Intelligent Music Interfaces: When Interactive Assistance and Adaptive Augmentation Meet Musical Instruments

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Intelligent Music Interfaces: When Interactive Assistance and
Adaptive Augmentation Meet Musical Instruments
Thomas Kosch
HU Berlin
Berlin, Germany
thomas.kosch@hu-berlin.de
Andreas Weiß
Musikschule Schallkultur
Kaiserslautern, Germany
andreas.weiss@musikschule-
schallkultur.de
Jordan Aiko Deja
University of Primorska
Koper, Slovenia
De La Salle University
Manila, Philippines
jordan.deja@dlsu.edu.ph
Snehesh Shrestha
University of Maryland
College Park, USA
snehesh@umd.edu
Matthias Hoppe
LMU Munich
Munich, Germany
matthias.hoppe@i.lmu.de
Andrii Matviienko
KTH Royal Institute of Technology
Stockholm, Sweden
andriim@kth.se
Karola Marky
Ruhr University Bochum
Bochum, Germany
karola.marky@rub.de
ABSTRACT
The interactive augmentation of musical instruments to foster self-
expression and learning has a rich history. Over the past decades,
incorporating interactive technologies into musical instruments has
emerged as a research eld requiring strong collaboration between
disciplines. The workshop “Intelligent Music Interfaces” covers a
wide range of musical research subjects and directions, including (a)
current challenges in musical learning, (b) prototyping for improve-
ments, (c) new means of musical expression, and (d) evaluation of
the solutions.
CCS CONCEPTS
•Human-centered computing
→
Interactive systems and
tools;Interaction techniques;Interaction devices.
KEYWORDS
Music Interfaces, Musical Instruments, Self-Expression, Augmented
Instruments
ACM Reference Format:
Thomas Kosch, Andreas Weiß, Jordan Aiko Deja, Snehesh Shrestha, Matthias
Hoppe, Andrii Matviienko, and Karola Marky. 2024. Intelligent Music In-
terfaces: When Interactive Assistance and Adaptive Augmentation Meet
Musical Instruments. In The Augmented Humans International Conference
(AHs 2024), April 04–06, 2024, Melbourne, VIC, Australia. ACM, New York,
NY, USA, 4 pages. https://doi.org/10.1145/3652920.3653039
Permission to make digital or hard copies of part or all of this work for personal or
classroom use is granted without fee provided that copies are not made or distributed
for prot or commercial advantage and that copies bear this notice and the full citation
on the rst page. Copyrights for third-party components of this work must be honored.
For all other uses, contact the owner/author(s).
AHs 2024, April 04–06, 2024, Melbourne, VIC, Australia
©2024 Copyright held by the owner/author(s).
ACM ISBN 979-8-4007-0980-7/24/04
https://doi.org/10.1145/3652920.3653039
1 BACKGROUND & RELEVANCE TO THE
CONFERENCE
Since the rst musical expressions of humans over 42,000 years ago,
countless ways of creating and experiencing sound have been cre-
ated and rened. Today, new sensors and computational capabilities
of musical instruments are leveraged to broaden the artists’ expres-
siveness [
11
,
20
], enhance teaching scenarios [
9
,
10
,
18
] or allow
remote collaboration of musicians. Ultimately, intelligent musical
interfaces can augment humans’ capabilities to express themselves
by creating sound and music.
Initial work in the domain of intelligent music interfaces focused
on improving the play performance of students through learning-
by-demonstration [
12
,
17
,
22
] or by reecting the performance di-
rectly to the student for real-time improvements [
3
,
8
,
15
]. Further,
musical instruments were augmented by technologies to extend
the musical sound space. For example, gestures and musical instru-
ments can be combined to change the pitch of a sound [
7
,
11
,
20
].
We expect future musical instruments to integrate interactive fea-
tures, promote self-expression, change stage performances, and
augment the audience’s perception of a performance [
6
]. Conse-
quently, intelligent musical interfaces are highly connected to hu-
man augmentation. Not only is the creation of music and sound
augmented, but so is the experience of it. The second edition of the
IMI workshop was held in 2023 in conjunction with the AHs ’23
conference [2].
2 WORKSHOP CONTENT
The workshop “Intelligent Music Interfaces” (IMI) lays the founda-
tion for a research eld concerning integrating interactive compo-
nents into musical instruments for creating new ways of musical
expression and creating immersive performances for audiences.
We aim to connect recent research revolving in this eld with the
workshop to start, grow, and foster a community around intelligent
musical interfaces. This includes presenting, demonstrating, and
327

AHs 2024, April 04–06, 2024, Melbourne, VIC, Australia Kosch et al.
discussing existing, augmented, and novel musical instruments and
technology used during stage performances.
Our workshop oers various research topics in (a) new ways of
musical expression and perception, (b) prototyping for improve-
ments, and (c) evaluation of the solutions. Musical expertise is
optional for participation in the workshop since we aim to connect
researchers from dierent disciplines.
We plan an in-person workshop led by 1-2 of the organizers, but
we are prepared to switch to full virtual participation if the circum-
stances do not allow physical participation. Either way, we intend
to oer an inclusive format and enable remote participation via
Zoom in case special circumstances prevent in-person participation.
Details for that are given in the workshop structure below; details
for the submission formats are provided in the call for participa-
tion. We plan interactive sessions where participants can engage
with several intelligent music interfaces to foster discussion. The
exhibits are from workshop participants and the organizers. The
organizers will ensure that there are enough exhibits to ll this
workshop. We need one projector and several power sockets for
the participants and demos.
3 GOALS AND OUTCOME
IMI brings together researchers, artists, and practitioners from
dierent disciplines to foster interdisciplinary research. After the
workshop, we encourage researchers to rework their publications
based on the discussions and feedback from the workshop. We will
support researchers in submitting their nal papers to arXiv or
as preprints on our website. Based on the group work and moder-
ated discussion, the organizers plan to distill critical aspects and
the workshop’s outcomes into a position paper published open
access. The anticipated results are available to research questions
concerning prototyping, the study design, and the evaluation of
intelligent music interfaces. The feedback from the workshop atten-
dees accompanies these research questions to inspire researchers
interested in tackling the research questions. Based on the interest
of the workshop attendees, we organize regular meetups. We plan
to establish a long-term format with a potential future invitation
for the authors to contribute to a journal.
4 SCHEDULE
Pre-Workshop Plans: We will distribute information and materi-
als on our workshop website. Information includes the intention,
motivation, and potential outcomes of the workshop. Furthermore,
the website serves as a platform to advertise and acquire potential
workshop participants. The workshop website will be available
under the domain snehesh.com/imi/. The website includes a work-
shop description, objectives, and possible submission topics. It also
hosts the call for participation, a link to the submission system,
the workshop schedule, further organizational information, and
information about the workshop organizers. Accepted papers will
be made publicly available on the website before the conference to
maximize the preparation time for the workshop and foster discus-
sions. Finally, workshop participants can join our Slack channel to
receive updates about the workshop and join our community.
Workshop Plan: We plan a full-day workshop for around 20 par-
ticipants and the following schedule:
(1)
Workshop introduction (15 min): the organizers introduce
themselves, the workshop topic, and the schedule.
(2)
Moderated speed dating (approx. 15 min): the workshop
attendees participate in speed dating sessions to get to know
each other by physically grouping them.
(3)
Introduction of interactive session (10 min): the organiz-
ers introduce the interactive session and answer questions.
Interactive presentations and demonstrations will be set up
before the workshop.
(4)
Interactive music session (60 min): hands-on experience
with dierent intelligent music interfaces for the partici-
pants.
(5) Short break
(6)
Keynote (20 min + 10 min discussion): the keynote speaker
will be announced one week before the workshop. For the
keynote, we requested the German tech journalist Pina Merk-
ert1who does creative tech projects.
(7) Lunch break
(8)
Art Pieces (approx. 3
×
10 min): participants perform their
art piece.
(9) Short break
(10)
Pitch presentations of short papers and research state-
ments (total 70 min): 5 Research Statements 3+2 min (25
min), short break (5 min), and 6 Short Paper 5+2 minutes (42
min).
(11) Coee break
(12)
Moderated discussion and closing (60 min): the organiz-
ers moderate a discussion based on the pitch presentations,
art pieces, and interactive demonstrations. Finally, the work-
shop is closed.
5 RECRUITMENT & REVIEWING
The organizers use their social networks and mailing lists to dis-
seminate the call for participation (see below). Submissions will be
collected via EasyChair and reviewed by the IMI PC. Each submis-
sion will receive 2-3 reviews from the PC members and external
reviewers.
Call for Participation: Playing a musical instrument has many
benets, such as positively impacting mental health or dexterity.
Electronic elements were integrated into traditional musical instru-
ments in the early 1930s to create instruments, such as E-guitars,
that oer new musical expression. Electric instruments evolved by
combining networking and computational capabilities. These new
capabilities can further broaden artists’ expressiveness, enhance
learning scenarios, allow musicians to collaborate remotely, and
create new musical instruments.
In this workshop, we will discuss and interact with intelligent
music interfaces of any form. Novel music interfaces could be a
new adaption of a traditional musical instrument, an interface for
learning, or even supporting software. The workshop will be held
in person with the Augmented Humans International Conference
1https://www.heise.de/autor/pina-merkert-4265420 – accessed 20-March-2024
328

Intelligent Music Interfaces AHs 2024, April 04–06, 2024, Melbourne, VIC, Australia
on April 4th in Melbourne, Australia, while oering to participate
virtually.
Submissions should follow the ACM two-column format with
a length between two and four pages, excluding references. We
solicit the following types of submissions: position papers,research
statements,art pieces, and interactive demonstrations. The duration
of an art piece is limited to 15 minutes. As interactive demonstra-
tions, we consider demonstrating an intelligent musical interface
that workshop participants can try out during the workshop. The
authors of interactive demonstrations and art pieces are invited to
present a prototype in the interactive workshop session.
Information about submitting papers can be found on the work-
shop website
2
. Participants will be selected based on the merit of
their contribution to the workshop. We encourage authors to make
their research available on arXiv
3
after the workshop. At least one
author of each accepted submission must attend the workshop. All
participants must register for the workshop.
6 ORGANISER BIOGRAPHIES
The rst version of the IMI 2022 workshop was conducted in con-
junction with CHI 2022 in New Orleans [
16
]. The second version,
IMI 2023, took place during the AHs 2023 conference with great
success [
2
]. The organizing committee of the third IMI workshop
consists of the following researchers and professional musicians.
Each of them contributes long-term experiences in organizing work-
shops including Handling IoT in HCI (IoT ’17), Reading the Mobile
Brain (MUM ’17) [
5
], Designing Assistive Environments for Manu-
facturing (PETRA ’17 - ’21)
4
, SmartObjects ’18 (CHI ’18) [
21
] and
SmartObjects ’22 (ISS ’22) [
25
], a series of workshops and events
about vulnerable road users [
13
,
14
,
19
,
23
,
24
,
30
] as well as several
local workshops for bands and musicians.
Thomas Kosch is a professor at the Humboldt University of Berlin.
His research focuses on physiological interaction, including design-
ing, prototyping, and evaluating physiological user interfaces. In
addition, he is an expert in integrating physiological sensing into
musical instruments using EMG [
7
,
8
,
11
] or customized 3D-printed
sensors [
26
] to implicitly and explicitly augment musicians. Thomas
is deeply interested in new ways to create music, augment existing
instruments, and create tools and feedback mechanisms supporting
musical students. He will provide his experience in prototyping
and evaluating novel music interfaces. He has played piano, guitar,
drums, and alto saxophone for several years.
Andreas Weiß has over 30 years of experience as a musician, com-
poser, and music teacher. He is part of several band projects and
co-owns the music school Schallkultur in Kaiserslautern, Germany.
In addition, he collaborates with several research institutions by
contributing his expertise as a musician to develop and evaluate
new innovative music interfaces, such as Let’s Frets [
17
,
18
]. An-
dreas’ practical didactic experience will allow workshop attendees
to quickly identify challenges and opportunities when using inter-
active technologies in learning scenarios.
Snehesh Shrestha (https://snehesh.com) is a PhD candidate at the
University of Maryland (UMD) College Park. His research focuses
2https://www.thomaskosch.com/imi/ – accessed 20-March-2024
3https://arxiv.org – accessed 20-March-2024
4www.petrae.org/workshops/DAEM.html – accessed 20-March-2024
on AI-assisted music education. He develops technology, tools, and
applications to provide real-time feedback during practice for music
players. He has an open-sourced fast video annotation tool, FEVA
[
28
], developed perception models such as high temporal resolu-
tion 3D human pose estimation, AIMusicGuru [
27
], and is currently
working on music understanding and feedback models. He is in-
terested in empowering music teachers by creating super-tools
that augment their capabilities in understanding their students’
strengths and weaknesses. He is also interested in developing tech-
nologies that foster good form and habits to avoid injuries and learn
better techniques. He has been playing the guitar for 25 years and
is currently learning to play the violin.
Matthias Hoppe is a PhD student at LMU Munich, where he
focuses on mixed reality as a new medium and investigates the
application of haptic feedback in virtual reality to alter one’s percep-
tion. Therefore, he is also interested in how such novel interactions
can enhance experiences with novel music interfaces. Matthias has
experience in evaluating supportive tools while practicing musical
instruments.
Jordan Aiko Deja (https://jrdndj.com) is a PhD candidate working
on augmented reality, music learning, and adaptive visualizations in
the HICUP research group at the University of Primorska, Slovenia.
He is researching augmented reality techniques to teach impro-
visation on the piano. His main goal is to design interfaces that
enable people to be more creative. He has also worked on several
instruments and interfaces such as the EMG-based guitar [29], Vi-
Tune for the Deaf and Hard-of-Hearing [
1
], and the ImproVISe for
the Piano [
4
]. He is also part of the Center for Complexity and
Emergencies Technologies (COMET) research group from De La
Salle University, Philippines.
Andrii Matviienko is an assistant professor at KTH Royal Insti-
tute of Technology in Stockholm, Sweden. His research focuses
on assisting technology in urban environments, mainly designing,
constructing, and evaluating multimodal and mixed-reality inter-
faces for vulnerable road users. Additionally, he has over 20 years of
experience playing trombone in amateur and semi-professional or-
chestras in Ukraine and Germany and a bass guitar in jazz/funk/rock
bands.
Karola Marky is a professor at the Ruhr-University Bochum. Her
research focuses on the self-determination and self-expression of
individuals in digital spaces, explicitly considering ubiquitous tech-
nology and novel (security and privacy) interfaces based on tangible
interaction. She leverages novel interfaces and interaction tech-
niques to improve musical instruments dedicated to beginners and
students (cf. [
18
]). In her free time, she plays the piano and sings.
She will coordinate the workshop organization and contribute with
her expertise in evaluating novel intelligent music interfaces.
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