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Software for Interactive and Collaborative Creation in the Classroom and Beyond: An Overview of the Soundcool Software
Abstract
This article presents a free framework for collaborative creation of interactive and experimental computer music called Soundcool. It is designed to fill a gap between rigid ready-to-use applications and flexible programming languages. The system offers easy-to-use elements for generating and processing sound, much like ready-made applications, but it enables flexible configuration and control, more like programming languages. The system runs on personal computers with an option for control via smartphones, tablets, and other devices using the Open Sound Control (OSC) protocol. Originally developed to support a new music curriculum, Soundcool is being used at different educational institutions in Spain, Portugal, Italy, and Romania through EU-funded Erasmus+ projects. In this article, we present our system and showcase three different scenarios as examples of how our system meets its objectives as an easy-to-use, versatile, and creative tool.
... However, due to the lack of necessary considerations in information sharing and collaboration in colleges and universities, there are obvious deficiencies in platform cooperation and co-construction between colleges and universities, between colleges and primary and secondary schools, and between colleges and universities and the community. Therefore, the network resources present a relatively independent situation [11][12][13][14]. ...
... The creative contribution value 12 , vv obtained by 1 T and 2 T in each cycle is distributed to university teachers and students according to the corresponding proportion, 12 , vv and the calculation formula is shown below: ...
The unbalanced characteristics of the current music education information resources are becoming more and more obvious. This paper builds a resource-sharing model framework with the help of cloud computing technology and designs five major mechanisms for resource sharing in music education. Afterward, the value of educational resources is weighted and calculated, and the incentive mechanism for music education resource points is formulated. Finally, the sharing and value of music education resources are investigated, and the feasibility of the mechanism is verified. Under the point incentive mechanism in this paper, fragmented resources have the lowest economic benefit exchange value, followed by complete resources, while curriculum resources have the highest exchange value, and the exchange value scores of the three resources are 0.069-0.146, 0.345-0.645, and 0.580- 1.0 respectively. Additionally, when the number of resources shared is greater than 5, the benefits of shared resources become more stable. This is related to the fact that participants will adjust the amount of their contribution in the sharing system according to the contribution of other participants. A large number of shared resources with low value will result in a relatively large waste of resources. Not only can they not fully contribute their resources, but they also cannot fully enjoy the resources contributed by other people. Therefore, the value of the subject itself will have an impact on the benefits of the shared resources.
... Soundcool [12] is a free system for collaborative audiovisual creation. It consists of a set of modules such as audio and video players, effects and mixers, video switchers, and virtual instruments that run in Mac or PC computers as part of a Max/MSP stand-alone application. ...
... Soundcool [12] is a modular sound synthesis system implemented in software. A feature of Soundcool is that modules are high-function units akin to plug-in effects or Eurorack hardware modules. ...
Soundcool Online is a Web Audio re-implementation of the original Max/MSP implementation of Soundcool, a system for collaborative music and audiovisual creation. Soundcool has many educational applications, and because Linux has been adopted in many school systems, we turned to Web Audio to enable Soundcool to run on Linux as well as many other platforms. An additional advantage of Soundcool On-line is the elimination of a large download, allowing beginners to try the system more easily. Another advantage is the support for sharing provided by a centralized server, where projects can be stored and accessed by others. A cloud-based server also facilitates collaboration at a distance where multiple users can control the same project. In this scenario, local sound synthesis provides high-quality sound without the large bandwidth requirements of shared audio streams. Experience with Web Audio and latency measurements are reported.
... Soundcool is a free system for collaborative Sound and visual creation that has received several awards and has been invited by the World Science Festival 2019 in New York. See Scarani et al. (2020) and Sastre and Dannen berg (2020) and the references therein for a complete explanation. The Soundcool system offers different mod ules such as audio and video sources (live audio and vid eo inputs, players, hosts of VST virtual instruments, signal generators), audio and video effects, mixers, video switchers, etc. (See Figure 1). ...
... In 2016 we developed a system allowing telematic performances with Soundcool through the Internet (Scarani et al. 2020). We performed a concert called the GlobalNet Orchestra, with participants at Carnegie Mellon University (CMU) and the Universitat Politècnica de València (UPV) (see globalnetorchestra.blogs.upv.es/). ...
Soundcool is a flexible, modular computer music software system created for music education. Moreover, Soundcool is an educational approach that embraces collaboration and discovery in which the teacher serves as a mentor for project based learning. To enable collaboration, Soundcool was designed from the beginning to allow individual modules to be controlled over Wi Fi using smartphone and tablet apps. This collaborative fea ture has enabled network based performance over long distances. In particular, the recent demand for social distancing motivated further explora tions to use Soundcool for distance education and to enable young musicians to perform together in a creative way. We describe the educational approach of Soundcool, experience with network performances with children, and future plans for a web based social network inspired collabora tive music creation system.
... Many small handheld devices, through different sensing mechanisms, can interact with music more conveniently, diversely and interestingly [10,11]. Musical interaction, whether face-to-face or via remote communication, is made possible with the right software [9]. ...
Playing music has been shown to be beneficial for promoting physical and mental health because it helps maintain brain plasticity and social connection. Studies have found that it may prevent diseases and delay mental aging and dementia. However, for the patient, the elderly, or those already predisposed to dementia, learning to play music may not be as easy as we think. For most people, hearing their favorite songs makes them feel good. For the sick or demented, active participation in playing may be the best medicine. This study aims to explore the possibility of programmable music technology to facilitate music playing and interactions. The design philosophy is to make music-making more accessible and engaging. We proposed a framework on the basis of Sonic Pi programming, where multi-threading, MIDI, and OSC are supported already and therefore helpful for music experts, system developers, and medical doctors in our research team to build a fast, effective prototype. We can now turn smartphones and MIDI controllers into friendly music instruments. By a simple hand-motion or key-tapping at the right moment, a bunch of beautiful notes will be triggered immediately; it feels like you're playing a chord on a guitar to accompany the melody, which is being played by software at the moment, or could be hummed or played by friends.
... Many small handheld devices, through different sensing mechanisms, can interact with music more conveniently, diversely and interestingly [10,11]. Musical interaction, whether face-to-face or via remote communication, is made possible with the right software [9]. ...
Playing music has been shown to be beneficial for promoting physical and mental health because it helps maintain brain plasticity and social connection. Studies have found that it may prevent diseases and delay mental aging and dementia. However, for the patient, the elderly, or those already predisposed to dementia, learning to play music may not be as easy as we think. For most people, hearing their favorite songs makes them feel good. For the sick or demented, active participation in playing may be the best medicine. This study aims to explore the possibility of programmable music technology to facilitate music playing and interactions. The design philosophy is to make music-making more accessible and engaging. We proposed a framework on the basis of Sonic Pi programming, where multi-threading, MIDI, and OSC are supported already and therefore helpful for music experts, system developers, and medical doctors in our research team to build a fast, effective prototype. We can now turn smartphones and MIDI controllers into friendly music instruments. By a simple hand-motion or key-tapping at the right moment, a bunch of beautiful notes will be triggered immediately; it feels like you're playing a chord on a guitar to accompany the melody, which is being played by software at the moment, or could be hummed or played by friends.
... Such software includes acoustics and audio, MIDI concepts and basics, advanced production and DAW's, music notation, aural awareness, and teaching and learning [7], [8]. Furthermore, recent resources offer teachers the possibility to develop software by themselves according to their needs [9], [10]. ...
In music education, there are several cases where the instructor needs to set preparatory tasks and use verbal communication, both of which, nonetheless, interrupt the music continuity. These “interruptions” are considered as learning barriers. Having researched teaching communication habits on several music instruction cases, we have come up with the idea of designing a set of software blocks that, laid down together as a digital aid to the class, can generously assist music teaching by providing communication facilitators in a wide range of commonly used music teaching exercise tasks. In this direction, a range of algorithms and software blocks have been implemented at the Ionian University using the Max/MSPTM dedicated software platform, comprising the FIG set of tools. A specific subset of these software tools has included Machine Learning (ML) logic in order to promote a wiser instructor-student communication that advances class musicality and potentially facilitates deeper consolidation of musical structures.
... Soundcool [4] is an interactive computer-based system for collaborative sound and visual creation using smartphones, tablets and augmented reality, where different kinds of sensors play an active role. Soundcool is developed by the Performing Arts and Technology Group (PerformingARTech) of the Universitat Politécnica de Valencia (Valencia, Spain) with the collaboration of Carnegie Mellon University (Pittsburgh, PA, USA). ...
Interactive computer-based music systems form a rich area for the exploration of collaborative systems where sensors play an active role and are important to the design process. The Soundcool system is a collaborative and educational system for sound and music creation as well as multimedia scenographic projects, allowing students to produce and modify sounds and images with sensors, smartphones and tablets in real time. As a real-time collaborative performance system, each performance is a unique creation. In a comprehensive educational project, Soundcool is used to extend the sounds of traditional orchestral instruments and opera singers with electronics. A multidisciplinary international team participates, resulting in different performances of the collaborative multimedia opera The Mother of Fishes in countries such as Spain, Romania, Mexico and the USA.
... Because O2 can use reliable transmission across the Internet, not only does this solve problems with configuration and NAT, but it also can eliminate dropped packets, which occur frequently with wide-area networking. This approach parallels our "Telematic Soundcool" performance (Scarani et al. 2019), which was implemented directly with TCP before O2 was available. Even audio streaming is possible with O2 (Norilo and Dannenberg 2018), but it may be simpler to implement audio/video streaming with more-specialized programs and just handle control information with O2. ...
Message passing between processes and across networks offers a powerful method to integrate and coordinate various music programs, facilitating software reuse, modularity, and parallel processing. Networking can integrate components that use different languages and hardware. In this article we describe O2, a flexible protocol for communication ranging from the thread level up to the level of global networks. Messages in O2 are similar to those of Open Sound Control, but O2 offers many additional features, including discovery, clock synchronization, a reliable message delivery option, and routing based on services rather than specific network addresses. A bridge mechanism extends the reach of O2 to web browsers, shared memory threads, and small microcontrollers. The design, implementation, and applications of O2 are described.
... In 2016 we developed a system allowing telematic performances with Soundcool through the Internet (Scarani, et al. 2020). We performed a concert called the GlobalNet Orchestra, with participants at Carnegie Mellon University (CMU) and the Universitat Politècnica de València (UPV) (see globalnetorchestra.blogs.upv.es/). ...
Soundcool is a flexible, modular computer music software system created for music education. Moreover, Soundcool is an educational approach that embraces collaboration and discovery in which the teacher serves as a mentor for project-based learning. To enable collaboration, Soundcool was designed from the beginning to allow individual modules to be controlled over WiFi using smartphone and tablet apps. This collaborative feature has enabled network-based performance over long distances. In particular, the recent demand for social distancing motivated further explorations to use Soundcool for distance education and to enable young musicians to perform together in a creative way. We describe the educational approach of Soundcool, experience with network performances with children, and future plans for a web-based social-network-inspired collaborative music creation system.
Si el pensamiento artístico pretende relacionarse con la sociedad en la que se desarrolla, no puede no enfrentarse al hecho de que vivimos en un mundo donde la sovraproducción industrial y la obsolesciencia programada de sus productos determina las relaciones económicas y sociales globales. El arte posee la capacidad de marcar un cambio en la tendencia económica y social a través de una apropiación del producto industrial y su transformación en un anti-producto que contraste su misma natura de producto industrial. En éste artículo se pretende desbozar elementos de este pensamiento artístico antagonista y al mismo tiempo describir tres ejemplos prácticos de como reciclar y convertir productos tecnológicos en herramientas para el arte. [1] Un ejemplo en este sentido es representado por el videoarte, en principio desarrollado dentro de los laboratorios de los broadcast televisivos de los que se solía contenstar el rol socio-político.
Creatividad audiovisual en tiempo real, colaborativa y a distancia. Con estas pocas palabras se resumen las principales características que el proyecto Soundcool ha alcanzado integrar en su sistema informático, transformando el "aquí y en este momento" en "en cualquier sitio en este momento".
Real time audiovisual creation, collaborative and at a distance. These few words summarize the main characteristics that the Soundcool project has managed to integrate into its software system, transforming the "here and now" into "anywhere and now".
Soundcool is a system for musical, sound and visual collaborative creation through mobile phones, tablets and other interfaces. This paper describes the creation of the app from the outset, illustrating not only how the Soundcool® system has been developed from the initial idea to the current reality, but also the evolution that the app has had during this period and how it has become ready to use. The research group in the Universitat Politecnica de Valencia (UPV) has played a key role in the development of the app. We also explain the opportunities for Soundcool in different markets and economic sectors. Last but not least, we describe how the idea has been financed to make it a reality.
The aim of this study is to analyse the impact of the COVID-19 pandemic on musical societies in the Valencian Region, which were declared as an Asset of Intangible Cultural Interest in 2018. These cultural societies, which include over 1,100 bands, have had to make changes to adapt to the global pandemic. They are made up of symphonic bands, music schools, choirs, orchestras and other musical groups. Their social structure involves a large part of the Valencian Region’s population which, to some extent, becomes part of the creative process and transfer of musical languages, such as cultural transmission and historical content. This teaching model includes a variety of strategies, such as generating community ties that go beyond the social dimension. Moreover, the process of transformation, adaptation and resilience followed by these musical societies in order to maintain their training routines and other tasks will be analysed through an ethnographic study. This aims to focus on the extent of the economic, social and pedagogical impact of COVID-19 on these organisations.
This chapter analyses the impact of the music industry in Europe. Although the direct and indirect impact of this industry in the European economy is significant, the sector is made up of different activities and companies, which compete and encounter diverse challenges in it. The current situation of these companies and organisations is presented through an analysis of the business models of several enterprises engaging in a variety of activities throughout the industry’s value chain, such as music production, publishing, distribution and exhibition. Moreover, we analyse digital transformation and the growth in rivalry detected in these activities.
Music, like many cultural and creative industries, can be analysed from symbolic, political and economic dimensions. It is a vibrant, highly resilient sector that has continued to evolve over time from prehistory to the present. Moreover, the music industry has developed in lockstep with technology, creating fascinating business models since the inception of the Internet, forcing companies and artists to adapt continuously to the new environment. This is also related to music customers, who change their preferences as new genres and trends appear. Governments are well aware of the opportunities that music affords to local development and have created public policies that boost the sector. On the other hand, music has also proved its educational role, and its function as an identity builder, especially in local environments where music is present in many festivities in the shape of bands. Mediterranean locations have a rich tradition in this type of musical societies and groups which create a collective identity that is transmitted from one generation to the next. Finally, music has not been immune to the crisis caused by the pandemic, though it has once again shown resilience in this respect, adapting rapidly to the new economic, societal and educational challenges that are currently affecting the entire world.
This open access book offers an interdisciplinary perspective and presents various case studies on music as ICH, highlighting the importance and functionality of music to stimulating social innovation and entrepreneurship. Intangible Cultural Heritage (ICH) covers the traditions or living expressions proposed by the 2003 Convention for the Safeguarding of the Intangible Cultural Heritage in five areas, including music. To understand the relationship between immaterial and material uses and inherent cultural landscapes, this open access book analyzes the symbolic, political, and economic dimensions of music. The authors highlight the continuity and current functionality of these artistic forms of expression as well as their lively and changing character in continuous transformation.
Topics include the economic value and impact of music, strategies for social innovation in the music sector, music management, and public policies to promote cultural and creative industries.
Specialized languages for computer music have long been an important area of research in this community. Computer music languages have enabled composers who are not software engineers to nevertheless use computers effectively. While powerful general-purpose programming languages can be used for music tasks, experience has shown that time plays a special role in music computation, and languages that embrace musical time are especially expressive for many musical tasks. Time is expressed in procedural languages through schedulers and abstractions of beats, duration and tempo. Functional languages have been extended with temporal semantics, and object-oriented languages are often used to model stream-based computation of audio. This article considers models of computation that are especially important for music programming, how these models are supported in programming languages, and how this leads to expressive and efficient programs. Concrete examples are drawn from some of the most widely used music programming languages.
El presente texto ofrece un estudio exploratorio acerca de la percepción que dos grupos de estudiantes universitarios, uno de ellos con formación musical y el otro sin ella, tienen sobre el sistema modular de creación sonora colaborativa, ‘Soundcool’ en el ámbito de la formación inicial de profesorado. La muestra participante está compuesta por 66 alumnos del Título de Grado de Maestro pertenecientes a dos universidades españolas, la Universidad de Valencia y la Universidad de Cantabria. El instrumento utilizado para la recogida de datos ha sido un cuestionario que consta de cinco secciones y validado por un grupo de expertos de las áreas de Didáctica de la Expresión Musical y Didáctica y Organización Escolar de diferentes universidades españolas. Los resultados confirman que ‘Soundcool’, independientemente de la formación musical de los grupos participantes, es percibida como una herramienta tecnológica altamente valorada y que puede contribuir al desarrollo de ciertas competencias docentes de índole intrapersonal e interpersonal; concretamente, aquellas relacionadas con el desarrollo creativo, el trabajo colaborativo y la innovación, fundamentales en el desempeño profesional del futuro maestro. Asimismo, en las conclusiones se realizan varias aportaciones en relación al uso de la herramienta, que nos invitan a continuar investigando en diferentes contextos musicales educativos, tales como escuelas de música y conservatorios.
The EarSketch computer science learning environment and curriculum (http://earsketch.gatech.edu) seeks to increase and broaden participation in computing using a STEAM (STEM + Arts) approach. EarSketch creates an authentic learning environment in that it is both personally meaningful and industry relevant in terms of its STEM component (computing) and its artistic domain (music remixing). Students learn to code in JavaScript or Python, tackling learning objectives in the Computer Science Principles curricular framework as they simultaneously learn core concepts in music technology. They create music through code by uploading their own audio content or remixing loops in popular genres created by music industry veterans. No prior experience in music or computer science is required. EarSketch is entirely browser-based and free.
This paper proposes a new model for music education based on the use of the application Soundcool, a modular system for music education with smartphones, tablets and Kinect developed by Universitat Politècnica de València (UPV) through UPV (2013, Spain) and Generalitat Valenciana (2015-2016, Spain) projects. Soundcool has been programmed in Max, a modular graphical programming environment for music and interactive multimedia creation, and uses Open Sound Control, designed to share information in real time over a network with several media devices. Our application is a creative development environment in its own right, but for running Max patches it requires only the free application Max Runtime/Max player. The pedagogical architecture of Soundcool is based on three music education scenarios that allow interaction between the various agents involved in the classroom. Soundcool is going to be used as a music education tool in several European countries through an Erasmus+ European project.
This paper describes the objectives and work developed in the project New Technologies and Interfaces for Music Education and Production by Universitat Politècnica de València and the Computer Music Group from Carnegie Mellon University: Several education scenarios and application typologies are designed, the use of collaborative creation with Web 2.0 is proposed, and the first implemented applications are described.
The use of information and communication technologies (ICT) in schools is now commonplace and, for many teachers, an unquestionable part of everyday teaching and learning. Within music education, detailed studies of the use of ICT in the classroom are rare. This article presents the
findings of a research and development project supported by the Training and Development Agency that carried out a review of classroom practice in eighteen schools across the UK. It discusses how many of the potentially liberating effects of ICT in musical practices outside the classroom have
failed to make an impact within the classroom and considers how ICT as a tool could transform music teaching and learning.
Learning within a STEM classroom environment can be greatly enhanced by engaging the students in real-world datasets. This provides the opportunity to go beyond textbook examples that are often only marginally close to those students will see in their future careers. The Weave (WEb-based Analysis and Visualization Environment) developed at the University of Massachusetts at Lowell allows collaborative data visualization in a web browser that is highly applicable to STEM classrooms. Larger and more field appropriate datasets can be loaded into the system, hypotheses can be made and confirmed, and students can collaboratively work together. This paper discusses the ways in which Weave could be used in the STEM classroom to foster learning.
This work presents the features and results of a problem-solving collaborative game for 8th graders science classes’ curriculum. Software for pocketPC was developed for this game, based on a complete framework methodology
with students and teachers. From our point of view, the key to integrate mobile devices into school is the methodological
framework which provides meaning; technology by itself does not contribute much to education. The evaluation study was focused
on software usability and the results in the application of the methodology, observing their performance in problem-solving
skills. A high degree of user satisfaction with the final product was found. They were motivated to participate actively in
the proposed tasks. Results indicate that the experience contributed to the development of the student’s problem-solving skills
obtaining positive gains as a result of this experience.
IP hosts and network infrastructure have historically been
difficult to configure, but emerging networking protocols promise to
enable hosts to establish IP networks without prior configuration or
network services. Even very simple devices with few computing resources
will be able to communicate via standard protocols wherever they are
attached. Current IETF (Internet Engineering Task Force) standardization
efforts, such as those in the Zeroconf Working Group, aim to make this
form of networking simple and inexpensive. In this tutorial, I examine
the background, current status and future prospects for
zero-configuration networking
This chapter introduces the practice of intercultural tele-improvisation and explores the way in which geographically dispersed performers improvise together online across global time zones, disciplines, cultures and musical traditions. It outlines the conceptual foundations of the research featured in this book, its application to the analysis of live online performances, and a summary of its findings. The chapter describes the role of culture in tele-improvisatory interaction and the expression of intentionality in online musical engagement. It also examines the use of metaphor and schematic bodily experience to enable an in-depth understanding of online performers’ interactive approaches and strategic thought processes. The chapter concludes with an outline of each chapter and its contribution to the field of cultural computing.
Computer music research realizes a vision of performance by means of computational expression, linking body and space to sound and imagery through eclectic forms of sensing and interaction. This vision could dramatically influence computer science education, simultaneously modernizing the field and drawing in diverse new participants. In this article, we describe our work creating an interactive computer music toolkit for youth called BlockyTalky. This toolkit enables users to create networks of sensing devices and synthesizers, and to program the musical and interactive behaviors of these devices. We also describe our work with two middle-school teachers to codesign and deploy a curriculum for 11- to 13-year-old students. We draw on work with these students to evidence how computer music can support learning about computer science concepts and change students' perceptions of computing. We conclude by outlining some remaining questions around how computer music and computer science may best be linked to provide transformative educational experiences.
Abstract There has been increasing interest in informal learning in recent years alongside interest in how such learning can be supported by technology. However, relatively little is known about the extent to which adults make use of their own mobile devices to support informal learning. In this study, a survey was used to investigate whether, and to what extent, experienced users of mobile devices use their mobile devices to support intentional informal learning. If so, do they make use of mobile device connectivity to support opportunistic informal learning and does such connectivity support or encourage collaborative informal learning? Experienced mobile device users were recruited from web forums and business, and asked whether they used their devices to support informal learning. A pattern of learning uses emerged, some of which deployed the mobile device capabilities relatively unchanged, others triggered adaptations to typical learning activities to provide a better fit to the needs of the learner. These informal learning activities provided the basis for the design of a flexible mobile learning framework that can be extended to support developments in mobile technology, and increasing use of Web 2.0 technologies by informal learners.
Tele-Improvisation: Intercultural Interaction in the Online Global Music Jam Session
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