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A Personalized Music System For Motivation in Sport Performance
A Personalized Music System For Motivation in Sport Performance
A Personalized Music System For Motivation in Sport Performance
A Personalized Music
System for Motivation
in Sport Performance
The IM4Sports music system helps exercisers select music that suits their
training programs, reflects and guides sport performance, and collects
data for adapting training programs and music selections.
Installation
First-time use of the IM4Sports system
requires an installation stage to personalize the
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REFERENCES
1. G. Tenenbaum et al., The Effect of Music Type on Running Perseverance and Coping with Effort Sensations, Psychology of Sport and Exercise, vol. 5, no. 2, 2004, pp. 89109.
2. C.I. Karageorghis, and P.C. Terry, The Psychophysical Effects of Music
in Sport and Exercise: A Review, J. Sport Behavior, vol. 20, no. 1, 1997,
pp. 5468.
3. M. Anshel and D. Marisi, Effect of Music and Rhythm on Physical Performance, The Research Quarterly, vol. 49, no. 2, 1978, pp. 109113.
4. A. Szabo, A. Small, and M. Leigh, The Effects of Slow- and Fast-Paced
Classical Music on Progressive Cycling to Voluntary Physical
Exhaustion, J. Sports Medicine and Physical Fitness, vol. 39, no. 3, 1999,
pp. 220225.
ing Program sidebar.) The user downloads the music, its attribute information, and the training program to a
portable player to take along. Training
programs are available for use or adaptation, or the user can create one from
scratch. Users select their preferred music
from a larger collection that fits the training program to ensure a hassle-free
sports and music experience. In addition,
music selection copes with storage limitations on present-day portable flashbased players. In contrast to hard drives,
flash memory doesnt have moving parts,
so it can withstand movement during
physical activity.
Different training exercises have different characteristics in motion, pace,
intensity, and duration. For instance,
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sic
Preparation
stage
Music selection
User
characteristics
Feedback
stage
Mu
Excersizing
stage
Physiological data
& user feedback
Performance data
Off-line stages
range constraint. This constraint is satisfied if all the selected songs tempos fall
within a predefined lower and upper
bound. The system sets the lower and
upper bound on the basis of what we
know about the users running performance and the exercise intensity and
stringency.
If the user dislikes a song or music
from particular genres or artists while
exercising, the system instantiates an
exclude constraint that sees that the
play set wont contain music with these
attribute values. If, on the other hand,
the user likes music from particular genres or artists, the system instantiates a
counting constraint that restricts and
forces the number of occurrences of genres or artists in the play set. In this way,
users can state that they want, for
instance, about 60 percent rock music
Cool-down
TABLE 1
A sample training program.
Duration
Intensity
Stringency
20 minutes
Loose
5 minutes
20 minutes
7080% MHRR*
Strict
50% MHRR*
Loose
5 minutes
3 km
Variable
Exercising stage
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Pace-fixing mode
We use time stretching to create a constant tempo by transforming a song if its
tempo is different from the desired one.
Both the original song and its playout
tempo are expressed in beats per minute
(bpm). Time stretching involves shortening or lengthening an audio data file
without pitch modifications according
to a scale factor. Obviously, this needs to
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would take
100 120
Tm = 250
tm( 100 120) =
85 125
msecs.
To allow the same amount of time for a
maximally allowed tempo change for all
songs, slower songs will adapt more
swiftly than faster songs.
Pace-influencing mode
To motivate users to keep their heart
rate within a certain zone, the system
uses a four-step method:
1. Match the tempo to the users stride
frequency to ensure the connection
between them.
2. Determine the heart rate goal and,
from that, the stride frequency and
tempo subgoals.
3. Propagate the tempo change to the
tempo the determined subgoal
desires.
4. Wait for heart rate stabilization.
The system repeats these steps until the
user has reached the exercise goal. The
assumption is that, by matching tempo
to stride frequency in Step 1, the user will
keep his or her movements in time with
later changes in tempo in Step 3. The system matches the tempo to stride frequency by using pace-matching mode.
In step 2, the system compares the
users heart rate to the heart rate goal for
that exercise and determines the difference percentage. It predicts the required
stride frequency by applying this percentage directly to the current stride frequency. From sports physiology, we
know that heart rate will increase or
decrease proportionally with exercise
intensity.6 The system then transforms
the desired stride frequency into a
desired tempo, which can be an integer
multiple or integral division of the
desired stride frequency. If the song
cant be stretched enough to accomwww.computer.org/pervasive
modate the change in tempo, the system changes songs in the same manner
as in pace-matching mode. In addition,
the system keeps a history of heart rate
measurements. From that, it can predict how the heart rate (and hence the
desired tempos) will progress in the
next 30 seconds. This prediction provides valuable information on what
song is best to choose the next time a
change is required for playback. It
effectively minimizes the number of
song changes needed.
In step 3, the system doesnt carry out
a change in tempo immediately. The user
might not follow an abrupt change in
tempo because of ignorance or fatigue.
Instead, the system takes into account a
propagation time. As in the pace-matching mode, the system uses a linear function to calculate the actual time to
change from a given tempo to a new one.
This function, denoted by ti, is supplied
with two points ti(0) = 0 and ti( max) = Ti,
where max denotes maximally allowed
change in tempo as defined by the songs
stretch range.
Finally, in step 4, when the system has
propagated the change, it waits for the
users heart rate to reach a steady state
before making additional changes.
When the user holds a submaximal exertion intensity constant, the heart rate will
reach a plateau.6
180
170
160
150
140
130
40 50 60 70 80 90 100 110 120 130 140 150 160 170 180 190 200 210
Time (secs)
User experiments
As an informative evaluation, we conducted user experiments for finding the
preferred response time parameter Tm
for the pace-matching mode using a
treadmill and the preferred propagation
time parameter Ti for the pace-influencing mode. Six healthy recreational runners (two females and four males from
22 to 26 years old) took part in the
experiments, in which a single song with
a steady original tempo of 120 bpm
played through in-ear headphones.
Response time for pace-matching
mode
To determine the optimal response
time for pace-matching mode, we had
the runners run on a TechnoGym RunRace HC1200 treadmill. We varied the
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the
AUTHORS
Gertjan Wijnalda is a student in artificial intelligence with a specialization on intelligent audio and media at the Vrije Universiteit Amsterdam. His research interests
include human-computer interaction and music informatics and technology. Hes
working on his M.Sc. thesis on Interactive Music for Sports at Philips Research. Contact him at Philips Research Labs Eindhoven, Bldg. WY-2.06 Prof. Holstlaan 4, 5656
AA, Eindhoven, The Netherlands; g.l.wijnalda@redant.nl;
www.redant.nl/g.l.wijnalda.
Steffen Pauws is a senior scientist at Philips Research where he works on signal processing, combinatorial optimization, and user interfaces for music applications. He
received his PDEng degree in Software Technology and his PhD in computing science and human-computer interaction from the Technische Universiteit Eindhoven.
Contact him at Philips Research Laboratories, Prof. Holstlaan 4 (WY21), Rm. WY
2.46, 5656 AA Eindhoven, The Netherlands; steffen.pauws@philips.com.
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the tempo changes were done with propagation times of 5 and 10 seconds; they
showed a jerky stepping synchronization
behavior in response to the tempo
change. As indicated by the mean
squared error, we achieved the best synchronization performances with a propagation time of at least 20 seconds.
ACKNOWLEDGMENTS
Thanks to the members of the Sports Coach projectin particular, Jan van Herk and Tijn Schuurmans at Philips Research.
REFERENCES
1. M.F. McKinney and J. Breebaart, Features
for Audio and Music Classification, Proc.
4th Intl Conf. Music Information Retrieval
(ISMIR), H.H. Hoos and D. Bainbridge, eds.,
Johns Hopkins Univ., 2003, pp. 151158;
h t t p : / / i s m i r 2 0 0 3 . i s m i r. n e t / p a p e r s /
McKinney.PDF.
2. E.D. Scheier, Tempo and Beat Analysis of
Acoustical Musical Signals, J. Acoustical
Soc. of America, vol. 103, no. 1, 1998, pp.
588601.
3. E. Tsang, Foundations of Constraint Satisfaction, Academic Press, 1993.
uture work will focus on improving the complete system in a usercentered design methodology
and validating its usability, usefulness, and desirability in a conclusive
user evaluation. We also need to further
address some issues. For instance, situations in which the music might adapt to
the runner while the runner is adapting to
the music need further scrutiny. The need
to detect heart-rate stabilization is essen-
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