PhD Confirmation Seminar: Jun Quan Choo (Stefan) Date: Friday the 9th of March Time: 10.00 am- 11.30 am Venue: GP-V713 Lengthy commute stresses commuters with adverse impacts on their wellbeing. During these experiences, commuters engage with music via portable music technologies, like headphones plugged into iPods. Engaging with music affords listeners distraction from the stresses of commute, for pleasure and other reasons. Empirical evidence suggests classical music is effective in mitigating stresses, and people use music as a wellbeing resource. These studies were based on a listener’s mental representation of music. Instead, a listener’s engagement with music is more than a mental representation in real life; music moves people. There are no available significant studies of how people embody interactions with music via portable music devices in accordance to his needs. To address the gap, this research investigates what shapes a commuter’s engagement with music as they commute via trains in a major Australian metropolitan city and the involvement of technologies in mediating the commuter’s interactions with music in context. An experiment involving video-recorded observations will capture individual participating commuter’s movements and physiological reactions in engagement with music devices ranging from headphones to haptic devices and Virtual Reality headsets. Retrospective interviews probe the participant’s association of movements in his music experience. Thematic analyses of participants’ bodily use of senses and movements, how these relate to their music experiences and wellbeing will be distilled into design recommendations. It is expected that these recommendations can inform technology providers, music producers, musicians and railway operators possibilities to adapt or design portable music technologies appropriate for commuters’ use in context.

1. T U N E D I N S I D E -
O U T :
M E D I AT I N G
E N G A G E M E N T
E X P E R I E N C E S
W I T H M U S I C
O N - T H E - G O
C O N F I R M AT I O N
S E M I N A R :
Name: Jun Quan, Choo (Stefan)
Principal Supervisor: Dr Marianella
Chamorro-Koc
Associate Supervisor: Dr Rafael Gomez

2. DEDICATED IN LOVING MEMORY OF:
• Associate Professor Steven M. Miller
(Sonic Arts),
Yong Siew Toh Conservatory of Music,
National University of Singapore
• Pioneered graduate students
exploration of the intersections of
“Sound, Music and Mind” across
faculties
• Sparked my interest in combination of
music perception and learning with
technologies
Retrieved from: SFUAD Foundation at https://sfuadfoundation.org/miller/ on
26 Feb 2018
Rest in Peace:
Steven M. Milller (1965 –
2013)

3. Music
Wellbein
g
On-the-
go
1.What shapes?
2.How can
technologies
mediate?

4. MUSIC MOVES PEOPLE
Even in conditions of ”stillness”
(Jensenius, 2017)
Elgar: Pomp and Circumstance March No 1 in D major, 'Land of Hope and Glory' (Prom 75).
Retrieved from: https://www.youtube.com/watch?v=Spx4kmY67Wc

5. OVERVIEW
Research Problem Lengthy Commutes
Time is Essence
Mental game of music: An indeterminate network
Literature Review Music and Wellbeing: More than a mental game
'Tuning-in' to 'Tune-out'
Embodied Processes of Engagement
Indirect Mediators (Quality)
Outline: Relating ‘tuning-in’, ‘tune-out’ to wellbeing via embodied interactions
Method Research Questions
Research Significance
Research Methodology & Objectives
Research Design
Research Plan
Timeline
Questions?
Accelerando, con agitato
portamento
con moto
ma non troppo
Coda
Musical adjectives (for fun)
a tempo
sostenuto

6. LENGTHY COMMUTES
• 14% of Brisbane’s population of 2 million experience lengthy one-way commute
of 45 minutes (BITRE, 2016).
• Public commutes constitute 50% of prevalent lengthy commutes across Australian
Cities
• Scope of this research:
On-the-go refers to Lengthy commutes in one direction, including at least 15-20
mins travel by train in Brisbane.
Average commuting trip duration and prevalence of lengthy
commutes.

7. TIME IS ESSENCE
• ‘Time utility’ is important to commuters;.
• ‘Time utility’
 15-20 minutes is optimal (Lyons et al., 2013)
altered by noises
“counterproductive time”;
 Stresses arise out of mismatched expectations (Kellaris et al., 1992, Skaland,
2011)
• Commuters use music as a coping strategy; ‘tuning-in’ to
music to ‘tune-out’ stresses and noise (Skaland, 2011, Walsh, 2009)

8. Music in transit: the 3rd in
prevalence of a person’s
daily consumption of music,
constituting 10% of all his
activities in a day (Sloboda, 2001)
Daily, 47% of Australians
listen to music owned offline,
16% via internet streaming
(Australia Council of the Arts, 2014)
For 8 non-musicians, music
used during transport over a
7-day period constitutes
18.4% their overall
experience of music in places
they visited throughout the
day (Sloboda, 2001)
60% of young adults
aged 18-25 listen to
music/ radio while
commuting on trains in
Melbourne (Berry & Hamilton, 2010)
MUSIC IN COMMUTE

9. MUSIC’S POTENTIAL FOR WELLBEING
People with high
involvement in
arts- 100hrs/ yr,
averaging 2
hours a week,
report better
mental health (A.
Clarke et al., 2011, Davies, 2015).
01
The biggest
objection
towards arts
engagement is
‘Opportunity
cost’ (ArtsFact, 2013) ==
’Time Utility’;
02
Music on-the-go
addresses dose-
response for
wellbeing
03
Unknown:
Moment-to-
moment
experiences of
music listening
on-the-go AND
wellbeing
04

10. Listener
Individual
differences
Age
Gender
Nationality
Musical
Knowledge
Training
Theory
Experience
Self-theories:
musical
identity
Taste
preference
Immediate-
short term
Medium-
long term
Situation
and context
Social
contexts
Alone
With others
Situational
contexts
Everyday use, e.g.
school, work
Specialized contexts,
e.g. attending live
concerts in concert hall
Music
Reference
Systems
Style
Genre Piece
Idiom
Collective
properties
Complexity
Familiarity
Orderliness
Prototypicality
Performance
context
Live
Recorded
Non-
Musical
Music is used a
resource to drive
listeners’ goals in
accordance to
their needs and
situations
Constant
evolution in
preference and
taste
Situational
appropriateness of
genre and styles
Hargreaves and North (2011)
MENTAL GAME
OF MUSIC:
AN
INDETERMINATE
NETWORK THAT
CHANGES WITH
TIME

11. Context
Time
Space
Stress
Reduction
(e.g. Nilssen, 2008,
Labbé et al, 2007)
Less
Reactive to
Stimuli
(Strukelj et al, 2015)
Loss of self-
consciousness
(e.g. Gabrielssen, 2011, Juslin,
2011)
Altered Sense
of Place/ Time
(e.g. Gabrielssen, 2011,
Moelt, 2013)
LAB
e.g. Major and
Minor scales
and emotions
e.g Bowling and Purves, 2009
Music experience reduced to appraisal of
music structures (e.g. Tillmann, 2012)
• Causal goal-rewards system
• Correlated with emotion and
wellbeing
Mental/ Social/
Cultural
Mental
Physical/
Mental
Physical
Aesthetics/
Sociology/ Critical
Theory,
e.g. Meaning
Cognition,
e.g. Tonality,
Rhythm
Psychoacoustics,
e.g. Pitch, Timbre,
Auditory
Streaming
Acoustics:
Sounds in the
environment,
e.g. Source
Clarke (2005)
MUSIC AND WELLBEING: MORE THAN A MENTAL GAME

12. COMMUTER’S EXPERIENCE OF
MUSIC IN CONTEXT
Time
SpaceSound/
Music
Context:
On-the-go
Indirect
Commuter
Direct
Technology
Embodied
(Leman, 2008)
e.g.

13. WELLBEING, REFRAMED IN
CONTEXT
Pre-reflective,
Proprioceptive
Reflective,
Referentia
l
Narrative,
Represent
ational
Self
World
Exogeneic:
Expectations
Endogenic:
Movement in
music
Changing
taste
preferences
Appropriate
ness of
music
Internal
sensorimotor
processes
coordinate
body’s modal
senses, e.g.
seeing, hearing
(Jensenius, 2016)
e.g. Kinesthetic
awareness of body
(Françoise et al, 2017)

14. PROPRIOCEPTION & WELLBEING
Reference:
The Rubber Hand Illusion - Horizon: Is Seeing Believing? - BBC Two
https://www.youtube.com/watch?v=sxwn1w7MJvk
Person Person
Music
Stress/
Pain
Attention (DeNora,
2013)
e.g.
Synchro
nization
Attention
• Multi-modal integration fool a person’s
proprioception: Gestalt
• Technology can mediate that experience, e.g.
haptic feedback (e.g. Lopes & Bauschdich 2017)

15. DEFINITIONS
‘Tuning-in’: Action(s) enacted by a commuter for his ear to hear and his body to respond
(Golmart & Hernion, 1999) in engaging with music akin to ‘fine-tuning practices or
attempting to produce a signal’s power and clarity’ (Juslin & Sloboda, 2011, p. 169)
’Tune-out’: A temporary disassociation of a commuter from his physical and sonic
environment.

16. TUNING-IN: ‘ATTRACTORS’
“Affordances”(Gibson, 1979/2014)
Music experienced through physicalized
movement (Lakoff & Johnson, 1980; Large & Jones, 1999) `
‘Attractors’ integrate the structures of music such as pitch,
rhythm, and loudness within context of time
Thus creating salient musical passages that
affords movement perception. (Mari Riess Jones, 2004; Large & Jones, 1999)

17. TUNING-IN: ATTENDING TO MOVEMENT IN MUSIC
“Gia Il Sole Dal Gange” (abridged) from the Opera, “L'honestà negli amori”, Alessandro
Scarlatti (1680)
of - the tree that cries , of - the tree that cries , of
-
the tree that cries Just the. Sun over
A. Scalartti (1680); p.
Keene, John
Endogenic (Taresti, 2002)
• Accents, onsets, offsets: chunk the
musical phrase (Mari Riess Jones, 2004; Large & Jones, 1999)
• Co-articulators in music- slurs,
legato, etc: connect one structure,
e.g. pitch to another (Godøy et al., 2016)
Exogenic
• Musical knowledge: Referring to
patterns (Huron, 2006, Taresti, 2002)
• Associations, e.g. linguistic (Tillmann, 2008) ,
memory(Västfjäll,, 2008)
Overall
• Prosody- Shaping the musical
Attractors

18. TUNING IN TO TUNE OUT:
MUSIC MODULATES ATTENTION
“Tuning-in’
Dynamic attending theory:
Structure auditory attention across
time varying events
(Jones 1976; Jones & Boltz, 1989; Large & Jones, 1999)
Internal rhythm
generate
expectancies for
future events
‘Attractors’ in music,
as rhythmic pulse
(Schafer, 1969; Mari R Jones & Boltz, 1989;
Large & Jones, 1999)
Strong rhythmic pulses regulate
muscle activity and behavior
(Mari R Jones & Boltz, 1989; Large & Jones, 1999, Jovanov & Maxfield, 2011)
'Tune-out'
Synchronizing
with pulse of
music: Lose track
of time
Changes in
expectancies: shift
perception of time
(Flaherty, 1999, Schäfer, Fachner, et al., 2013)
Altered states of consciousness
(Flaherty, 1999, Gomart & Hennion, 1999; Herbert, 2013 )
‘Flow’
(Csikszentmihalyi, 1996; Gabrielsson, 2011)
‘Peak experiences’
(e.g. Panksepp, 1995; Schäfer & Sedlmeier, 2011)

19. TUNING-IN TO TUNE OUT (THROUGH TECH)
• ‘Tuning-in’ involves embodied, reflexive interactions (DeNora, 2000, Leman, 2008);
• Functional needs shaped by situation and context (DeNora, 2000)
• Commuter sustain ’auditory bubble against background noise’ (Heye &
Lamont, 2010), i.e. ‘Tune-out’
– Use of ”Volume”/ Headphones (Bull, 2007, Heye & Lamont, 2010)
– Increased involvement
Commute
r
e.g.
Lonely
Commuter
e.g. Less
Lonely
‘Tuning-in’
Companionshi
p
‘Tune-out’

20. E M B O D I E D P R O C E S S E S O F
E N G A G E M E N T W I T H M U S I C
Music
Inverse
Sensorimotor
processes
Perceptual
Integration
Proprioception involving
kinesthetic movements and
synesthetic modalities
(seeing, hearing, etc)
Attractors
Body mediators
• Synchronizatio
n
• Gestures
Source:
Beethoven, v.L
(1987) Technology
mediators
Forward
Sensorimotor
processes
Disambiguation, prediction, and so
forth
through body movements
Cenaesthetic
Transformation
Amodal
• Episodic
memories
• Visualization,
etc
• Causality
• Presence
• Flow

21. INDIRECT MEDIATORS (QUALITY):
PRESENCE
INVOLVEMENT IMMERSION
Control Sensory RealismDistraction
Extent of Forward
sensorimotor
participation,
e.g. Interface
issues
Extent of
Inverse
sensorimotor
participation, e.g. Proprioceptive stimulation
increases immersion in VR
(Ohyama et al., 2007)
Virtual Reality is known to
increase involvement (Dede, 2009)
Effectiveness of ‘Tuning in’ to
‘Tune-out’,

22. Consequences
INDIRECT MEDIATORS (QUALITY):
CAUSALITY FLOW
e.g. Head-turning,
“Listening in search” (Truax,
2001)
• Represents a state of
complete immersion
• Involved in a
person’s reflective
processes: matching
skills with challenges
Altered States of
Consciousness
Physiologic
al reactions
Directed attention
towards
conductor’s
gestures, facilitated
by visual modality
in VR
Motion
sickness
in VR (Ohyama
et al., 2007)
Distraction
s in context
Technology
Context

23. On-the-go
‘Tuning-in’ to
‘tune-out’
Embodied
interactions with
music in context
Semantics Wellbein
g
• Direct mediators
• Synchronization and
entrainment
• Gestures
• Indirect mediators
• Causality
• Presence
• Flow
Mediators
Proprioceptive
semantics
Referential
Semantics
Commuters
Music
Technology Cenaesthetic
Transformation
• Laban Movement
Analysis in Coding
• Reflecting on music
meaning through
knowledge /increasing
direct mediation
Proprioceptiv
e
consciousness
Reflective
consciousness
Narrative
consciousness
• Proprioceptive
wellbeing
• Amodal experiences,
e.g. episodic memory
and visual imagery
O U T L I N E : R E L A T I N G ‘ T U N I N G - I N ’ , ‘ T U N E - O U T ’
T O W E L L B E I N G V I A E M B O D I E D I N T E R A C T I O N S
What?
How?

24. Western
Classical
Music
Train
Commute in
Brisbane
Consciousnes
s/ Embodied
Security
mediated by
technologies
Music Wellbeing
On-the-go
RESEARCH PROBLEM
“What aspects of music shapes commuter’s
experiences while on-the-go and how can technology
mediate engagement with music”?

25. RESEARCH QUESTIONS
RQ1
What shapes commuters’ engagement
experiences with music while on-the-go?
RQ2
How can technologies mediate embodied
music experiences for wellbeing on-the-go?

26. RESEARCH SIGNIFICANCE
• Specifics of dose-response in engagement with
music.
• Complement extant, growing bodies of
knowledge: Ecological, embodied music
cognition in literature:
– Design: New Interfaces for Musical Expression
– Musicology: Musical Scientae, Music Perception
• Inform adaptation or design of wearable music
devices
– Design recommendations for the adaptation of
technologies to mediate commuter’s
consciousness/ embodied wellbeing
– An interactional model that describes
A commuter’s embodied- proprioceptive and
reflective experiences   wellbeing in music
on-the-go
Source: Lopes & Bauschdich
(2017)

27. Commuter
RESEARCH METHODOLOGY
• ‘Tuning-in’ to ‘tune-out’ – how commuter’s embody interactions with
music through the use of portable music devices in present, momentary
contexts on-the-go,
‘Tuning
-in’ to
‘tune-
out’
Proprioceptiv
eReflective

28. RESEARCH OBJECTIVES
Understand
• Mediators of attention in ‘tuning-in’ to ‘tune-out’.
• Proprioceptive movements in ‘tuning-in’ to ‘tune-out’ in present,
momentary engagement
Investigate
• Common and contrasting ‘attractors’ between audio, audio and
haptic, audio, haptic and visual couplings.
Develop
• Recommendations: Design/ Adaptation of Portable Music Devices
• An interactional model: proprioceptive and reflective aspects  
wellbeing
RQ1
RQ2

29. RESEARCH DESIGN:
USING MEDIATORS TO UNDERSTAND COMMUTER’S
ENGAGEMENT EXPERIENCE WITH MUSIC ON-THE-GO
1.Record
• Movements and physiological responses (as consequence of Flow)
1.Relate
• Movements and physiological reactions to mediators
1.Translate
• Participant’s reflective accounts of physical (video-recorded) and imagined movements using embodied metaphors in Laban
Movement Analysis
1.Deduc
e
• Quality of participant’s use of music on-the-go via mediators of causality, presence and flow.
1.Synth
esize
• Findings with what constitutes mediated engagement experiences with music-on-the-go

30. RESEARCH DESIGN (1 OF 3):
USING MEDIATORS TO UNDERSTAND COMMUTER’S
ENGAGEMENT EXPERIENCE WITH MUSIC ON-THE-GO
Direct Indirect
Mediator Synchronizati
on
Gestures Causality Presence Flow
Method 1.Observation Yes Yes Yes na Yes
Objectives Recording
movements
and
physiological
reactions
1. Repetitive,
periodic
movements
2.
Spontaneous
Responses to
music
3. Postural
Adjustments
1. Tracing
movements
2. Humming
3. Air piano
Accentuated,
directional
movements,
for e.g.
sudden head
turns;
fidgeting in
seat,
listening-in-
search of
cues or
sources of
music
N 1.Spontaneo
s reactions
2.
Physiological
reactions-
e.g. tears,
goosebumps
*, etc
*Limited by scope of
camera

31. OBSERVATION SETUP
Queensland Rail and Translink Train Network’s permissions to conduct these video
recorded observations is obtained (Dec, 2017)

32. RESEARCH DESIGN (2 OF 3):
USING MEDIATORS TO UNDERSTAND COMMUTER’S
ENGAGEMENT EXPERIENCE WITH MUSIC ON-THE-GO
Method 2. Thematic
Analysis
Yes Yes na na na
Objectives Objectives Matching
selected
movement to
prosodic
using Sonic
Visualizer
Associating
Laban
Movement
Analysis
“Shape-
Effort” labels
on selected
music
segments
Direct Indirect
Mediator Synchronizati
on
Gestures Causality Presence Flow

33. RESEARCH DESIGN (3 OF 3):
USING MEDIATORS TO UNDERSTAND COMMUTER’S
ENGAGEMENT EXPERIENCE WITH MUSIC ON-THE-GO
Method 3.
Retrospective
Interviews
Yes Yes Yes Yes Yes
Objectives Understandin
g forward
and feedback
processes of
embodied
movements
in music.
Mapping
proprioceptiv
e meaning
through
Laban
Movement
Analyses
Identifying
causal/
salient
elements in
music,
technology
or
environment
responsible
for particular
Identifying
proprioceptiv
e and
reflective
aspects of
participant’s
experience
Document
the reflective
aspects of
participant’s
experience.
Direct Indirect
Mediator Synchronizati
on
Gestures Causality Presence Flow

34. PARTICIPANTS
Qty: 10 Qty: 10

35. PHASE 1 – LISTENING VIA
HEADPHONES (SENNHEISSER HD202)
Participants
Two cohorts (Commuters who listen to
music on-the-go, with a minimum of 45
minutes spent on travel in one direction
including time spent on train commute)
• Non musicians 3
• Musicians (minimum being students
studying music at a conservatory)
3
• Buffer (2 from each group) 4
Context of train
commute
• Afternoon peak hours- 05:00-07:59 / 15:00
to 18:59
• Lengthy commutes of at least 45 minutes
in one-direction, including train travel.
• Passengers depart Brisbane Central
(Roma Street, Central Station or South
Bank Station) towards regional suburbs
like Ipswich, Logan and Redcliffe
Devices • Headphones (Sennheiser
HD202)
1 each for researcher and
participant
2
• Mobile phone to plugged in to
music (Researcher’s phone)
1
• Dual- channel audio diverter
(For sharing audio channel
between researcher and
participant)
1
Music  Audio extract of Beethoven’s 9th
Symphony produced by Wellington
Orchestra (2016):
https://www.youtube.com/watch?v=xQ
LB3g0KqmY
Timeframe 5 – 6 months, including preparatory stage
of 1-2 months
Image retrieved from:
https://www.bswusa.com/Images/Product_Images/senn_hd202_1.jpg?width=1100&height=800&scal
e=both

36. PHASE 2 – LISTENING VIA
HEADPHONES (SENNHEISSER HD202)
AND HAPTIC DEVICE (BASSLET)
Participants
Two cohorts (Commuters who listen to
music on-the-go, with a minimum of 45
minutes spent on travel in one direction
including time spent on train commute)
• Non musicians 3
• Musicians (minimum being students
studying music at a conservatory)
3
• Buffer (2 from each group) 4
Context of train
commute
• Afternoon peak hours- 05:00-07:59 / 15:00
to 18:59
• Lengthy commutes of at least 45 minutes
in one-direction, including train travel.
• Passengers depart Brisbane Central
(Roma Street, Central Station or South
Bank Station) towards regional suburbs
like Ipswich, Logan and Redcliffe
Devices • Headphones (Sennheiser
HD202)
(1 each for researcher and
participant)
2
• Mobile phone to plug in to
music (Researcher’s phone)
1
• Dual- channel Audio diverter 1
• Basslet (1 each for
researcher and participant)
2
Music  Full 360-degree production of
Beethoven’s 9th Symphony produced
by Wellington Orchestra (2016):
https://www.youtube.com/watch?v=x
QLB3g0KqmY
Timeframe 4 months
Image retrieved from https://us.lofelt.com

37. PHASE 3- LISTENING VIA HEADPHONES
(SENNHEISSER HD202), HAPTIC DEVICE
(BASSLET) AND VR HEADSET (FREEFLY VR 360)
Participants
Two cohorts (Commuters who listen to
music on-the-go, with a minimum of 45
minutes spent on travel in one direction
including time spent on train commute)
• Non musicians 3
• Musicians (minimum being
students studying music at a
conservatory)
3
• Buffer (2 from each group) 4
Context of train
commute
• Afternoon peak hours- 15:00 to 18:59
• Lengthy commutes of at least 45
minutes in one-direction, including train
travel.
• Passengers depart Brisbane Central
(Roma Street, Central Station or South
Bank Station) towards regional suburbs
like Ipswich, Logan and Redcliffe
Devices • Headphones (Sennheiser
HD202)
(1 each for researcher and
participant)
2
• Mobile phone to plug in to
music
Researcher’s phone
1
• Dual- channel Audio diverter 1
• Basslet (1 each for
researcher and participant)
2
• Freefly Virtual Reality
Headset (held by participant)
1
Music  Audio extract of Beethoven’s 9th
Symphony produced by Wellington
Orchestra (2016):
https://www.youtube.com/watch?v=x
QLB3g0KqmY
Timeframe 4 months
Image retrieved from https://freeflyvr.com/wp-content/uploads/2016/11/01-beyond-web.jpg

38. SUMMARY:
RESEARCH
METHODLOGY
AND DESIGN
The research methodology aims towards syntheses of
mediators for design recommendations, that can inform
design and adaptation of portable music technologies
for on-the-go.
This thesis envisions a design framework that aligns both
direct and indirect mediators in ‘tuning-in’ to ‘tune-out’,
thereby mediating commuter’s consciousness/ embodied
security.
This framework would include the development of an
interactional model that relates commuter’s
proprioceptive and reflective experiences in engaging
with music on-the-go to his wellbeing.

39. TIMELINE
Time elasped (in months for 3 yr study)
3 6 9 12 15 18 21 24 27 30 33 36PhD Milestones
Research Process
Preparation Stage
Training on Laban Movement Analysis/
Spectrogram Analyses
Selection of music and approval processes
Phase 1
Recruitment of participants
Fieldwork: Video-recorded observations
Thematic analyses of data
Retrospective interviews
Analyses and codification of data
Phase 2
Recruitment of participants
Fieldwork: Video-recorded observations
Thematic analyses of data
Retrospective interviews
Analyses and codification of data
Phase 3
Recruitment of Participants
Fieldwork: Video-recorded observations
Thematic analyses of data
Fieldwork: Engagement with music on trains
Analyses and codification of data

40. WHAT’S (POSSIBLY) NEXT?
Audio Mostly 2018: Sound in Immersion
and Emotion
12th to 14th September 2018
Wrexham Glyndŵr University, Wrexham, North Wales, UK
www.audiomostly.com
• An interdisciplinary conference on design and
experience of interaction with sound
• Academics and Industry practitioners with an interest in
sonic interaction and the use of audio for interface
design.
Deadline for Submissions: 10 May 2018

42. ENCORE
O Sole Mio, C. Eduardo di Capua, L
Giovanni Capurro (1898)