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Figure 7. A song tagged with vocal and non-vocal
segments is composed into lyrical sections and
thematic (salient terms)sections
Table 3. The frame duration time and transition
frame count for each given hint from the RMS pace
estimate. Each photo is displayed for 60 frames
plus the transition times for that rate.
Hint
Transition
Duration
Number of
Frames
Slow (≤ 55 bmp)
33.3 ms
90 frames
Medium (56—85 bmp)
25.0 ms
80 frames
Fast (>85 bmp)
16.6 ms
70 frames
of pop/rock songs which have been professionally
engineered and recorded. Even within our genre,
we had to handle certain exceptions. Bands like
Radiohead and My Bloody Valentine often have
slow moving songs with guitars covered in modu-
lation effects, like flange and reverb. Looking for
amplitude onset in these songs, using our method,
returns abnormally high beats per minute (BPM)
estimates greater than 175 BPM. We catch these
exceptions by assuming high estimates are indeed
slow songs. In the event that a really fast song
is misclassified, a slow paced slideshow offers
a stronger performance via juxtaposition than
fast images to an even faster song. This works
because MusicStory does not particularly rely
on any one metric, rather it uses the information
it can gather to help assist in the music video.
Songs outside the genre, such as Chinese opera,
will likely result in a poor video.
provides something to hold and look at, and not
something to hide in a jacket pocked during
playback. MusicStory transforms the pure audio
into a compelling multimedia experience. The
personal version is available at http://www.infolab.
northwestern.edu/musicstory.
Moving from the small to the silver screen,
we deployed MusicStory in a large-scale, concert
venue. We developed a five song set list, which
was presented as one of three acts at Wired
Magazine's NextMusic show on June 22, 2005.
Jeff Tweedy of the band Wilco, the NextMusic's
curator, used MusicStory to create lyric based
photo narratives and presented the music videos
between two live acts.
future Work
Currently, MusicStory connects our personal
audio with visuals from public and personal
media sources accessible through search engines
(Yahoo!, Google , etc.). MusicStory incorporates
photo sharing Web sites, like Flickr.com, where
tagged images are shared amongst a social net-
work. There, personal music can be joined with
personal images or the images from only the
music of those listed as friends.
Each MusicStory music video is unique to
one's personal experiences and photos—creating
one's own personalized music video soundtrack.
InstallatIons
Our motivations for MusicStory centered on
autonomous music video creation for new me-
dia devices. The hand held music/MP3 player
has grown both in its ability and ubiquity. Stand
alone players, now play DVD-like quality video.
Integrated players, like cellphones, have large
color displays also capable of video playback.
The use case for these video enabled devices
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