Guide To Brain Computer Music Interfacing

This book presents a world-class collection of Brain-Computer Music Interfacing (BCMI) tools. The text focuses on how these tools enable the extraction of meaningful control information from brain signals, and discusses how to design effective generative music techniques that respond to this information. Features: reviews important techniques for hands-free interaction with computers, including event-related potentials with P300 waves; explores questions of semiotic brain-computer interfacing (BCI), and the use of machine learning to dig into relationships among music and emotions; offers tutorials on signal extraction, brain electric fields, passive BCI, and applications for genetic algorithms, along with historical surveys; describes how BCMI research advocates the importance of better scientific understanding of the brain for its potential impact on musical creativity; presents broad coverage of this emerging, interdisciplinary area, from hard-core EEG analysis to practical musical applications.

Brain–Computer Interfaces Handbook: Technological and Theoretical Advances provides a tutorial and an overview of the rich and multi-faceted world of Brain–Computer Interfaces (BCIs). The authors supply readers with a contemporary presentation of fundamentals, theories, and diverse applications of BCI, creating a valuable resource for anyone involved with the improvement of people’s lives by replacing, restoring, improving, supplementing or enhancing natural output from the central nervous system. It is a useful guide for readers interested in understanding how neural bases for cognitive and sensory functions, such as seeing, hearing, and remembering, relate to real-world technologies. More precisely, this handbook details clinical, therapeutic and human-computer interfaces applications of BCI and various aspects of human cognition and behavior such as perception, affect, and action. It overviews the different methods and techniques used in acquiring and pre-processing brain signals, extracting features, and classifying users’ mental states and intentions. Various theories, models, and empirical findings regarding the ways in which the human brain interfaces with external systems and environments using BCI are also explored. The handbook concludes by engaging ethical considerations, open questions, and challenges that continue to face brain–computer interface research. Features an in-depth look at the different methods and techniques used in acquiring and pre-processing brain signals, extracting features, and classifying the user's intention Covers various theories, models, and empirical findings regarding ways in which the human brain can interface with the systems or external environments Presents applications of BCI technology to understand various aspects of human cognition and behavior such as perception, affect, action, and more Includes clinical trials and individual case studies of the experimental therapeutic applications of BCI Provides human factors and human-computer interface concerns in the design, development, and evaluation of BCIs Overall, this handbook provides a synopsis of key technological and theoretical advances that are directly applicable to brain–computer interfacing technologies and can be readily understood and applied by individuals with no formal training in BCI research and development.

This is the first book on brain-computer interfaces (BCI) that aims to explain how these BCI interfaces can be used for artistic goals. Devices that measure changes in brain activity in various regions of our brain are available and they make it possible to investigate how brain activity is related to experiencing and creating art. Brain activity can also be monitored in order to find out about the affective state of a performer or bystander and use this knowledge to create or adapt an interactive multi-sensorial (audio, visual, tactile) piece of art. Making use of the measured affective state is just one of the possible ways to use BCI for artistic expression. We can also stimulate brain activity. It can be evoked externally by exposing our brain to external events, whether they are visual, auditory, or tactile. Knowing about the stimuli and the effect on the brain makes it possible to translate such external stimuli to decisions and commands that help to design, implement, or adapt an artistic performance, or interactive installation. Stimulating brain activity can also be done internally. Brain activity can be voluntarily manipulated and changes can be translated into computer commands to realize an artistic vision. The chapters in this book have been written by researchers in human-computer interaction, brain-computer interaction, neuroscience, psychology and social sciences, often in cooperation with artists using BCI in their work. It is the perfect book for those seeking to learn about brain-computer interfaces used for artistic applications.

This pioneering text/reference explores how innovative new modes of computation may provide exciting new directions for future developments in the music industry, guiding the reader through the latest research in this emerging, interdisciplinary field. This work includes coverage of electronic music compositions and performances that incorporate unconventional interfacing, hacking and circuit bending. Features: presents an introduction to unconventional computing in music; discusses initiatives involving biophysical electronic music, the work of self-styled silicon luthiers, and the intersection of music and quantum computing; introduces the memristor, a new electronic component with the potential to revolutionize how computers are built; reviews experiments and practical applications of biological memristors in music; describes IMUSIC, an unconventional tone-based programming language, which enables the programming of computers using musical phrases; includes review questions at the end of each chapter.

The idea of interfacing minds with machines has long captured the human imagination. Recent advances in neuroscience and engineering are making this a reality, opening the door to restoration and augmentation of human physical and mental capabilities. Medical applications such as cochlear implants for the deaf and neurally controlled prosthetic limbs for the paralyzed are becoming almost commonplace. Brain-computer interfaces (BCIs) are also increasingly being used in security, lie detection, alertness monitoring, telepresence, gaming, education, art, and human augmentation. This introduction to the field is designed as a textbook for upper-level undergraduate and first-year graduate courses in neural engineering or brain-computer interfacing for students from a wide range of disciplines. It can also be used for self-study and as a reference by neuroscientists, computer scientists, engineers, and medical practitioners. Key features include questions and exercises in each chapter and a supporting website.

Interdisciplinary essays on music psychology that integrate scientific, humanistic, and artistic ways of knowing in transformative ways. Researchers using scientific methods and approaches to advance our understanding of music and musicality have not yet grappled with some of the perils that humanistic fields concentrating on music have long articulated. In this edited volume, established and emerging researchers—neuroscientists and cognitive scientists, musicians, historical musicologists, and ethnomusicologists—build bridges between humanistic and scientific approaches to music studies, particularly music psychology. Deftly edited by Elizabeth H. Margulis, Psyche Loui, and Deirdre Loughridge, The Science-Music Borderlands embodies how sustained interaction among disciplines can lead to a richer understanding of musical life. The essays in this volume provide the scientific study of music with its first major reckoning, exploring the intellectual history of the field and its central debates, while charting a path forward. The Science-Music Borderlands is essential reading for music scholars from any disciplinary background. It will also interest those working at the intersection of music and science, such as music teachers, performers, composers, and music therapists. Contributors: Manuel Anglada-Tort, Salwa El-Sawan Castelo-Branco, Hu Chuan-Peng, Laura K. Cirelli, Alexander W. Cowan, Jonathan De Souza, Diana Deutsch, Diandra Duengen, Sarah Faber, Steven Feld, Shinya Fujii, Assal Habibi, Erin. E. Hannon, Shantala Hegde, Beatriz Ilari, Jason Jabbour, Nori Jacoby, Haley E. Kragness, Grace Leslie, Casey Lew-Williams, Deirdre Loughridge, Psyche Loui, Diana Mangalagiu, Elizabeth H. Margulis, Randy McIntosh, Rita McNamara, Eduardo Reck Miranda, Daniel Müllensiefen, Rachel Mundy, Florence Ewomazino Nweke, Patricia Opondo, Aniruddh D. Patel, Andrea Ravignani, Carmel Raz, Matthew Sachs, Marianne Sarfati, Patrick E. Savage, Huib Schippers, Jim Sykes, Gary Tomlinson, Jamal Williams, Maria A. G. Witek, Pamela Z

This book presents comprehensive coverage of the latest advances in research into enabling machines to listen to and compose new music. It includes chapters introducing what we know about human musical intelligence and on how this knowledge can be simulated with AI. The development of interactive musical robots and emerging new approaches to AI-based musical creativity are also introduced, including brain–computer music interfaces, bio-processors and quantum computing. Artificial Intelligence (AI) technology permeates the music industry, from management systems for recording studios to recommendation systems for online commercialization of music through the Internet. Yet whereas AI for online music distribution is well advanced, this book focuses on a largely unexplored application: AI for creating the actual musical content.