market space of the original media companies. Although these new entrants provide the media companies with the opportunity to adapt their business to the new demands of the Internet, they are also competitors who are themselves able to offer music over the Net. In this paper we describe the current state of play in the online music sectors in Europe at May 2003. The outcomes are based on \"expert talks\" and an online survey. After initially discussing the justification for our chosen research approach, we describe the research design. We then report our findings. Finally we identify the key driving factors for online music today: the new competitive environment, the appropriate payment systems, the focus on core competences, end devices and the consumers.","PeriodicalId":310813,"journal":{"name":"Proceedings of the Fourth International Conference onWeb Delivering of Music, 2004. EDELMUSIC 2004.","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2004-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121934177","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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