Mobile Music Technology First international workshop June 10-11, 2004

1
Mobile Music TechnologyFirst international
workshopJune 10-11, 2004

• Organizer
• Lars Erik Holmquist
• Future Applications Lab
• Viktoria Institute

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Welcome!

• I am very happy to see you all here!
• We have a very interesting mix of people
• Academia
• Industry
• Research labs
• Students
• Music industry

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Where are we?

• The Viktoria Institute (near Navet) performs
  research in applied information technology
• Nearby is also the Göteborg IT University and
  many IT companies
• The Future Applications Lab is one group at
  Viktoria
• Viktoria is owned by the Universities and an
  association of local companies

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Why are we here?

• One focus area at Viktoria is Mobile Services
• It is increasingly evident that mobile media
  (music, video, photo, etc.) is becoming a vital
  part of the mobile experience
• At the same time, the traditional content
  providers are struggling!

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The future of music

• Music is important for many - and people will not
  stop paying money for music!
• In the long run record companies have little to
  fear
• According to statistics, digital music piracy is
  now going down
• However, the forms in which we consume music may
  change!
• The CD is at the end of its life

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The role of music

• Music is an essentially social activity
• Concerts, record shops, parties
• It is also a way to create a personal identity
• With music comes clothes, friends, places to go
• Digital music is quite bad at supporting these
  roles!

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Creating music

• In the last 100 years, recorded music has made
  most of us move from being performers to being
  consumers
• Instead of playing and singing together we pop in
  a CD
• Again and again, new technology-influenced
  movements re-claim creativity!
• Punk, hip-hop, lap top music

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Music technology

• Popular music genres have always been driven by
  technology
• Format The 7 inch single begot the pop-song, the
  LP begot the concept album
• Instruments The amplified electric guitar was
  essential for rock,pop and punk, the drum machine
  made electronic dance music possible

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Mobile music

• Mobile music has of course always existed
• Acoustic instruments are inherently mobile
• But the Walkman allowed private listening on the
  move
• Unlike transistor radios and portable gramophones
• However, this also isolates the listener from the
  surroundings!

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The promise of mobile music

• Mobile music can potentially make digital music
  more social
• Sharing with people on the bus or in the car,
  jamming with friends
• It can also allow creativity in new contexts
• Making music in duet with the environment,
  creating collectively with other people

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This workshop

• We want to
• encourage the growing community of mobile music
  research
• create relationships with industry for mutual
  benefit
• You should see this as a first opportunity to
  discuss and establish the key issues in this
  emerging field!

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Schedule overview

• Today
• Invited presentations
• Posters
• First workshop group session
• Dinner in town
• Tomorrow
• Continued workshops
• Presentation of results
• Wrap-up and future work
• Informal continuation downstairs

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Schedule Today

• 9.00-9.30 Welcome, registration
• 9.30-10.00 Introduction
• 10.00-11.30 Invited speakers
• Intention To give an overview of current work as
  a grounding for the group sessions
• Special reality check guest Jalle Kjellson,
  Border Music

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Schedule Today contd.

• 11.30-12.00 Workshop preparations - more in a
  minute
• 12.00-13.00 Lunch
• Recommended Tres, downstairs
• 13.00-14.00 Poster exhibit in lobby
• 14.00-16.45 Workshop groups
• 16.45-17.00 Brief re-cap
• 19.00 Dinner in city centre
• Suggestions Rumpan Bar, in Linné
• How many?

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Schedule Tomorrow

• 9.00-10.00 Presentation and discussion of first
  day results - group re-organizing?
• 10.00-12.00 Workshop group activities continued
• 12.00-13.00 Lunch
• 13.00-14.00 Presentations from workshop groups,
  discussion
• 15.00-16.00 Summing up and taking it further

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Invited speakers

• The five invited speakers will now briefly talk
  about their work in mobile music
• It spans from wireless sharing over collective
  mixing to the creation of new music pieces!
• We do not have much time for questions - but we
  should try to challenge them on the practical
  implications!

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Workshops
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The groups

• MOBILE MUSIC CREATION
• Group leaders Lalya Gaye, Chris Salter
• MOBILE MUSIC SHARING
• Group leaders Mattias Östergren, Arianna Bassoli
• BUSINESS MODELS AND THE FUTURE FOR THE MOBILE
  MUSIC INDUSTRY
• Group leaders Lars Erik Holmquist, Atau Tanaka

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Purpose today

• Work together to explore the common themes
• Select 4 themes and spend 30 minutes per theme!
  (no more!)
• Results are presented by workshop leaders
  tomorrow morning
• Important You should also identify new potential
  themes and groupings for tomorrow!

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Themes

• Infrastructure and distribution
• Genre and formats
• Social implications
• Ownership
• Business models
• Creativity
• Interaction and expression
• Mobility
• Users and uses

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Themes

• Infrastructure and distribution
• What is the basic technological infrastructure
  required to support mobile music sharing,
  creation, etc.?
• How much of it already exists and how much has to
  be created?
• How will the current distribution channels have
  to change?
• Is physical distribution (i.e. recorded sound
  artifacts) inadequate for emerging music forms?

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Themes

• Genre and format
• What are the emerging formats of mobile music
  (collective re-mixes, location-based music,
  playlists)
• What is the role of genre - as a descriptor,
  identifier, filter?
• How do new mobile music formats relate to
  existing genres - what is improved and what is
  lost?
• Are the entirely new genres made possible by
  mobile music?

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Themes

• Social implications
• How can the social functions of music be
  supported?
• What can we learn from the existing studies of
  music use?
• Can mobile music technology really be a social
  facilitator - or is that being naïve!?
• What are the new listening and communication
  patterns that might emerge from mobile music
  technology?

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Themes

• Ownership
• Who owns a collectively created piece, or one
  that is based on interaction with the
  environment?
• Who owns play-lists and other metadata - which
  may become increasingly valuable?
• How can ownership be asserted in fluid ad hoc
  networks and fleeting meetings - and is it really
  necessary?

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Themes

• Business models
• What is the actual value for the customer -
  terminals, networks, songs, mixes, samples, ?
• How and why will people be prepared to pay for
  mobile music?
• Which business models exist which can support
  mobile music, and what new ones will have to be
  created?

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Themes

• Creativity
• How can we balance the effort and reward in
  systems for amateurs?
• What are the building blocksthat can be made
  available and what should be created from
  scratch?
• Where exactly does the creation process lie (in
  the software, in the individual consumer, in the
  social network, ?)
• What technologies exist that can be harnessed for
  mobile music creation? (hw/sw, materials,
  acoustic environments, social structures, etc)

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Themes

• Interaction and expression
• What kind of instruments will be part of the
  mobile music experience? (physical or virtual)
• What are the existing roles that could be used as
  inspiration (troubadour, band, fan, groupie,
  journalist, song writer, )
• How can mobile music allow personal expression -
  anonymous, public, in groups, etc.?

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Themes

• Mobility
• What are the unique characteristics of mobility
  that make mobile music different (changes of
  physical context, ad hoc networks, social
  context, balancing the music making with other
  activities, )
• And vice versa how does music in a mobile
  setting affect one's everyday life and
  experiences?
• How do you manage heterogeneity of settings,
  musician's gears (f.ex. In an ad hoc network), etc

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Themes

• Uses and users
• What is the audience for mobile music (anyone,
  specific age groups, social groups, )?
• What are the implications of the new locations
  contexts for music consumption (on the bus,
  driving, at home, at the club, )?
• How does mobile music change the way we listen -
  intensity, time spans, location, etc.?

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Practical tips

• Use the flip books! (Take a new paper for each
  theme)
• Keep the time - 30 minutes per theme maximum!
• We have 2 hours 45 minutes to theres time for
  coffee
• One workshop leader should keep careful notes for
  presentation tomorrow!

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Tomorrow

• 15 minutes presentation per group
• We will use todays results to map the future
  mobile music landscape

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MOBILE MUSIC CREATION

• Lalya Gaye, Chris Salter

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MOBILE MUSIC SHARING

• Mattias Östergren, Arianna Bassoli

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BUSINESS MODELS

• Lars Erik Holmquist, Atau Tanaka