Music making and listening are a clear example of human activities that are above all interactive and social. On the one hand, however, nowadays mediated music making and listening is usually still a passive, nonâinteractive, non-context sensitive, and non-social experience. The current electronic technologies, with all their potential for interactivity and communication, have not yet been able to support and promote these essential aspects. On the other hand, new mediated forms of sharing music experience in a social context with local or remote users or as a part of a community are emerging. At the same time we observe an increasing need for paradigms for embodied and active experience of music where non-verbal communication channels, and in particular movement and gesture, play a central role. The increased computational power of mobile devices boosts the convergence of embodiment and social interaction techniques towards novel paradigms in networked media scenarios, where multiple users, collaboratively and in real-time, modify and mould music content by their movement and gesture.
This workshop focuses on the social signals and their features that are most significant for a qualitative and quantitative analysis of social behavior and experience in music. The workshop will discuss computational models, algorithms, techniques for analysis of social behavior in music, their application in concrete test-beds, and their evaluation in experimental set-ups. We are interested in exploring many-to-many human interplay, such as the performer-listener, performer-performer, and listener-listener interaction, in novel scenarios where the distinction between listeners and performers fades out and users become producers and consumers of music experience.
The First International Workshop on Social Behavior in Music represents an occasion for researchers and practitioners to meet and discuss above social behavior in music: e.g., which are the multimodal signals characterizing social experience in performers and listeners interplay?; how to model interaction in groups of performers, in the audience, between audience and performers?; which is the minimal set of low-level features describing interaction in performance?. To face these challenges, integration is needed of research in engineering and physics, as well as in human sciences, e.g., social psychology.