MatheMusical Virtual Museum: Virtual Reality application to explore Math-Music World

  • Gilles Baroin University of Toulouse, France
Keywords: Virtual Reality, Mathemusic, Visualization, Pedagogy, Learning Strategy

Abstract

Virtual Reality is a promising tool for pedagogy in teaching music, and the MatheMusical Virtual Museum takes this promise to a new level. This study aims to share and describe the project's concept and advancement, including expertise and collected experiences in MatheMusic. Mathemusic is the scientific field that studies the relations between math and music; the Society for Mathematics and Computation in Music regroups worldwide researchers in the field. The Mathemusical Virtual Museum is an interactive virtual experience that premiered at the Museum of Design in Atlanta (Moda) in June 2022 (Baroin & de Gérando, 2022). It contains a growing set of interactive models based on the research issued by our society. Mathemusicians have always produced models for understanding, analyzing, or computing music. Visualizing some on paper, theater, or computer screens is expected. Even if it is in a multidimensional space (3D-4D), the viewer ends up with a 2D picture or a movie while displaying these models on a computer screen.  Planar projection limits the perception in the era of virtual reality nowadays. This study proposes tools and solutions to apprehend these models better and improve the viewer's immersive experience. Since the beginning of the project, user experiences were collected. Besides desperately unfit users for VR, we noticed that kids are highly engaged and immersed in the learning environment; music learners are not just improving their knowledge but also feeling inspired and hopeful about the future of music education; mathematicians and researchers are feeling like they are finally entering their creation and contributing to improving the project, thereby making significant contributions to their respective fields.

Received Date: January 31, 2024
Revised Date: March 14 , 2024
Accepted Date: April 25, 2024

Click to Access and Download the Article:

          download-button-expanded1.png

References


  • Albini, G., & Antonini, S. (2009). Hamiltonian cycles in the topological dual of the tonnetz. Communications in Computer and Information Science, 38, 1–10. https://doi.org/10.1007/978-3-642-02394-1_1

  • Alonso, A., Zappi, V., & Serafin, S. (2022). Modeling of violin sound radiation as a dynamically consistent system for real-time synthesis. Physics-Based Animation for Soundscapes, 187–208.

  • Amiot, E. (2013). The Torii of Phases. Mathematics and Computation in Music, 1–18. https://doi.org/10.1007/978-3-642-39357-0_1

  • Andreatta, M., & Baroin, G. (2016). An introduction on formal and computational models in popular music analysis and generation. Aesthetics and Neuroscience, 257–269. https://doi.org/10.1007/978-3-319-46233-2_16

  • Andreatta, M., & Baroin, T. (2016). Structures mathématiques de la musique. Mathématiques et sciences humaines, (1), 51–78.

  • Bailey, N. J., Stevens, C. J., & Hughes, D. (2022). Symphonica: A virtual reality toolkit promoting co-creative musical interaction for people with multiple and complex needs. Frontiers in Rehabilitation Sciences, 3.

  • Baroin, G. (2011). The planet-4d model: An original hypersymmetric music space based on graph theory. Mathematics and Computation in Music, 326–329. https://doi.org/10.1007/978-3-642-21590-2_25

  • Baroin, G., & de Gérando, S. (2022). When virtual reality helps fathom Mathemusical hyperdimensional models. Mathematics and Computation in Music, 86–98. https://doi.org/10.1007/978-3-031-07015-0_8

  • Baroin, G., & Calvet, A. (2019). Visualizing Temperaments: Squaring the Circle? Conference on Mathematics and Computation in Music, 333-337.

  • Baroin, G., & de Gérando, S. (2012). Sons et représentation visuelle en hyperespace : l'hypersphère des spectres. Les Cahiers de l'Institut International pour l'Innovation, la Création Artistique et la Recherche, (3rd ed.).

  • Baroin, G. (2020). Music Mathematic and 4D [Keynote presentation]. Virtuality Experience, Buenos Aires / Paris. www.virtuality.io

  • Bown, O., Eldridge, A., & McCormack, J. (2019). Understanding procedural audio in the context of interactive media. Routledge companion to sound and music in videogames, 181–202.

  • Briot, J.-P., Hadjeres, G., & Pachet, F.-D. (2020). Deep learning techniques for music generation. Computational Synthesis and Creative Systems. https://doi.org/10.1007/978-3-319-70163-9

  • Cheng, C. I., Wakefield, G. H., Roberts, J. C., & Fels, S. (2022). Perceptual quality of spatial audio in virtual reality applications: A comprehensive review. ACM Transactions on Applied Perception, 19(2), 1–23.

  • Chew, E. (2002). The spiral array: An algorithm for determining key boundaries. Music and Artificial Intelligence, 18–31. https://doi.org/10.1007/3-540-45722-4_4

  • Cohn, R. (2000). Weitzmann's regions, my cycles, and Douthett's dancing cubes. Music Theory Spectrum, 22(1), 89–103. https://doi.org/10.2307/745854

  • Crans, S. (2019). Generalized Tonnetze. Journal of Mathematics and Music, 13(1), 1–22.

  • de Gérando, S. (2020). Le Labyrinthe du Temps [Musical performances].

  • Douthett, J., & Steinbach, P. (1998). Parsimonious graphs: A study in parsimony, contextual transformations, and modes of limited transposition. Journal of Music Theory, 42(2), 241. https://doi.org/10.2307/843877

  • Forte, A. (1977). The structure of atonal music. Yale University Press.

  • Hofmann, J. E., & Zemplén, G. Á. (2020). Newton, isaac: Opticks or a treatise of the reflections, Refractions, inflections & colours of light. Kindlers Literatur Lexikon (KLL), 1–2. https://doi.org/10.1007/978-3-476-05728-0_15445-1

  • Hook, J. (2011). Review of dmitri tymoczko, a geometry of music: Harmony and counterpoint in the extended common practice (Oxford University Press, 2011). Spcial Issue: (Per)Form in(g) Rock, 17(3). https://doi.org/10.30535/mto.17.3.10

  • Hughes, J. R., Smaili, R. H., Johnson, K., & Sacks, J. (2021). Orbifold path models for voice leading. Journal of Mathematics and Music, 15(1), 1–30.

  • Jedrzejewski, F. (2000). Ivan Wyschnegradsky et la musique microtonale [Doctoral dissertation]. Université de Paris 1 Panthéon-Sorbonne.

  • London, J. (2020). Musical rhythm: A cognitive and computational perspective. MIT Press.

  • Mannone, M. (2018). Introduction to gestural similarity in music. an application of category theory to the Orchestra. Journal of Mathematics and Music, 12(2), 63–87. https://doi.org/10.1080/17459737.2018.1450902

  • Mannone, M., & Compagno, A. (2020). A network-theoretical approach to ensemble music composition. Mathematics and Computation in Music, 48(317/338), 102–114.

  • Mazzola, G. (2002). The Topos of Music. https://doi.org/10.1007/978-3-0348-8141-8

  • Nacke, L. E., Grimshaw, M. N., & Lindley, C. A. (2020). More than a feeling: Measurement of sonic user experiences and psychophysiology in a first-person shooter game. Interacting with Computers, 22(4), 317–331.

  • Ozcinar, C., & Smolic, A. (2018). Visual attention in omnidirectional video for virtual reality applications. 2018 Tenth International Conference on Quality of Multimedia Experience (QoMEX). https://doi.org/10.1109/qomex.2018.8463418

  • Papadopoulos, A. (2022). Musical universals and the embodied schemata that ground them. Music & Science, 1–17.

  • Pressnitzer, D., Suied, C., & Shamma, S. A. (2020). Auditory scene analysis: The sweet spot for musical timbre. NeuroImage, 18(2), 1–9.

  • Risset, J.-C. (1986). Pitch and rhythm paradoxes: Comments on '"auditory paradox based on fractal waveform". The Journal of the Acoustical Society of America, 80(3), 961–962. https://doi.org/10.1121/1.393919

  • Shepard, R. N. (1964). Circularity in judgments of relative pitch. The Journal of the Acoustical Society of America, 36(12), 2346–2353. https://doi.org/10.1121/1.1919362

  • Sims, J. (n.d.). The Square Root of Love, Letter to Pi. facebook.com/johnsimsprojects

  • Toussaint, G. (2022). The geometry of musical rhythm. Chapman and Hall/CRC Press.

  • Tymoczko, D. (2021). A geometry of music: Harmony and counterpoint in the extended common practice. Oxford University Press.

  • Tymoczko, D. (2022). Visualizing harmony. Mathematics and Computation in Music, 216–227.

  • Villena-Taranilla, R., Tirado-Olivares, S., Cózar-Gutiérrez, R., & González-Calero, J. A. (2022). Effects of virtual reality on learning outcomes in K-6 education: A meta-analysis. Educational Research Review, 35, 100434. https://doi.org/10.1016/j.edurev.2022.100434

  • Vuust, P., Brattico, E., Seppänen, M., Näätänen, R., & Tervaniemi, M. (2022). The sound of music: Differentiating music from speech. Neuroscience & Biobehavioral Reviews, 132, 1–11.

  • Wakefield, G., & Garg, D. (2021). Using virtual reality and interactivity for learning harmony. Music Perception: An Interdisciplinary Journal, 38(3), 232–246.

  • Wang, G., Gu, W., & Suh, A. (2018). The effects of 360-degree VR videos on audience engagement: Evidence from the New York Times. HCI in Business, Government, and Organizations, 217–235. https://doi.org/10.1007/978-3-319-91716-0_17

  • Yust, J. (2020). Generalizedtonnetzeandzeitnetze, and the topology of music concepts. Journal of Mathematics and Music, 14(2), 170–203. https://doi.org/10.1080/17459737.2020.1725667

  • Zacharias, S., & Velichova, D. (2000). Projection from 4D to 3D. Journal for Geometry and Graphics, 4(1), 55-69.

Published
2024-05-01