Papers
Sound and Music Computing Conference 2004 (ed. 1)
Dates: from October 20 to October 22, 2004
Place: Paris, France
Proceedings info: not available
2004.1
An Adaptive Multi-parametric and Redundancy-filtering Approach for Motivic Pattern Discovery
Lartillot, Olivier Department of Music, University of Jyväskylä; Jyväskylä, Finland
Abstract
This paper presents the principles of a new approach aimed at automatically discovering motivic patterns in monodies. It is shown that, for the results to agree with the listener’s understanding, computer modelling needs to follow as closely as possible the strategies undertaken during the listening process. Motivic patterns, which may progressively follow different musical dimensions, are discovered through an adaptive incremental identification in a multi-dimensional parametric space. The combinatorial redundancy that would logically result from the model is carefully limited with the help of particular heuristics. In particular, a notion of specificity relation between pattern descriptions is defined, unifying suffix relation – between patterns – and inclusion relation – between the multi-parametric descriptions of patterns. This enables to discard redundant patterns, whose descriptions are less specific than other patterns and whose occurrences are included in the occurrences of the more specific patterns. Periodic repetitions of patterns also induce combinatory proliferations of redundant patterns, which are avoided by modelling patterns as cyclic chains of states. Resulting analyzes come close to the structures actually perceived by the listener.
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DOI: 10.5281/zenodo.849147
Zenodo URL: https://zenodo.org/record/849147
2004.2
Applying Aspect Oriented Programming to Music Computing
Hill, Patrick The Open University; Milton Keynes, United Kingdom
Holland, Simon The Open University; Milton Keynes, United Kingdom
Laney, Robin Charles The Open University; Milton Keynes, United Kingdom
Abstract
Computer programs for the composition, performance and analysis of music generally involve the tangled interaction of many dimensions of musical and extramusical concern. In this paper we introduce the concepts of Aspect-Oriented Programming (AOP) to Music Computing and argue that AOP and related techniques and technologies form an appropriate solution to the separation and composition of such concerns. We motivate our argument with simple examples from the musical domain, but argue that the underlying principles may be applied to a wide and expressive range of musical applications.
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DOI: 10.5281/zenodo.849149
Zenodo URL: https://zenodo.org/record/849149
2004.3
A Pregroup Grammar for Chord Sequences
Terrat, Richard G. LIRMM, Laboratoire d'Informatique, de Robotique et de Microélectronique de Montpellier (LIRMM); Montpellier, France / Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In 1984, Mark STEEDMAN [7] proposed a generative grammar based on six context sensitive rewriting rules able to produce a large variety of blues chord sequences. Later, François PACHET [6] developed a method for analyzing jazz chord sequences. Then, Marc CHEMILLER [4] [5] uses STEEDMAN’s grammar to compose by computers jazz music based upon chord sequences generated by this grammar. About twenty years after his first work, STEEDMAN [8] [9] comes back to chord sequences analysis, but now with the aim of recognition based upon categorial grammars. Meanwhile, pregroup grammars have been conceived as an algebraic tool to recognize well-formed sentences in natural languages [1] [2]. Here we wish to use pregroup grammars to recognize well-formed sequences of chords, especially in Jazz music. Our recognition process reduces the chord sequence to a simpler one. If this later sequence is similar to a well-known pattern like blues, rag, “anatole” or other, we can classify the original sequence as conform to this pattern.
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DOI: 10.5281/zenodo.849079
Zenodo URL: https://zenodo.org/record/849079
2004.4
Architecture and Experiments in Networked 3D Audio/Graphic Rendering With Virtual Choreographer
Jacquemin, Christian Laboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur (LIMSI), Université Paris-Sud XI; Orsay, France
Abstract
The full integration and synchronization of 3D sound and image requires a data model and an architecture that allow for homogeneous description of geometrical and sonic components, together with mechanisms for distributed and synchronized rendering. First, several modes of sound and graphic combination are examined, and the resulting constraints for the rendering tools are detailed. Virtual Choreographer is then described with a particular emphasis on its XML data model for animation of spatialized geometrical and sonic components. An architecture is proposed that relies on the networked connection of Virtual Choreographer and a tool for sound synthesis and event synchronization such as Pure Data or Max/MSP + SPAT for sound spatialization. Last several experiments that involve these tools for different artistic or technical purposes are presented.
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DOI: 10.5281/zenodo.849151
Zenodo URL: https://zenodo.org/record/849151
2004.5
A Real-time Beat Tracker for Unrestricted Audio Signals
Scaringella, Nicolas Signal Processing Institute, Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Zoia, Giorgio Signal Processing Institute, Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Abstract
Analysis of real music content, not available in symbolic form, still remains a very challenging problem. Promising results can be obtained combining signal processing techniques with intelligent agents, in order to support the often ambiguous results of the analytic phase with smart decision systems, trained by a consistent preliminary knowledge or characterized by forms of learning. In this paper we propose a multiagent algorithm for beat and tempo analysis and induction for unrestricted audio signals; it is based on the combination of lossy onset detection, note accentuation evaluation to estimate metrically essential events, and a multi-agent mechanism to allow dynamic beat tracking. Each agent maintains a self-confidence attribute to rate the confidence for the theory it supports. Consistent test criteria have been used. Experimental results are reported for a database of musical samples from different styles and genres; these results are quite promising. The integration with a harmony analyzer for mutual consolidation is envisaged as next step.
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DOI: 10.5281/zenodo.849141
Zenodo URL: https://zenodo.org/record/849141
2004.6
A Role of Metrical Structure in Implicit Memory of Rhythm Perception: Toward a Computational Modeling of Perception Process of Metrical Structure
Goto, Yasuhiro Department of Psychology and Applied Communication, Hokusei Gakuen University; Sapporo, Japan
Abstract
Memory for rhythmic tone sequence plays an important roll in rhythm perce ption and variety of study has been made on it. Previous study suggests, for instance, that more easily it is perceived, more easily it is memorized. In recent years there has been renewal of interest in implicit memory for musical information. In this study, the implicit memory for rhythmic tone sequence was examined. The aim of this study was to investigate the implicit memory for musical rhythm from the viewpoint of cognitive psychology. An experiment using priming and recognition tasks was performed to clarify the nature of implicit memory for rhythmic tone sequences. Two types of measure, binary meter tone sequence and ternary meter tone sequence, were used in experimental variables. In the experiment, encoding strategy was manipulated as an independent measure. In the study phase, half of participants were asked to perform “foot tapping task” and the others were asked to “note counting task.” Foot tapping task means that participants tap their foot to the tone sequence. Note counting task means that participants count the number of the tones. In the test phase, half of the participants performed a priming task: they were asked to judge the familiarity on a 7-point scale (1= not familiar at all, 7= completely familiar). The rest of the participants performed a yes/no recognition test. The pitch height (A4) and timber (piano sound) were the same in both the study phase and the test phase. Priming effect was defined as difference between rating value of familiarity for old tone sequence and new one. The following results were obtained: 1) priming effect was observed in both binary meter and ternary meter tone sequence when listeners were asked to performed “foot tapping task”, 2) priming effect for binary meter tone sequence was bigger than that for ternary meter tone sequence, 3) no significant main effect was observed in the recognition task. These results lead to the conclusion that an implicit memory for musical rhythm exists and the type of metrical structure plays an important role in perceptual priming of rhythmic tone sequences. This may associate with the preference for binary metrical type in rhythm perception.
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DOI: 10.5281/zenodo.849143
Zenodo URL: https://zenodo.org/record/849143
2004.7
Classification Into Musical Genres Using a Rhythmic Kernel
Frederico, Gustavo Ottawa University; Ottawa, Canada
Abstract
Beginning with the question on how to determine the genre of a music piece, we elaborate on the representation of rhythm for the classification into genres. The aim of such classification differs in principle from that of traditional Music Informa tion Retrieval algorithms. First, we formalise the rhythmic representation of music fragments. This formalism is then used to construct a similarity function called kernel. To allow the discrete comparison of rhythmic fragments, a pre-processing step in th e algorithm computes a common quantization unit among the input data. A simple injective mapping into RN allows the kernel to employ the Euclidean dot product. A small database of jazz, classical and rock fragments is used in an implementation of a Support Vector Machine. The issues that arise with different time signatures are analysed. Finally, we share some early results of the experiments comparing the three genres, showing that rhythm conveys good information for classification, within the conditions of the experiment.
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DOI: 10.5281/zenodo.849155
Zenodo URL: https://zenodo.org/record/849155
2004.8
Composing in the Flesh: Perceptually-informed Harmonic Syntax
Ferguson, Sean Faculty of Music, McGill University; Montreal, Canada
Parncutt, Richard Department of Musicology, University of Graz; Graz, Austria
Abstract
A perceptually-informed harmonic syntax is described in which outer voices are harmonized according to psychoacoustic models of sensory dissonance and successive and referential pitch commonality. These models take into account the spectrums of the notated pitches of a sonority. The harmonic system is implemented using software written by the first author in the Common Lisp programming language. The user defines the relative degrees of each parameter for each member of a given set of outer voices, and the software calculates values for all appropriate chords found within a predetermined harmonic vocabulary. The paper describes one possible method of creating a harmonic vocabulary for a piece. It then provides an overview of the psychoacoustic models that correspond to the harmonic parameters and demonstrates the manner in which progressions are composed. Finally, it gives examples of progressions composed in this way from Dans la chair/In the Flesh, a recent piece for orchestra by the first author.
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DOI: 10.5281/zenodo.849157
Zenodo URL: https://zenodo.org/record/849157
2004.9
Composition and Improvisation on the Net
Hajdu, Georg Hochschule für Musik und Theater Hamburg; Hamburg, Germany
Abstract
The interactive network performance environment Quintet.net is a flexible music application, which allows the realization of music and multimedia projects in a local network setting or on the Internet. Special care was taken to accommodate different musical approaches ranging from free improvisation to the performance of compositions with fixed notation. The paper will first give an overview of the notions of improvisation and composition, before describing the environment in some detail. It will conclude with the analysis of select pieces written for Quintet.net.
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DOI: 10.5281/zenodo.849159
Zenodo URL: https://zenodo.org/record/849159
2004.10
Control Search Using Rules, Tests and Measures (its Applications in the Harmonisation of Bach's Chorales)
Phon-Amnuaisuk, Somnuk Multimedia University; Cyberjaya, Malaysia
Smaill, Alan Music Informatics Research Group, The University of Edinburgh; Edinburgh, United Kingdom
Abstract
Problem solvings may be viewed as search. In a search, knowledge plays a crucial role in guiding the search to an acceptable solution. We believe that an explicit separation between knowledge levels and the use of knowledge in problem solving allows knowledge-rich systems to be more flexible and powerful. With this aim, appropriate representation framework and inference mechanism are required. This paper discusses the issues involved by viewing effective problem solving through the search control perspective. In this view, the data stream is defined as a stream of problem states returned after applying a control definition to a problem state ( ). The control definition is a control block constructed from three primitives, namely rules, tests and measures. A problem is said to be solved if a sequence of control definitions (control stream) applied to the start state yields the goal state e.g. (). The stream of control procedure utilises knowledge to decide how to move from the start state to the goal state. We explain the search mechanism and how the knowledge can be applied to guide search in this view. We illustrate the approach with a case study in the harmonisation of Bach’s chorales.
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DOI: 10.5281/zenodo.849163
Zenodo URL: https://zenodo.org/record/849163
2004.11
Developing a Non-visual Output Device for Musical Performers
Miyashita, Homei Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Nishimoto, Kazushi Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Abstract
Musical performers conduct music information processing while playing, and there are many information flows that they receive visually. The major concern in introducing new systems into live musical performances seems to have been the development of input devices that reflect musical gesture. However, there have been many fewer attempts to develop 'output devices' that convey musical information to the performer. As such an output device, we developed a thermoscore-display that dynamically alters the temperature of the instrument/player interface. We consider that it is well-suited for use as feedback system that denotes the frequency of the occurrence of notes in an improvisation. Also it contributes as special score display, that also conveys a feeling of the existence of the composer.
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DOI: 10.5281/zenodo.849165
Zenodo URL: https://zenodo.org/record/849165
2004.12
Etheraction: Playing a Musical Piece Using Graphical Interfaces
Couturier, Jean-Michel Laboratoire de Mécanique et d'Acoustique (LMA); Marseille, France
Abstract
This paper introduces the use of graphical interfaces to interpret an electroacoustic piece, Etheraction. Electroacoustic pieces, commonly created for tape, can now be interpreted in live performance with dedicated interactive systems; the interaction between the performers and these systems can use graphical interfaces, largely implemented in nowadays computers. When using graphical interfaces for real time sound control, the tasks consist in controlling sound parameters through the manipulation of graphical objects, using pointing techniques or direct control with additional devices. The paper presents how I have designed two interactive systems dedicated to interpret in live Etheraction, a multichannel piece I have initially composed for tape. The piece is based on the motion of physical models of strings that control sound parameters. The two devices control both synthesis parameters and spatialisation parameters, are based on interactions with graphical interfaces, and use specific controllers.
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DOI: 10.5281/zenodo.849167
Zenodo URL: https://zenodo.org/record/849167
2004.13
Expressive Gestural Control of Sound and Visual Output in Multimodal Interactive Systems
Camurri, Antonio InfoMus Lab, Università di Genova; Genova, Italy
Mazzarino, Barbara InfoMus Lab, Università di Genova; Genova, Italy
Volpe, Gualtiero InfoMus Lab, Università di Genova; Genova, Italy
Abstract
This paper discusses a multilayered model for strategies for real-time expressive control of sound and visual output. A particular focus is on multimodal interactive systems for performing arts as user-centred systems able to interpret the high-level information conveyed by performers through their expressive gestures and to establish an effective dialog with them taking into account expressive, emotional, affective content. Two kinds of control strategies are discussed enabling the designer of a performance to develop interactive systems able to react to performers’ expressive actions, to build a dialog with performers, or to mix purely reactive behaviour with more complex dialogical situations. A further layer of processing allows dynamic adaptation of control strategies to the evolution of the performance. A quick survey of algorithms for expressive gesture processing is also provided. Expressive gestural control strategies are described with reference to current and past research projects at the DIST- InfoMus Lab. Some concrete applications based on the EyesWeb open platform (www.eyesweb.org) are presented as well.
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DOI: 10.5281/zenodo.849171
Zenodo URL: https://zenodo.org/record/849171
2004.14
Expressiveness Detection of Music Performances in the Kinematics Energy Space
Mion, Luca CSC, Department of Information Engineering, Università di Padova; Padova, Italy
De Poli, Giovanni CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Abstract
An experiment for the automatic detection of expressiveness in music performances using a perceptive based auditory models is presented. We recognize the intentions with reference to the Kinematics Energy expressive space. Audio features have been firstly extracted using a perceptionbased analysis, then we have made several analyses on timing and spectral features over overlapping sliding windows, estimating average and variance for each one of the features. Using a naive Bayesian classifier we investigated which features are most relevant for expression detection. This experiment also yielded interesting contributions for tuning the Kinematics Energy space with new features.
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DOI: 10.5281/zenodo.849173
Zenodo URL: https://zenodo.org/record/849173
2004.15
Extending a Network-of-elaborations Representation to Polyphonic Music: Schenker and Species Counterpoint
Marsden, Alan Department of Music, Lancaster University; Lancaster, United Kingdom
Abstract
A system of representing melodies as a network of elaborations has been developed, and used as the basis for software which generates melodies in response to the movements of a dancer. This paper examines the issues of extending this representation system to polyphonic music, and of deriving a structural representation of this kind from a musical score. The theories of Heinrich Schenker and of Species Counterpoint are proposed as potentially fruitful bases.
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DOI: 10.5281/zenodo.849175
Zenodo URL: https://zenodo.org/record/849175
2004.16
Gestural Control of Singing Voice, a Musical Instrument
Kessous, Loïc Laboratoire de Mécanique et d'Acoustique (LMA); Marseille, France
Abstract
This paper describes research and experiments concerning digital musical instruments based on gestural control of singing voice synthesis. The purpose is to choose and use a two-handed control, a synthesis model and an adequate mapping strategy to allow an expressive pitch control and the articulation of the vowels. A visual feedback is provided to help the performer. By using different models, different aspects of synthetic singing voice as naturalness, expressiveness and vocal identity are explored in relation with gestural control. Several controllers have been tested to achieve a choice of controllers for the musical functionalities needed in this instrument.
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DOI: 10.5281/zenodo.849177
Zenodo URL: https://zenodo.org/record/849177
2004.17
IanniX Aesthetical/Symbolic Visualisations for Hypermedia Compositions
Coduys, Thierry La Kitchen, Independent; Paris, France
Ferry, Guillaume La Kitchen, Independent; Paris, France
Abstract
IanniX proposes a graphical representation of a multidimensional and multi-formal score, a kind of poly-temporal meta-sequencer. It allows a multi-topology of the space and relays on the principals of UPIC. IanniX proposes at a macro level of the graphical score a symbolic representation of complex objects still existing in the micro level. The development of IanniX started in 2002, through collaboration between Thierry Coduys (La kitchen), Adrien Lefevre (Adlef), and Gérard Pape (CCMIX). This software continues to privilegiate graphic representation for hypermedia score. An evolution of IanniX is currently under development at La kitchen, bringing new features, especially on aesthetic and graphical customization aspects. Composers can use either GUI (Multiple Document Interface, with direct interactions) or XML scripts directly (advanced edition) to create their scores. IanniX provides network interfaces to communicate with processing software’s (PureData, Max/MSP, SuperCollider, VirChor...) using standard UDP protocol. IanniX is cross-platform software working on Linux, Mac OS or Win32 systems as well. IanniX has been conceived in honour to Iannis Xenakis, conceptor of UPIC. This project is sponsored by the French Ministry of Culture (DMDTS).
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DOI: 10.5281/zenodo.849179
Zenodo URL: https://zenodo.org/record/849179
2004.18
Improvising Computer Music: An Approach
Tarabella, Leonello CNR, Istituto di Scienza e Tecnologie dell’Informazione "A. Faedo" (ISTI); Pisa, Italy
Abstract
I describe here my experience in interactive and improvised electro-acoustic music after having developed both hardware and software tools using which I compose and perform music. The research in the whole finds the roots in my active involvement in jazz music. This paper analyses the jazz approach to improvisation in terms of the involved components and emphasizes the importance of expressiveness and feeling in live performance. Then it proposes a schematic approach to improvising computer music, which gives musicians the same expressive approach, found in jazz, in the new electro-acoustic domain. Two different original gesture recognition devices and systems are described together with a real-time music language, or better, framework based on C-language for sound synthesis and event management. The role of mapping is proposed as crucial and peculiar of the new approach.
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DOI: 10.5281/zenodo.849181
Zenodo URL: https://zenodo.org/record/849181
2004.19
IMUTUS -- an Interactive Music Tuition System
Fober, Dominique GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
IMUTUS is a European project that aims at the development of an open platform for training students on non MIDI musical instruments, as well as to acquire theoretical music knowledge. The project involves many components oriented towards a new approach of music learning. After a brief overview of the system, the performance evaluation module and the music score processing components are described to show how they enforce the pedagogical approach.
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DOI: Missing
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2004.20
Influence of Musical Similarity on Melodic Segmentation: Representations and Algorithms
Cambouropoulos, Emilios Department of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Tsougras, Costas Department of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
In this paper a computational model is presented that extracts patterns from a given melodic surface and, then, following the assumption that the beginning and ending points of 'significant' repeating musical patterns influence the segmentation of a musical surface, the discovered patterns are used as a means to determine probable segmentation points of the melody. ‘Significant’ patterns are defined primarily in terms of frequency of occurrence and pattern length. The special status of non-overlapping immediately repeating patterns is examined. All the discovered patterns merge into a single ‘pattern’ segmentation profile that signifies points in the surface that are most likely to be perceived as points of segmentation. The effectiveness of the proposed melodic representations and algorithms is tested against a series of melodic examples.
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DOI: 10.5281/zenodo.849183
Zenodo URL: https://zenodo.org/record/849183
2004.21
Interactively Determined Generative Sound Design for Sensate Environments
Beilharz, Kirsty Key Centre of Design Computing and Cognition, The University of Sydney; Sydney, Australia
Abstract
Sensate environments provide a medium for humans to interact with space. This interaction includes ambient/passive triggering, performative artistic interaction and physical sensate spaces used for games and interactive entertainment. This paper examines sonic representations of data (sonification) activated by interaction, shaped by user activities and social environmental behaviours. Generative art forms (genetic algorithms and evolutionary design systems) provide methodologies for creating new material. This paper addresses ways in which generative material can relate to representation and experience in a recognisable construct. The purpose of site-specific generative sound and sonification in intelligent buildings is to provide responsive feedback for human participants: sonic indicators of social activity. The affects of the environment influence the generative process – the number of occupants, busy-ness (motion), environmental measurements (e.g. temperature, position relative to specific locations in the space) or direct controls – proximity to sensor walls, movement on pressure sensitive flooring. An examination of comprehensible correspondences between sonic parameters and socio-spatial behaviour articulates a methodology for sonification. The central concern – to generate sound/music clearly indicative of its social context – is applicable in virtual environments as well as wireless sensate physical spaces. Sensate spaces are growing and cutting-edge phenomena at this time that require constructs for expedient computational processing and meaningful sonification of the vast stream of sensed data.
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DOI: 10.5281/zenodo.849187
Zenodo URL: https://zenodo.org/record/849187
2004.22
Jack Audio Server: MacOSX Port and Multi-processor Version
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Fober, Dominique GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Davis, Paul Linux Audio Systems; United States
Abstract
Jack is a low-latency audio server, written for POSIX conformant operating systems such as GNU/Linux. It can connect a number of different applications to an audio device, as well as allowing them to share audio between themselves. We present the port for Apple’s MacOS X, and new developments to take advantage of multi-processor architecture.
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DOI: 10.5281/zenodo.849189
Zenodo URL: https://zenodo.org/record/849189
2004.23
Logical Representation of Musical Concepts (for Analysis and Composition Tasks Using Computers)
Phon-Amnuaisuk, Somnuk Multimedia University; Cyberjaya, Malaysia
Abstract
The main activities in music studies concern defining structures and studying relationships among them. Computers could be very useful in performing these tasks. This paper discusses the representation of musical concepts for reasoning tasks which are common in the analysis and composition of musical works. We argue in favour of the following properties in our representation framework: abstraction, expressiveness, multiple views and reasoning efficiency. Then we discuss some examples of the reasoning tasks based on the proposed representation structure. A harmonisation example produced using the framework discussed is given to illustrate our points.
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DOI: 10.5281/zenodo.849191
Zenodo URL: https://zenodo.org/record/849191
2004.24
Melody Classification Using a Similarity Metric Based on Kolmogorov Complexity
Li, Ming School of Computing Sciences, University of East Anglia (UEA); Norwich, United Kingdom
Sleep, Ronan School of Computing Sciences, University of East Anglia (UEA); Norwich, United Kingdom
Abstract
Vitanyi and his co-workers [5] have reported some success using a universal similarity metric based on Kolmogorov complexity for a variety of classification tasks, including music genre recognition. This paper describes new experiments in this direction, and compares the results with some alternative approaches. Somewhat to our surprise given its non-specific universal nature, the Kolmogorov complexity similarity based technique outperformed the others. The task used for our experiments involved classification of MIDI files into one of 4 groups. Two of the categories were western classical music composed by Beethoven (302 files) and Haydn (261 files). The remaining categories were Chinese music (80 files) and Jazz (128 files). Melody contours (i.e. pitch sequences without timing details) were extracted from the MIDI file tracks. Both relative and absolute and pitch contours were used. The best performance of 92.35\% was achieved by a 1-nearest neighbour classifier with normalized information distance based on Kolmogorov complexity estimates over pitch interval contours. A notable feature of our work is the use of the number of blocks in a pure Lempel-Zip parse of a string to estimate its Kolmogorov complexity.
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DOI: 10.5281/zenodo.849193
Zenodo URL: https://zenodo.org/record/849193
2004.25
Music Retrieval Algorithms for the Lead Sheet Problem
Clifford, Raphaël Algorithm Design Group, Department of Computer Science, King's College London; London, United Kingdom
Groult, Richard LIFAR, Université de Rouen Normandie; Mont-Saint-Agnan, France
Iliopoulos, Costas S. Algorithm Design Group, Department of Computer Science, King's College London; London, United Kingdom
Byrd, Donald School of Music, Indiana University Bloomington; Bloomington, United States
Abstract
Methods from string and pattern matching have recently been applied to many problems in music retrieval. We consider the so-called lead sheet problem, where the harmony, melody, and, usually, bass line are presented separately. This is a common situation in some forms of popular music but is also significant for ”classical” music in many cases. A number of different but related musical situations are analysed and efficient algorithms are presented for music retrieval in each one.
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DOI: 10.5281/zenodo.849195
Zenodo URL: https://zenodo.org/record/849195
2004.26
New Approaches of Theatre and Opera Directly Inspired by Interactive Data-mining
Bonardi, Alain University Paris VIII; Saint-Denis, France
Rousseaux, Francis Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In this paper, we show to what extent traditional theatre staging is based on a formal approach of similarity using a dramaturgical ontology and instanciation variations. Drawing our inspiration from the opposite approach through interactive data mining, we hereby account for theatre and opera researches using computers as actor partners to escape a priori specification.
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DOI: 10.5281/zenodo.849197
Zenodo URL: https://zenodo.org/record/849197
2004.27
On Onsets On-the-fly: Real-time Event Segmentation and Categorisation as a Compositional Effect
Collins, Nick Centre for Music and Science, Faculty of Music, University of Cambridge; Cambridge, United Kingdom
Abstract
Compositional applications for real-time event segmentation are discussed. A causal real-time onset detector which makes onset data available as fast as possible is introduced, based on work by Klapuri, Hainsworth and Jensen and Andersen. This analysis frontend informs algorithmic cutting procedures which respect the events of the incoming audio stream. A further refinement stores events to particular buffers based on a coarse categorisation between snare, kick or hihat classes. Algorithmic composers running playback of these buffers thereby respond to changing timbral events of a live feed from an instrumentalist or other audio source. The use of an onset detection threshold to create abstracted rhythms based on some existing source is further examined.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849199
Zenodo URL: https://zenodo.org/record/849199
2004.28
Open Source Tools for Music Representation and Notation
Fober, Dominique GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
Although numerous systems and applications exist for music representation and graphic notation, there are few resources available to developers. We present two open source projects that aim at making up for this lack of components: the MusicXML library, intended to support the MusicXML format and to provide music notation exchange capabilities, and the GUIDO library that provides a powerful graphic score engine, based on the GUIDO music notation format.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849201
Zenodo URL: https://zenodo.org/record/849201
2004.29
Pattern Anchoring, Identity and Signatures in Sound, Time and Space
İzmirli, Özgür Ammerman Center for Arts and Technology, Connecticut College; New London, United States
Zahler, Noel School of Music, University of Minnesota; Minneapolis, United States
Abstract
The process of score following requires that the automated follower be capable of making robust decisions during a performance, especially in light of the number of errors that need to be accounted for between the live performer and the follower. Based on the idea of variable-length signatures for monophonic input we define a causal method for tracking location in score following. The signatures and their lengths are calculated prior to performance based on their novelty in a predetermined locality within the score. Results are shown using a graphical display that depicts the associations, determined by a score follower, between performed notes and the score. This display aids in visual evaluation of the performance of the score following process and specifically its capability of recovery following any of the performance aberrations.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849203
Zenodo URL: https://zenodo.org/record/849203
2004.30
Physical Modeling for Pure Data (pmpd) and Real Time Interaction With an Audio Synthesis
Henry, Cyrille La Kitchen, Independent; Paris, France
Abstract
This article describes an application of physical modeling tools for pure data (pd) for real time interaction between a musician and an audio synthesis. pmpd is a collection of objects for pd providing a very flexible way to particle physical modeling simulation and other kind of comportment-based modelling. pmpd is used for data generation. That is to say that, although they can easily be used to control audio engines, they do not generate audio signals directly. Virtual physical structure can act as a black box between the musician and the audio synthesis. Using pmpd within the pd programming environment allows real-time interactions with this simulation, as well as natural control of a sound. A musician can play with the movement of a virtual structure, which produces sound.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849205
Zenodo URL: https://zenodo.org/record/849205
2004.31
Physical Modeling of Impacts: Theory and Experiments on Contact Time and Spectral Centroid
Avanzini, Federico CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Rocchesso, Davide Department of Computer Science, Università di Verona; Verona, Italy
Abstract
A model for physically based synthesis of collision sounds is discussed. Attention is focused on the properties of the non-linear contact force, and on the influence of the physical parameters on the perceptually salient sound features. First, the dependence of the contact time on the force parameters is established analytically and validated through numerical simulations. Then, the relation with the timevarying spectral centroid is discussed. As a result, a mapping between the physical parameters of the impact force and the acoustic parameters of the impact sound is proposed.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849207
Zenodo URL: https://zenodo.org/record/849207
2004.32
Playing Integrated Music Knowledges With Artifical Neural Networks
Voisin, Frédéric Centre National de Creation Musicale (CIRM); Nice, France
Meier, Robin Centre National de Creation Musicale (CIRM); Nice, France
Abstract
This text presents some aspects of the Neuromuse project developed at CIRM. We will present some experiences in using self-organizing maps (SOM) to generate meaningful musical sequences, in realtime interfaces, with MaxMSP and Jitter3.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849209
Zenodo URL: https://zenodo.org/record/849209
2004.33
PWGL Editors: 2D-editor as a Case Study
Laurson, Mikael Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Kuuskankare, Mika Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Abstract
This paper presents some of the main concepts behind PWGL editors. PWGL is an OpenGL based visual programming language specialized in computer aided composition and sound synthesis. Editors have a central role in PWGL as they allow to investigate and manipulate complex objects. We first describe some of the general design issues behind PWGL editors. We will use one of the main editors, the 2D-editor, as a case study. The 2D-editor allows to combine and synchronize visually various 2Dobjects within one editor.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849213
Zenodo URL: https://zenodo.org/record/849213
2004.34
Recent Developments in ENP-score-notation
Kuuskankare, Mika Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Laurson, Mikael Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Abstract
In this paper we describe the recent developments on a text-based score representation format called ENP-scorenotation. ENP-score-notation is used to describe scores in Expressive Notation Package (ENP). We introduce the basic concepts behind ENP-score-notation and discuss several new features in detail along with some notational examples. We also examine some syntactic changes and point out the differences between the new and the old syntax. Furthermore, we propose a new interface to PWGL, including several new boxes, which allows to use ENPscore-notation to construct musical objects in a PWGL patch.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849215
Zenodo URL: https://zenodo.org/record/849215
2004.35
Regards on Two Regards by Messiaen: Automatic Segmentation Using the Spiral Array
Chew, Elaine Integrated Media Systems Center, Viterbi School of Engineering, University of Southern California; Los Angeles, United States
Abstract
Segmentation by pitch context is a fundamental process in music cognition, and applies to both tonal and atonal music. This paper introduces a real-time, O(n), algorithm for segmenting music automatically by pitch collection using the Spiral Array model. The segmentation algorithm is applied to Olivier Messiaen’s Regard de la Vierge (Regard IV) and Regard des prophètes, des bergers et des Mages (Regard XVI) from his Vingt Regards sur l’Enfant Jésus. The algorithm uses backward and forward windows at each point in time to capture local pitch context in the recent past and not-too-distant future. The content of each window is mapped to a spatial point, called the center of effect (c.e.), in the interior of the Spiral Array. The distance in the Spiral Array space between the c.e.’s of each pair of forward and backward windows measures the difference in pitch context between the future and past segments at each point in time. Segmentation boundaries then correspond to peaks in these distance values. This paper explores and analyzes the algorithm’s segmentation of post-tonal music, namely, Messiaen’s two Regards, using various window sizes. The computational results are compared to manual segmentations of the pieces. Taking into account the entire piece, the best case computed boundaries are, on average, within 0.94% (for
Regard IV) and 0.11\% (for Regard XVI) of their targets.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849217
Zenodo URL: https://zenodo.org/record/849217
2004.36
Sim - Système Interactif Musical (Cybersongosse 7mi)
Clozier, Christian Institut international de musique électroacoustique de Bourges (IMEB); Bourges, France
Le Duc, Jean-Claude Institut international de musique électroacoustique de Bourges (IMEB); Bourges, France
Mihalic, Alexander Institut international de musique électroacoustique de Bourges (IMEB); Bourges, France
Abstract
Over the last thirty years, the International Institute of Electroacoustic Music of Bourges - "IMEB" has been developing music-related educational concepts and building a unique and original instrument named "Gmebogosse" then "Cybersongosse". This one-of-a-kind instrument designed to create sounds and electroacoustic music with easy manual control binds together a range of classic "studio" modules: recording, synthesis, effects, mixing and spatialized output... Being analogue at first, it has now turned into a fully digital workstation while retaining its playability and ease of use.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849221
Zenodo URL: https://zenodo.org/record/849221
2004.37
Soliloque Sur [X, X, X et X], Musical Commentaries From a Computer About a Concert Misunderstood by It
Lévy, Fabien Conservatory of Berlin; Berlin, Germany
Seelig, Thomas Electronic Music Studio, Technische Universität Berlin (TU Berlin); Berlin, Germany
Abstract
To compose a composer... Soliloque sur [X, X, X et X]1 is not just a musical work, but more a meta-score, generated by the computer in real-time from other works of the concert. It means that for every concert, the generated work is different, in its sounds as well as in its organization. This computer application also requires a particular real-time technology, because it involves changing a signal processing network "on the fly" without sound interruption.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849223
Zenodo URL: https://zenodo.org/record/849223
2004.38
Specification of Temporal Relations Between Interactive Events
Desainte-Catherine, Myriam University Bordeaux I; Bordeaux, France
Allombert, Antoine University Bordeaux I; Bordeaux, France
Abstract
We propose a formalism for specifying temporal relations between interactive triggerings and releasings occurring during performance of written musical pieces. Temporal durations are specified between parts or notes of a written piece. Then, we proceed to a static analysis of the piece in order to produce a program providing safe execution of the piece according to the temporal relations.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849225
Zenodo URL: https://zenodo.org/record/849225
2004.39
Strategies for Continuous Pitch and Amplitude Tracking in Realtime Interactive Improvisation Software
Dobrian, Christopher Department of Music, University of California, Irvine; Irvine, United States
Abstract
In a realtime interactive work for live performer and computer, the immanently human musical expression of the live performer is not easily equalled by algorithmically generated artificial expression in the computer sound. In cases when we expect the computer to display interactivity in the context of improvisation, pre-programmed emulations of expressivity in the computer are often no match for the charisma of an experienced improviser. This article proposes to achieve expressivity in computer sound by “stealing” expressivity from the live performer. By capturing, analyzing, and storing expressive characteristics found in the audio signal received from the acoustic instrument, the computer can use those same characteristic expressive sound gestures, either verbatim or with modifications. This can lead to a more balanced sense of interactivity in works for live performer and computer.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849227
Zenodo URL: https://zenodo.org/record/849227
2004.40
Style Recognition Through Statistical Event Models
Pérez-Sancho, Carlos Department of Language and Computer Systems, Universidad de Alicante; Alicante, Spain
Iñesta, José Manuel Department of Language and Computer Systems, Universidad de Alicante; Alicante, Spain
Calera-Rubio, Jorge Department of Language and Computer Systems, Universidad de Alicante; Alicante, Spain
Abstract
The automatic classification of music fragments into styles is one challenging problem within the music information retrieval (MIR) domain and also for the understanding of music style perception. This has a number of applications, including the indexation and exploration of music databases. Some technologies employed in text classification can be applied to this problem. The key point here is to establish something in music equivalent to the words in texts. A number of works use the combination of intervals and duration ratios for this purpose. In this paper, different statistical text recognition algorithms are applied to style recognition using this kind of melody representation, exploring and comparing their performance for different word sizes.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849229
Zenodo URL: https://zenodo.org/record/849229
2004.41
The AGNULA/DeMuDi Distribution: GNU/linux and Free Software for the Pro Audio and Sound Research Domain
Bernardini, Nicola Media Innovation Unit, Firenze Tecnologia; Firenze, Italy
Cirotteau, Damien Media Innovation Unit, Firenze Tecnologia; Firenze, Italy
Ekanayaka, Free Media Innovation Unit, Firenze Tecnologia; Firenze, Italy
Glorioso, Andrea Media Innovation Unit, Firenze Tecnologia; Firenze, Italy
Abstract
AGNULA (acronym for “A GNU/Linux Audio distribution”, pronounced with a strong g) is the name of a project which has been funded until April 2004 by the European Commission (number of contract: IST-2001-34879; key action IV.3.3, Free Software: towards the critical mass). After the end of the funded period, AGNULA is continuing as an international, mixed volunteer/funded project, aiming to spread Free Software in the professional audio/video arena. The AGNULA team is working on a tool to reach this goal: AGNULA/DeMuDi, a GNU/Linux distribution based on Debian, entirely composed of Free Software, dedicated to professional audio research and work. This paper describes the current status of AGNULA/DeMuDi and how the AGNULA team envisions future work in this area.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849231
Zenodo URL: https://zenodo.org/record/849231
2004.42
The Realtime-score. A Missing-link in Computer-music Performance
Winkler, Gerhard E. Composer, Independent; Salzburg, Austria
Abstract
Between the realms of improvisation and the execution of a paper-written, fixed score the concept of RealtimeScore opens a kind of "Third Way" of interpretation. It is based on the idea, that the score for one or more musicians playing on stage is generated in realtime during a performance and projected directly on a computerscreen which is placed before the musicians like a traditional note-stand. The musicians can interactively influence the evolution of the piece (based on simulations of complex dynamic systems), so that each performance is a unique realisation of a piece. The text will introduce the concept and discuss linked topics like notation, interaction, interpretation, audiance, and the role of the composer in this new concept.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849233
Zenodo URL: https://zenodo.org/record/849233
2004.43
Three-dimensional Gestural Controller Based on Eyecon Motion Capture System
Merlier, Bertrand Department of Music, University Lumière Lyon 2; Lyon, France
Abstract
This article presents a new gestural computer interface (3DGC = Three-Dimensional Gestural Controller) allowing an instrument-like complex control. Hand gestures are analyzed by means of a camera and by a motion capture software. Contrary to classical instrument interfaces, neither any mechanical organ nor any mark is visible! This concept offers important freedom of gestural control in any 3 dimensions of space. However it requires reconsidering the relation between cause and effect, i.e. between gesture and sound result. We shall present several specific features linked to lack of any visual mark or mechanical constraints. Then we shall underline the interest of programmability and simultaneous control of several parameters in only one simple gesture. First use of 3DGC is to control generation, transformation and spatialization of live electroacoustic music. Many other artistic applications are imaginable in the multimedia area, such as live video pictures generation and transformation. The "4 Hands" project - an instrumental multimedia duet uses two 3DGC for live sound and video creation. It was presented at Ars Electronica Festival (Linz - Austria) i n September 2002.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849235
Zenodo URL: https://zenodo.org/record/849235
2004.44
Tying Semantic Labels to Computational Descriptors of Similar Timbres
Fitzgerald, Rosemary A. Department of Music, Lancaster University; Lancaster, United Kingdom
Lindsay, Adam T. Department of Computing, Lancaster University; Lancaster, United Kingdom
Abstract
This paper asserts the importance of using multiple representations when examining computational descriptions of any musical percept. We examine the existing stateof-the-art among the MPEG-7 timbre descriptors, and by choosing oboe timbre as our domain we investigate their application to timbres from the same instrument. Using a dual approach, correlating perceptual information with a wide range of computational descriptors, we propose potential extensions to MPEG-7 representations. By eliminating the need for generality across instruments, we believe we can reach a higher level of semantic representation within timbre domains from a single instrument class.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849237
Zenodo URL: https://zenodo.org/record/849237
2004.45
Understanding Expressive Transformations in Saxophone Jazz Performances Using Inductive Machine Learning
Ramirez, Rafael Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Hazan, Amaury Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Maestre, Esteban Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this paper, we describe an approach to learning expressive performance rules from monophonic Jazz standards recordings by a skilled saxophonist. We have first developed a melodic transcription system which extracts a set of acoustic features from the recordings producing a melodic representation of the expressive performance played by the musician. We apply machine learning techniques to this representation in order to induce rules of expressive music performance. It turns out that some of the induced rules represent extremely simple principles which are surprisingly general.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849239
Zenodo URL: https://zenodo.org/record/849239
2004.46
Using Patterns to Generate Rhythmic Accompaniment for Guitar
Dahia, Marcio Center of Informatics, Federal University of Pernambuco; Recife, Brazil
Santana Ernesto Trajano, Hugo Center of Informatics, Federal University of Pernambuco; Recife, Brazil
Ramalho, Geber Center of Informatics, Federal University of Pernambuco; Recife, Brazil
Sandroni, Carlos Department of Music, Federal University of Pernambuco; Recife, Brazil
Cabral, Giordano Laboratoire d'Informatique de Paris 6 (LIP6), Université Paris 1 Panthéon-Sorbonne; Paris, France
Abstract
This work presents the model of a system that generates guitar rhythmic accompaniment of a song, given its chord grid and melody. In order to minimize the effects of the lack of formal knowledge which inherently exists in this musical dimension, the system uses a very natural approach in music: the contextualized reuse of rhythmic patterns, found in performances of famous musicians. To accomplish this task, two techniques of artificial intelligence were combined: case-based reasoning, for the modeling the "musical memory" (association of rhythmic patterns and the context where it should be used) and rule-based reasoning, to associate abstract intentions to the contextual characteristics of the patterns. As a case study, we developed Cyber-João, a program that generates a rhythmic accompaniment for Bossa Nova by chaining and adapting rhythmic patterns found in classic records of João Gilberto. Finally, the model was empirically compared with some other approaches implemented to solve the problem, demonstrating very motivating results.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849241
Zenodo URL: https://zenodo.org/record/849241
2004.47
Virtual Voices on Hands: Prominent Applications on the Synthesis and Control of the Singing Voice
Georgaki, Anastasia Department of Music, National and Kapodistrian University of Athens; Athens, Greece
Abstract
The on-going research of the last thirty years on the synthesis of the singing voice highlights different aspects of this implicative field which involves the interdisciplinary area of musical acoustics, signal processing, linguistics, artificial intelligence, music perception and cognition, music information retrieval and performance systems. Recent work shows that the musical and natural quality of singing voice synthesis has evolved enough for high fidelity commercial applications to be realistically envisioned. In the first paragraph of this paper we are going to highlight briefly the different aspects of the on-going research (synthesis models, performance by rules, textto- speech synthesis, controllers) through a taxonomy of these approaches. In the second part we are going to emphasize on the utility and the different applications of this research area (including the recent commercial ones) as a tool for the music creativity by presenting audio and video excerpts of various approaches through a MIDI accordion. Finally, we are going to present future and related work on Greek singing, outlining a new research project named ΑOIDOS /Virtual Greek singer which is under development at the University of Athens. By this article we want to highlight the prominent applications of this research domain in the field of musicology and music creation and music education.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849243
Zenodo URL: https://zenodo.org/record/849243
Sound and Music Computing Conference 2005 (ed. 2)
Dates: from November 24 to November 26, 2005
Place: Salerno, Italy
Proceedings info: not available
2005.1
Analysis and Analyses of Electroacoustic Music
Zattra, Laura Department of Visual Arts and Music, Università di Padova; Padova, Italy
Abstract
Electroacoustic music analysis is a complex and heterogeneous discipline depending on one musical genre which includes a large typology of subgenres: from tape music to computer music, from concrete music, to mixed music, live electronic music, laptop music, etc. Even though there are personal approaches, which causes musical analysis to be a delicate and subjective discipline, some main trends can be outlined: some analysts skip the technological dimension and base their work on perceptual dimension; other ones deepen a genetic approach. Computer science applied to sound features’ extraction begins being interested to this music with promising perspectives. Any approach is worth being considered in order to create an interdisciplinary research area in electroacoustic music analysis. In this paper, the point of view is the musicological one. The goal is to outline a general survey of different musicological and computational approaches. Each of them is partial. What musicologists and scientists now need is to cooperate and share different competences. Interdisciplinary character of future studies is fundamental.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849253
Zenodo URL: https://zenodo.org/record/849253
2005.2
Artificial Singing With a Webcam Mouth-controller
Hapipis, Athanasios Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
We present a device to control a singing synthesiser with mouth movements captured with a mini web camera. The device comprises a mini web camera connected to a computer, which extracts a number of mouth movement parameters. These parameters are sent out as MIDI messages to another computer running a formant synthesiser, which produces singing according to the movements of the mouth of the subject in realtime. The paper gives a technical explanation of the vision system, the synthesiser and the control parameters. Our main motivation with this research is to enable people with speech or voice disorders to engage in singing activity.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849255
Zenodo URL: https://zenodo.org/record/849255
2005.3
A Study on Using the Mellin Transform for Vowel Recognition
De Sena, Antonio Department of Computer Science, Università di Verona; Verona, Italy
Rocchesso, Davide Department of Computer Science, Università di Verona; Verona, Italy
Abstract
In this paper we discuss the applicability of the Mellin transform for vowels recognition, focusing on spectral envelope scale distribution. The hypothesis used is that same vowels produced same spectral envelope shapes (same curves with different compression factor), so an energy, time and scale normalization can be used to map same vowels to same distributions. So, using fast algorithms, we study the applicability of this idea to build a realtime or quasi-realtime system capable of making vowel discrimination in a relatively straightforward way.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849245
Zenodo URL: https://zenodo.org/record/849245
2005.4
A Synthesizer Based on Square Waves
Vergara, Sossio Universidad ORT; Montevideo, Uruguay
Abstract
One of the most widely employed technique for the sound synthesis is based on the Fourier theorem that states that any signal can be obtained as a sum of sinusoids. Unfortunately this algorithm, when applied to synthesizers, requires some peculiar operations, as the addressing of a Look Up Table, that are not easily built-in in standard processors, thus requiring specially designed architectures. The aim of this paper is to show that, when using a new method for the analysis and polar coordinates, a much broader class of functions can be employed as a basis, and it turns out that the square wave is one of such functions. When the synthesis of signals is carried out by summing square waves, the additive synthesizer architecture results much more simplified, allowing for example to synthesize complex sounds simply in software, using general purpose microprocessors, even in real-time. Firstly it will be proven that the L2 function space admits a broad class of functions as a basis, and the requirements for a function, in order to be a basis, will be defined. A straightforward and computationally simple algorithm for the analysis of any function on such generic basis will be proposed. Finally the architecture for the square wave based synthesizer will be sketched and examples of synthesized waveforms will be given.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849247
Zenodo URL: https://zenodo.org/record/849247
2005.5
A Temporal Concurrent Constraint Calculus as an Audio Processing Framework
Rueda, Camilo Pontificia Universidad Javeriana de Cali; Cali, Colombia
Valencia, Frank École Polytechnique; Palaiseau, France
Abstract
Audio processing systems involve complex interactions of concurrent processes. These are usually implemented using domain specific visual languages and tools more concerned with providing practical solutions than with giving formal meaning to the supplied audio unit combinators. Concurrent constraint process calculi have proved to be effective in modeling with precision a wide variety of concurrent systems. We propose using ntcc , a non deterministic temporal concurrent constraint calculus, to model audio processing systems. We show how the concurrent constraint nature of the calculus greatly simplify specifying complex synchronization patterns. We illustrate ntcc as audio processing framework by modeling unit combinators and using them ina an audio processing example.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849251
Zenodo URL: https://zenodo.org/record/849251
2005.6
Audio Feedback in Predictive HCI Methods
De Götzen, Amalia Department of Computer Science, Università di Verona; Verona, Italy
Rocchesso, Davide Department of Computer Science, Università di Verona; Verona, Italy
Abstract
This paper is an attempt to study a well known HCI predictive model in an audio perspective: a derived law from the Fitts’ law model will be analyzed providing an audio interactive display in which the user has to perform a simple tuning task by hitting a button. The idea is to simplify as much as possible the interaction in order to find out its invariants when the feedback is just the audio one. An experiment is carried out in order to evaluate this conjecture.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849257
Zenodo URL: https://zenodo.org/record/849257
2005.7
Augmenting C-cards With Music Actions
Valente, Andrea Aalborg University Esbjerg; Esbjerg, Denmark
Lyon, Kirstin Aalborg University Esbjerg; Esbjerg, Denmark
Jensen, Kristoffer Aalborg University Esbjerg; Esbjerg, Denmark
Abstract
The paper proposes a new way of introducing music to classes of 8 to 10 years old pupils, by adopting a recent educational tool for teaching Computer Science. Our proposal builds in fact on computational cards (or c-cards), a playful and intuitive mind-tool, that has been applied to a variety of Computer Science concepts. Here a simple extension to c-cards is presented, that enables pupils to build and play with tangible musical machine.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849259
Zenodo URL: https://zenodo.org/record/849259
2005.8
Computer Music Analysis via a Multidisciplinary Approach
Nucibella, Francesca CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Porcelluzzi, Savino CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Zattra, Laura Department of Visual Arts, Università di Padova; Padova, Italy
Abstract
This multidisciplinary work aims to investigate the problem of the computer music analysis. It is based on the analysis of a computer music piece: Winter leaves, created in 1980 by Mauro Graziani at the CSC in Padova, using Music360 software. Listening, sonogram analysis and digital score analysis, represent the counterpart of the attempt to automatic analysing a fragment of computer music, a music which is characterized by “polyphony” of sound objects, any regular rhythm nor melody or timbre. Two researches (one with a Morphological Descriptor, the other with an algorithm which works via audio content and similarity computation) enlighten the practical problems analysis faces when it has to evaluate the difficult nature of this music.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849261
Zenodo URL: https://zenodo.org/record/849261
2005.9
Constrains on the Model for Self-sustained Sounds Generated by Organ Pipe Inferred by Independent Component Analysis
De Lauro, Enza Department of Physics, Università di Salerno; Salerno, Italy
De Martino, Salvatore Department of Physics, Università di Salerno; Salerno, Italy
Falanga, Mariarosaria Department of Physics, Università di Salerno; Salerno, Italy
Sarno, Giuseppe Department of Physics, Università di Salerno; Salerno, Italy
Abstract
We use Independent Component Analysis, an entropy based method to study self-sustained sound generated by organ pipe and recorded in an anechoic chamber. We recover a simple analogical model that can be ascribed to the same types of Woodhouse, Yoshikawa models [3,11]. Our model is able to reproduce in the listening the generated sound. Then we use self-sustained oscillators as a source for linear organ pipe models and we observe that the real signals can be reproduced only considering nonlinear interaction between the different constituents of an organ pipe.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849263
Zenodo URL: https://zenodo.org/record/849263
2005.10
Conversational Interactivity in Slow-motion: A Comparison of Phone Dialogues and Opera Scenes
Reichl, Peter Telecommunications Research Center Vienna (FTW); Vienna, Austria
Hammer, Florian Telecommunications Research Center Vienna (FTW); Vienna, Austria
Balinova, Marena doremi art management; Weissenburg, Germany
Abstract
Modeling the interactivity of conversations recently has gained increasing interest in the telecommunications community, especially with regard to the integration of multimedia applications over packet-based transmission technologies. A quantitative description of interactivity either relies on (subjective) user tests or on instrumental (objective) metrics which use appropriate signal parameters for deriving a scalar characterization of interactivity. Whereas traditional research in this area is based on examples of spontaneous conversations, our main focus is on “non-spontaneous conversations”, where structure and speakers’ actions are largely fixed a priori, e.g. by a movie script or a music score. As special examples, in this paper we investigate the characteristics of opera duets and larger ensemble scenes with respect to interactivity models like Parametric Conversation Analysis, Conversational Temperature or Conversational Entropy. After introducing the basic measurement framework and reviewing related experiments in the area of VoIP (Voice-over-IP), we present quantitative results for a series of representative opera excerpts. Having demonstrated the close relationship between these two types of conversations, we argue that opera scenes can formally be viewed as conversations in slow-motion. This may lead to important conclusions for telecommunication networks as well as for the design of interactive sound systems and the parametrization of algorithmic composition tools.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849265
Zenodo URL: https://zenodo.org/record/849265
2005.11
Digital Audio Effects and Physical Modeling
Kontogeorgakopoulos, Alexandros ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Cadoz, Claude ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
This article describes a research oriented in creating physical models that would transform and process sounds using the CORDIS-ANIMA formalism [1]. Basically the idea was to explore for the first time systematically the capabilities of this physical modeling language and more precisely the GENESIS [2] environment for the creation of Digital Audio Effects (DAFX). This presentation introduces some elementary signal processing operations and properties using the compositional blocks of CORDIS-ANIMA. Also two physical models will be described that they behave like some classical filters and time varying filters. The idea and the challenge is to give a physical meaning to these widely used algorithms.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849267
Zenodo URL: https://zenodo.org/record/849267
2005.12
Efficient Extraction of Closed Motivic Patterns in Multi-dimensional Symbolic Representations of Music
Lartillot, Olivier Department of Music, University of Jyväskylä; Jyväskylä, Finland
Abstract
In this paper, we present an efficient model for discovering repeated patterns in symbolic representations of music. Combinatorial redundancy inherent to the pattern discovery paradigm is usually filtered through global selective mechanisms, based on pattern frequency and length. Our approach is based instead on the concept of closed pattern, insuring lossless reduction by adaptively selecting most specific descriptions in the multi-dimensional parametric space. A notion of cyclic pattern is introduced, allowing the filtering of another form of combinatorial redundancy provoked by successive repetitions of patterns. The use of cyclic patterns implies a necessary chronological scanning of the piece, and the addition of mechanisms formalizing particular Gestalt principles. This study shows therefore that the automated analyses of music cannot rely on simple mathematical or statistical approaches, but need rather a complex and detailed modeling of the cognitive system ruling the listening processes. The resulting algorithm is able to offer for the first time compact and relevant motivic analyses of simple monodies, and may therefore be applied to automated indexing of symbolic music databases. Numerous additional mechanisms need to be added in order to consider all aspects of music expression, including polyphony and complex motivic transformations.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849269
Zenodo URL: https://zenodo.org/record/849269
2005.13
Event Synchronous Music Thumbnails: Experiments
Evangelista, Gianpaolo Università degli Studi di Napoli Federico II; Napoli, Italy
Cavaliere, Sergio Università degli Studi di Napoli Federico II; Napoli, Italy
Abstract
The paper presents a recently introduced method for the generation of Music Thumbnails [1], an active field of research [4, 5, 6, 7, 8]. The method aims to the construction of short music pieces, listening to which one can acquire partial knowledge or, at least, perceive the general flavor of the music content of the whole piece. Therefore, the introduced method should have its relevance from a psychoacoustical view-point, giving the opportunity of listening to a brief summary of the piece itself or of one of its parts. This will allow for enhanced navigation in large databases of music, where the thumbnail will give the flavor of the basic timbre features of the piece: only if it is of his/her interest the listener will proceed to acquire further acoustical details in order to confirm its choice. For this purpose, the method will be able to extract from a long piece of music common features that will be “condensed” in a shorter extract. Our method is synchronous with the basic phrase timing of the piece and it is therefore referred to as the Event Synchronous Thumbnailing (EST). Additionally, the method can be used as a means to navigate in large acoustical databases using thumbnailing for the purpose of collecting musical pieces having similar timbre flavors. The EST is therefore acting as a timbre signature to be searched for in the database.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849273
Zenodo URL: https://zenodo.org/record/849273
2005.14
Extended Waveform Segment Synthesis, a Nonstandard Synthesis Model for Microsound Composition
Valsamakis, Nikolas Department of Music Technology and Acoustics, Technological Educational Institute of Crete; Rethymno, Greece
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
This paper discusses a non-standard technique for time-domain waveform synthesis. In Extended Waveform Segment Synthesis sound is described as a structure of blocks of amplitude micro-fluctuations. These structures can be updated during synthesis or different structures can be combined generating dynamic evolving waveforms. This technique is intended to be: first, an extension of the existing linear segment synthesis techniques, second a generalized framework of various existing non-standard techniques - like stochastic waveform synthesis or pulsar synthesis - and third, the basis of new directions in composing the sound and in waveform transformation. The concept of a compositional structure that goes down to the microlevel is also presented.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849275
Zenodo URL: https://zenodo.org/record/849275
2005.15
GMU, a Flexible Granular Synthesis Environment in Max/MSP
Bascou, Charles Centre National de Creation Musicale (GMEM); Marseille, France
Pottier, Laurent Centre National de Creation Musicale (GMEM); Marseille, France
Abstract
Granular Synthesis has found to be a particularly rich framework to synthesize varieties of different sound colours and textures. Our goal at GMEM is to design and develop a flexible environment, called “GMU” (for GMEM Microsound Universe), dedicated to this synthesis method including analysis, transformations and synthesis algorithm. The proposal of intuitive control strategies is also an important part of the project. This paper will focus on the synthesis tool written for the Max/MSP Graphical Programming Environment and will present several applications.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849277
Zenodo URL: https://zenodo.org/record/849277
2005.16
Improvisation Planning and Jam Session Design Using Concepts of Sequence Variation and Flow Experience
Dubnov, Shlomo Center for Research in Computing and the Arts (CRCA), University California, San Diego (UCSD); San Diego, United States
Assayag, Gérard Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
We describe a model for improvisation design based on Factor Oracle automation, which is extended to perform learning and analysis of incoming sequences in terms of sequence variation parameters, namely replication, recombination and innovation. These parameters describe the improvisation plan and allow designing new improvisations or analysis and modification of plans of existing improvisations. We further introduce an idea of flow experience that represents the various improvisation situations in a mental space that allows defining interactions between improvisers in terms of mental states and behavioural scripts.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849279
Zenodo URL: https://zenodo.org/record/849279
2005.17
Instrumental Gestures and Sonic Textures
Filatriau, Jehan-Julien Communications Laboratory, Université catholique de Louvain; Louvain-la-Neuve, Belgium
Arfib, Daniel Laboratoire de Mécanique et d'Acoustique (LMA); Marseille, France
Abstract
The making of textures is a field largely associated to the visual domain; sonic textures are less known and explored. Instrumental gestures, especially in digital musical instruments, are often seen from a pitchoriented point of view, and are rarely viewed as natural gestures linked to textures. Mapping between gestures and textures still remains a case per case experiment. This article is a contribution to a framework including instrumental gestures and sonic textures. First mapping between a gesture and a sonic process is defined. The specificity of textures is then examined; algorithms implementations and sensor technology help stay on the ground of possible things with a computer and are illustrated by examples taken from the literature. A large part of the article is then dedicated to personal experiments conducted in our labs. A discussion follows, which gives an occasion to set new perspectives dealing with the notion of ecological sounds and gestures.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849281
Zenodo URL: https://zenodo.org/record/849281
2005.18
Introduction to Computer-assited Music Analysis in PWGL
Laurson, Mikael Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Kuuskankare, Mika Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Kuitunen, Kimmo Independent; Finland
Abstract
We present in this paper our recent developments dealing with computer-assisted music analysis. Our focus is in a new syntax that extends the patternmatching part of our constraint-based system called PWConstraints. PWConstraints can be used both to generate musical material or to analyze existing scores. The syntax allows to refer to more high-level entities in a score than before, resulting in compact analysis rules that use only a minimal set of primitives. Rules can return expression objects which can be used to visualize analytical information directly in a score. The compiler can be extended to support new score accessor keywords by special compiler methods. The new syntax and visualization of analysis data is explained and demonstrated with the help of several analysis examples.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849283
Zenodo URL: https://zenodo.org/record/849283
2005.19
Mathematical Structure and Sound Synthesis
Essl, Georg Deutsche Telekom Laboratories; Berlin, Germany
Abstract
How can looking for mathematical structure help us with sound synthesis? This question is at the core of this paper. First we review some past work where attention to various kinds of mathematical structure was employed in the context of physical modeling synthesis. Then we propose a first few steps towards algebraisation of abstract sound synthesis using very basic constructions of abstract algebra and category theory.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849287
Zenodo URL: https://zenodo.org/record/849287
2005.20
Multimodal and Cross-modal Processing in Interactive Systems Based on Tangible Acoustic Interfaces
Camurri, Antonio InfoMus Lab, Università di Genova; Genova, Italy
Canepa, Corrado InfoMus Lab, Università di Genova; Genova, Italy
Drioli, Carlo InfoMus Lab, Università di Genova; Genova, Italy
Massari, Alberto InfoMus Lab, Università di Genova; Genova, Italy
Mazzarino, Barbara InfoMus Lab, Università di Genova; Genova, Italy
Volpe, Gualtiero InfoMus Lab, Università di Genova; Genova, Italy
Abstract
This paper presents some recent developments at DISTInfoMus Lab on multimodal and cross-modal processing of multimedia data streams with a particular focus on interactive systems exploiting Tangible Acoustic Interfaces (TAIs). In our research multimodal and cross-modal algorithms are employed for enhancing the extraction and analysis of the expressive information conveyed by gesture in non-verbal interaction. The paper discusses some concrete examples of such algorithms focusing on the analysis of high-level features from expressive gestures of subjects interacting with TAIs. The features for explicit support of multimodal and cross-modal processing in the new EyesWeb 4 open platform (available at www.eyesweb.org) are also introduced. Results are exploited in a series of public events in which the developed techniques are applied and evaluated with experiments involving both experts and the general audience. Research is carried out in the framework of the EU-IST STREP Project TAI-CHI (Tangible Acoustic Interfaces for Computer-Human Interaction).
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849291
Zenodo URL: https://zenodo.org/record/849291
2005.21
Multisensory Interactive Installation
Voto, Daniela Department of Animal and Genetic Biology, Università di Firenze; Firenze, Italy
Viñas Limonchi, Manuel University of Granada; Granada, Spain
D'Auria, Umberto Mozartstudios Association; Salerno, Italy
Abstract
This paper presents the “Multisensory Interactive Installation,” (MII) a musical interactive installation based on Kandinsky’s paintings, through which a user can become a painter and a composer simultaneously. The painting’s visual elements are synesthetically linked to musical elements: each color is linked to a specific instrument and chord while each shape is linked to a specific rhythm. Through “Multisensory Interactive Installation,”users can explore and manipulate visual elements, generating different musical outputs, constructing and deconstructing the art piece and/or creating a new work, and musical composition. The selection and organization of given visual-acoustic elements, determines the different musical atmosphere created by each user. The methodology implemented in the system/installation, explores the correspondence between color and sound, visual and acustic elements, and is based on the neuroscientific research of synesthesia, an involuntary physical experience of a cross-modal association.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849293
Zenodo URL: https://zenodo.org/record/849293
2005.22
Music Transformation in Cellular Spaces Triggered by Walsh Functions
da Silva, Patricio Spectrum Press; Los Angeles, United States
Maia Jr., Adolfo Instituto de Matemática, Estatística e Computação Científica (IMECC), University of Campinas (UNICAMP); Campinas, Brazil
Abstract
This paper introduces a new compositional process based on transformations of previously existing material by segmentation of information located in a 2-dimensional cellular-space, the use of Walsh Functions as triggers, and recombinancy by cyclic transposition. The process can produce a wide spectrum of results depending on the size of segmentation, the choice of the Walsh functions, the operation(s) used, and the parameters entered for each operation. These results can range from a simple variation of the input, to an output, holding little or no resemblance with the original.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849295
Zenodo URL: https://zenodo.org/record/849295
2005.23
MX Structural Metadata as MIR Tools
Haus, Goffredo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Pinto, Alberto Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Abstract
In this paper two main topics are covered: a new model for melodic fragments or indexes and its embedding in MX, the new XML-based format currently undergoing the IEEE standardization process, in order to take advantage of its structural layer in a MIR-oriented perspective. Our goal is to show how music information retrieval methods can be improved by the use of particular melodic invariants coming from graph theoretic tools applied to melodies in order to catch more musical transformations than other methods as, for example, permutations of subfragments. This approach to the melodic similarity problem leads to associate a musical graph to each melodic segment in order to extract MIR-useful invariant quantities.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849297
Zenodo URL: https://zenodo.org/record/849297
2005.24
On the Learning Stages of an Intelligent Rhythmic Generator
Gimenes, Marcelo Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Johnson, Chris Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
RGeme (Rhythmic Meme Generator) is an artificial intelligence system for the composition of rhythmic streams. The system is inspired by Richard Dawkin's theory of memes and is based on software agents. This paper focuses mainly on the first of two broad stages of the system, the learning stage, in which Agents are trained with examples of musical pieces in order to evolve a “musical worldview”. During the second stage, the production stage, Agents are able to learn from each other's "compositions" and capable of evolving a new rhythmic style by adapting to each other’s rhythms. The dynamics of this evolution is studied by analysing the behaviour of the memes logged during the learning and the interaction processes. In this paper we present the learning stage of a simulation of the system that uses rhythmic information taken from music compositions by three Brazilian composers, namely Chiquinha Gonzaga, Ernesto Nazareth and Jacob do Bandolim. Only the learning stage is discussed here. The production stage and its connexions with the learning stage will be introduced in a future paper.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849299
Zenodo URL: https://zenodo.org/record/849299
2005.25
Phonodeon: Controlling Synthetic Voices via MIDI-accordeon
Georgaki, Anastasia Department of Music, University of Athens; Athens, Greece
Zannos, Ioannis Department of Audiovisual Arts, Ionian University; Corfu, Greece
Valsamakis, Nikolas Department of Music Acoustics and Technology, Technological Educational Institute of Crete; Rethymno, Greece
Abstract
This paper presents research on controlling synthetic voice via a MIDI accordion. As motivation for this research served the goal of reviving "lost instruments", that is of using existing traditional instruments “lost” to new music genres as interfaces to control new types of sound generation in novel and future genres of music. We worked with a MIDI-accordion, because it provides expressive control similar to the human breath through the mechanism of the bellows. The control interface of the two hands is also suited for characteristics of the singing voice: The right hand controls the pitch of the voice as traditionally used, while the left hand chooses combinations of timbres, phonemes, longer phonetic units, and different kinds of vocal expression. We use a simple model of phonemes, diphones and timbre presets. We applied this to a combination of sample based synthesis and formant based synthesis. Our intention is to extend the work to physical models. A further goal of this research is to bridge the gap between ongoing research in the domain of synthesis of the singing voice with that of experimentation in novel forms of artistic performance, by examining different ways of interpreting synthesized voices via the MIDI accordion.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849301
Zenodo URL: https://zenodo.org/record/849301
2005.26
Physical Movement and Musical Gestures: A Multilevel Mapping Strategy
Fenza, Diego CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Mion, Luca CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Canazza, Sergio MIRAGE Lab, Università di Udine; Udine, Italy
Rodà, Antonio MIRAGE Lab, Università di Udine; Udine, Italy
Abstract
Musical interpretations are often the result of a wide range of requirements on expressiveness rendering and technical skills. Aspects indicated by the term expressive intention and which refer to the communication of moods and feelings, are being considered more and more important in performer-computer interaction during music performance. Recent studies demonstrate the possibility of conveying different sensitive content like expressive intentions and emotions by opportunely modifying systematic deviations introduced by the musician. In this paper, we present a control strategy based on a multi-layer representation with three different stages of mapping, to explore the analogies between sound and movement spaces. The mapping between the performer (dancer and/or musician) movements and the expressive audio rendering engine resulting by two 3D ”expressive” spaces, one obtained by the Laban and Lawrence’s effort’s theory, the other by means of a multidimensional analysis of perceptual tests carried out on various professionally performed pieces ranging from western classical to popular music. As an example, an application based on this model is presented: the system is developed using the eMotion SMART motion capture system and the Eyesweb software.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849303
Zenodo URL: https://zenodo.org/record/849303
2005.27
Segmental Tempo Analysis of Performances in User-centered Experiments in the Distributed Immersive Performance Project
Chew, Elaine Integrated Media Systems Center, Viterbi School of Engineering, University of Southern California; Los Angeles, United States
Sawchuk, Alexander Integrated Media Systems Center, Viterbi School of Engineering, University of Southern California; Los Angeles, United States
Tanoue, Carley Integrated Media Systems Center, Viterbi School of Engineering, University of Southern California; Los Angeles, United States
Zimmermann, Roger Integrated Media Systems Center, Viterbi School of Engineering, University of Southern California; Los Angeles, United States
Abstract
In this paper we present a quantitative analysis of performer-based experiment data in the Distributed Immersive Performance Project. The experiments explore the effects of auditory latency on musical ensemble and interpretation in order to determine the thresholds for usability. We propose two measures – the segmental tempo difference and the segmental tempo ratio from a baseline performance – as objective quantifiers of performance strategies. Our earlier analyses of qualitative reports showed that the usability threshold lies between 50 and 75 ms. We demonstrate that the proposed analyses of the performance data, captured in MIDI format, lead to results similar to the reports. The tempo difference and tempo scaling across logical segments of the piece show marked increase in variability when the auditory delay is in the range of 50 to 100 ms (for two examples) and 50 to 75 ms (for the most rapid example). The span of the tempo difference and ratio values at latency 150 ms is less than that around the usability thresholds. We surmise that around the threshold, the users attempt numerous performance strategies to compensate for the delay; at latencies far above the threshold, such strategizing fails and the performers revert to more stable practiced norms. These findings indicate that segmental tempo difference and ratio analyses are useful indicators of performance decisions, and that quantitative analysis of performance data may be a viable way of evaluating the psychophysical effects of collaborative performance under various immersive conditions.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849305
Zenodo URL: https://zenodo.org/record/849305
2005.28
State of the Art and New Results in Direct Manipulation of MPEG Audio Codes
Haus, Goffredo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Vercellesi, Giancarlo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Abstract
In this paper we present several approaches to direct manipulation of MPEG1 audio codes. We discuss problems and solutions regarding aliases introduced by time to frequency transform block and NMR2 modification. We also discuss the limits in term of processing functions and give some consideration about computational costs.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849307
Zenodo URL: https://zenodo.org/record/849307
2005.29
Steering Generative Rules With the EEG: An Approach to Brain-computer Music Interfacing
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Boskamp, Bram Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
This paper introduces a system that uses brainwaves, or EEG (electroencephalogram), information to steer generative rules in order to compose and perform music on the fly. The paper starts by noting the various attempts at the design of systems to produce music from EEG, followed by a short technical introduction to EEG sensing and analysis. Next, it introduces the generative component of the system, which employs Artificial Intelligence techniques (e.g., ATN grammars) for computer-replication of musical styles. Then, it presents a demonstration system that constantly monitors the EEG of the subject and activates generative rules that are associated with the most prominent frequency band in the spectrum of the EEG signal. The system also measures the complexity of the EEG signal in order to modulate the tempo (beat) and dynamics (loudness) of the performance. The paper concludes with a brief discussion on the achievements and limitations of our research so far, and comments on its contribution for the development of assistive technology for severe physical and neurological disability, which is one of the main goals of this work.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849309
Zenodo URL: https://zenodo.org/record/849309
2005.30
Sustainable Live Electro-acoustic Music
Bernardini, Nicola Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Vidolin, Alvise Conservatorio Statale di Musica "Benedetto Marcello" di Venezia; Venezia, Italy
Abstract
Real–time/performed electro–acoustic music (also known as live electro–acoustic music) is currently facing a serious sustainability problem: while its production is indeed considered very recent from the music history point of view, several technological generations and revolutions have gone by in the meantime. Thus, most of these works can hardly be performed because the technologies used have gone lost since a long time and no long-standing notational precaution was taken. This paper presents some typical case studies and examples and introduces some techniques that might lead to a partial – when not completely adequate – solution to the sustainability problem.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849311
Zenodo URL: https://zenodo.org/record/849311
2005.31
The Croaker: Design and Evaluation of a New Multimodal Interface
Serafin, Stefania Department of Medialogy, Aalborg University Copenhagen; Copenhagen, Denmark
De Götzen, Amalia Department of Computer Science, Università di Verona; Verona, Italy
Abstract
In this paper we introduce the Croaker, a novel input device inspired by Russolo’s Intonarumori. We describe the motivations behind the design of this instrument, and its applications in human computer interaction (HCI) and music.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849313
Zenodo URL: https://zenodo.org/record/849313
2005.32
What Is the Essence of "Music"? A Case Study on a Japanese Audience
Miyashita, Homei Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Nishimoto, Kazushi Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Abstract
In this paper, we discuss what the essence of music is, based on an audience survey to evaluate musical performances with new interfaces. We composed ten pieces by introducing various types of uncertainty (chance operations), musical scores, and instruments, and performed them at a concert for a Japanese audience of 180. From the results of our survey, we concluded that the essential characteristics of music include the human element, or human-ness, and structure in addition to melody, rhythm and harmony. Moreover, we found that subjects with experience in music tend to be more open to new forms than subjects with little or no musical experience. They also are inclined to put much faith in human-ness when they estimate the worth of beauty, pleasure and liking as well as evaluating whether a piece is "music" or not.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849315
Zenodo URL: https://zenodo.org/record/849315
Sound and Music Computing Conference 2006 (ed. 3)
Dates: from May 18 to May 19, 2006
Place: Marseille, France
Proceedings info: not available
2006.1
A Computer-assisted Analysis of Rhythmic Periodicity Applied to Two Metric Versions of Luciano Berio's Sequenza VII
Alessandrini, Patricia Department of Music Composition, Princeton University; Princeton, United States
Abstract
In a computer-assisted analysis, a comparison is made between two metered versions of Luciano Berio’s Sequenza VII: the “supplementary edition” drafted by the oboist Jacqueline Leclair (published in 2001 in combination with the original version); and the oboe part of Berio’s chemins IV. Algorithmic processes, employed in the environment of the IRCAM program Open Music, search for patterns on two levels: on the level of rhythmic detail, by finding the smallest rhythmic unit able to divide the all of the note durations of a given rhythmic sequence; and on a larger scale, in terms of periodicity, or repeated patterns suggesting beats and measures. At the end of the process, temporal grids are constructed at different hierarchical levels of periodicity and compared to the original rhythmic sequences in order to seek instances of correspondence between the grids and the sequences. As the original notation of consists of a combination of rhythmic and spatial notation, and the section analyzed in this study consists entirely of spatial notation, this analysis of the metric versions of Sequenza VII investigates to what extent the rhythms and meters put into place are perceptible in terms of periodicity, or are rather made ambiguous by avoiding periodicity.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849317
Zenodo URL: https://zenodo.org/record/849317
2006.2
A Game Audio Technology Overview
Veneri, Olivier Centre d'Etudes et de Recherche en Informatique, Conservatoire national des arts et métiers (CNAM); Paris, France / Research and Development Service, France Télécom; Lannion, France
Natkin, Stéphane Centre d'Etudes et de Recherche en Informatique, Conservatoire national des arts et métiers (CNAM); Paris, France
Le Prado, Cécile Centre d'Etudes et de Recherche en Informatique, Conservatoire national des arts et métiers (CNAM); Paris, France
Emerit, Marc Research and Development Service, France Télécom; Lannion, France
Abstract
This paper intends to give an insight in video game audio production. We try to lay down a general framework of this kind of media production in order to discuss and suggest improvement of the actual tool chain. The introductory part is some kind of big picture of game audio creation practice and the constraints that model it. In a second part we’ll describe the state-of-the-art of software tools and sketch a formal description of game activity. This background will lead us to make some assumption about game audio, suggest future research fields and relevance of linking it with computer music research’s area.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849319
Zenodo URL: https://zenodo.org/record/849319
2006.3
A Java Framework for Data Sonification and 3D Graphic Rendering
Vicinanza, Domenico Department of Mathematics and Computer Science, Università degli Studi di Salerno; Salerno, Italy
Abstract
Data audification is the representation of data by means of sound signals (waveforms or melodies typically). Although most data analysis techniques are exclusively visual in nature, data presentation and exploration systems could benefit greatly from the addition of sonification capabilities. In addition to that, sonic representations are particularly useful when dealing with complex, high-dimensional data, or in data monitoring or analysis tasks where the main goal is the recognition of patterns and recurrent structures. The main goal of this paper is to briefly present the audification process as a mapping between a discrete data set and a discrete set of notes (we shall deal with MIDI representation), and look at a couple of different examples from two well distinguished fields, geophysics and linguistics (seismograms sonificaton and text sonification). Finally the paper will present another example of the mapping between data sets and other information, namely a 3D graphic image generation (rendered with POVRay) driven by the ASCII text.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849321
Zenodo URL: https://zenodo.org/record/849321
2006.4
A model for graphical interaction applied to gestural control of sound
Couturier, Jean-Michel Blue Yeti; St Georges de Didonne, France
Abstract
This paper is about the use of an interaction model to describe digital musical instruments which have a
graphical interface. Interaction models have been developed into the Human-Computer Interaction (HCI) field to provide a framework for guiding designers and developers to design interactive systems. But digital musical instruments are very specific interactive systems: the user is totally in charge of the action and has to control simultaneously multiple continuous parameters. First, this paper introduces the specificities of digital musical instruments and how graphical interfaces are used in some of these instruments. Then, an interaction model called Instrumental Interaction is presented; this model is then refined to take into account the musical context. Finally, some examples of digital musical instruments are introduced and described with this model.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: Missing
Zenodo URL: Missing
2006.5
An XML-based Format for Advanced Music Fruition
Baratè, Adriano Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Haus, Goffredo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Ludovico, Luca Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Abstract
This paper describes an XML-based format that allows an advanced fruition of music contents. Thanks to such format, namely MX (IEEE PAR1599), and to the implementation of ad hoc interfaces, users can enjoy music from different points of view: the same piece can be described through different scores, video and audio performances, mutually synchronized. The purpose of this paper is pointing out the basic concepts of our XML encoding and presenting the process required to create rich multimedia descriptions of a music piece in MX format. Finally, a working application to play and view MX files will be presented.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849323
Zenodo URL: https://zenodo.org/record/849323
2006.6
Automatic Composition and Notation in Network Music Environments
Hajdu, Georg Hochschule für Musik und Theater Hamburg; Hamburg, Germany
Abstract
Using real-time notation in network music performance environments adds novel dimensions to man-machine interaction. After a 200-year history of algorithmic composition and a 30-year history of network music performance, a number of performance environments have recently been developed which allow performers to read music composed in real-time off a computer monitor. In the pieces written for these environments, the musicians are supposed to either improvise to abstract graphical symbols and/or to sight-read the score in standard music notation. Quintet.net—a network performance environment conceived in 1999 and used for several project involving Internet as well as local network concerts—has built-in notation capabilities, which makes the environment ideal for this type of music. The search for an ideal notation format, for which several known formats were compared, was an important aspect during the development of the Conductor component of Quintet.net—a component that reads and streams parts to the Client and Listener components. In real-time composition, these parts need to be generated automatically. Therefore, different scenarios can be envisaged, which are either automatic or interactive with the players shaping the outcome of a piece by their performance.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849325
Zenodo URL: https://zenodo.org/record/849325
2006.7
Composing Audio-visual Art: The Issue of Time and the Concept of Transduction
Courribet, Benoît CICM, University Paris VIII; Paris, France
Abstract
In this article we study the relations between images and sounds in the field of crossed-media composition. The article aims at giving some elements of reflection considering the issue of time. The notion of temporal object is exposed, and so are the mechanisms driving the perception of these objects. The issue of time is then discussed through the study of relations between audio and visual media.and several examples of strategies for mapping are exposed. Finally, the concept of transduction is presented.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849327
Zenodo URL: https://zenodo.org/record/849327
2006.8
Computer-aided Transformational Analysis With Tone Sieves
Noll, Thomas Escola Superior de Música de Catalunya (ESMUC); Barcelona, Spain
Andreatta, Moreno Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Agon, Carlos Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Amiot, Emmanuel CPGE, Lycée Privé Notre Dame de Bon Secours; Perpignan, France
Abstract
Xenakis’ tone sieves belong to the first examples of theoretical tools whose implementational character has contributed to the development of computation in music and musicology. According to Xenakis’ original intuition, we distinguish between elementary sieves and compound ones and trace the definition of sieve transformations along the sieve construction. This makes sense if the sieve construction is considered as part of the musical meaning. We explore this by analyzing Scriabin’s Study for piano Op. 65 No. 3 by means of intersections and unions of whole-tone and octatonic sieves. On the basis of this example we also demonstrate some aspects of the implementation of sieve-theory in Open-Music and thereby suggest further applications in computer-aided music analysis.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849331
Zenodo URL: https://zenodo.org/record/849331
2006.9
Computer Vision Method for Guitarist Fingering Retrieval
Burns, Anne-Marie Schulich School of Music, McGill University; Montreal, Canada
Wanderley, Marcelo M. Schulich School of Music, McGill University; Montreal, Canada
Abstract
This article presents a method to visually detect and recognize fingering gestures of the left hand of a guitarist. This method has been developed following preliminary manual and automated analysis of video recordings of a guitarist. These first analyses led to some important findings about the design methodology of such a system, namely the focus on the effective gesture, the consideration of the action of each individual finger, and a recognition system not relying on comparison against a knowledge base of previously learned fingering positions. Motivated by these results, studies on three important aspects of a complete fingering system were conducted. One study was on finger tracking, another on strings and frets detection, and the last on movement segmentation. Finally, these concepts were integrated into a prototype and a system for left hand fingering detection was developed.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849329
Zenodo URL: https://zenodo.org/record/849329
2006.10
Concurrent Constraints Models for Specifying Interactive Scores
Allombert, Antoine Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Assayag, Gérard Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Desainte-Catherine, Myriam Université Bordeaux-I; Bordeaux, France
Rueda, Camilo Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France / Pontificia Universidad Javeriana; Bogotá, Colombia
Abstract
We propose a formalism for the construction and performance of musical pieces composed of temporal structures involving discrete interactive events. The occurrence in time of these structures and events is partially defined according to constraints, such as Allen temporal relations. We represent the temporal structures using two constraint models. A constraints propagation model is used for the score composition stage, while a non deterministic temporal concurrent constraint calculus (NTCC) is used for the performance phase. The models are tested with examples of temporal structures computed with the GECODE constraint system library and run with a NTCC interpreter.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849333
Zenodo URL: https://zenodo.org/record/849333
2006.11
Exploring the Effect of Mapping Trajectories on Musical Performance
Van Nort, Doug Sound Processing and Control Laboratory (SPCL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Wanderley, Marcelo M. Input Devices and Music Interaction Laboratory (IDMIL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Abstract
The role of mapping as determinant of expressivity is examined. Issues surround the mapping of real-time control parameters to sound synthesis parameters are discussed, including several representations of the problem. Finally a study is presented which examines the effect of mapping on musical expressivity, on the ability to navigate sonic exploration and on visual feedback.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849335
Zenodo URL: https://zenodo.org/record/849335
2006.12
Extracting Musically-relevant Rhythmic Information From Dance Movement by Applying Pitch Tracking Techniques to a Video Signal
Guedes, Carlos School of Music and Performing Arts (ESMAE), P.Porto (Instituto Politécnico do Porto); Porto, Portugal / Escola Superior de Artes Aplicadas, Instituto Politécnico de Castelo Branco; Castelo Branco, Portugal
Abstract
In this paper, I discuss in detail the approach taken in the implementation of two external objects in Max/MSP [11] that can extract musically relevant rhythmic information from dance movement as captured by a video camera. These objects perform certain types of analysis on the digitized video stream and can enable dancers to generate musical rhythmic structures and/or to control the musical tempo of an electronicallygenerated sequence in real time. One of the objects, m.bandit,1 implements an algorithm that does the spectral representation of the frame-differencing video analysis signal and calculates its fundamental frequency in a fashion akin to pitch tracking. The fundamental frequency of the signal as calculated by this object, can be treated as a beat candidate and sent to another object, m.clock, an adaptive clock that can adjust the tempo of a musical sequence being played, thereby enabling the dancer the control of musical tempo in real time.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849337
Zenodo URL: https://zenodo.org/record/849337
2006.13
First Steps Towards a Digital Assistant for Performers and Stage Directors
Bonardi, Alain Maison des Sciences de l'Homme Paris Nord; La Plaine St-Denis, France
Truck, Isis Maison des Sciences de l'Homme Paris Nord; La Plaine St-Denis, France
Abstract
In this article, we present the first steps of our research work to design a Virtual Assistant for Performers and Stage Directors. Our aim is to be able to give an automatic feedback in stage performances. We collect video and sound data from numerous performances of the same show from which it should be possible to visualize the emotions and intents or more precisely “intent graphs”. To perform this, the collected data defining low-level descriptors are aggregated and converted into high-level characterizations. Then, depending on the retrieved data and on their distribution on the axis, we partition the universes into classes. The last step is the building of the fuzzy rules that are obtained from the classes and that permit the detecting of emotion states.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849339
Zenodo URL: https://zenodo.org/record/849339
2006.14
Generating Chants Using Mnemonic Capabilities
Iyengar, Sudharsan Winona State University; Winona, United States
Abstract
A chant is a simplistic repetitive song in which syllables may be assigned to a single tone. Additionally chants may be rhythmic and include simple melody. Chants can be considered speech or music that can convey emotion. Additionally, a chant can be monotonous, droning, and tedious. Fundamental to a chant is the notion of timing and note patterns. We present here a framework for the synthesis of chants of music notes. These are chants without syllables from spoken language. We introduced Mnemonic capabilities in [1] and utilize these to systematically generate chants. We illustrate our ideas using examples using the notes set{C, D, E, G, A, φ (or silence)} - a Pentatonic Scale (perfect fifths). First, we define, and structure, the use of timing and notes to develop the chant strings. Then we propose the use of mnemonics to develop different styles of musical chants. Finally we suggest the adoption of intonations and syllables for controlled generation of musical chants.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849341
Zenodo URL: https://zenodo.org/record/849341
2006.15
Imitative and Generative Orchestrations Using Pre-analysed Sounds Databases
Carpentier, Grégoire Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Tardieu, Damien Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Assayag, Gérard Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Rodet, Xavier Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Saint-James, Emmanuel Laboratoire d'Informatique de Paris 6 (LIP6), Université Paris 1 Panthéon-Sorbonne; Paris, France
Abstract
In this paper we will introduce a tool aimed at assisting composers in orchestration tasks. Thanks to this tool, composers can specify a target sound and replicate it with a given, pre-determined orchestra. This target sound, defined as a set of audio and symbolic features, can be constructed either by analysing a pre-recorded sound, or through a compositional process. We will then describe an orchestration procedure that uses large pre-analysed instrumental sound databases to offer composers a set of sound combinations. This procedure relies on a set of features that describe different aspects of the sound. Our purpose is not to build an exhaustive sound description, but rather to design a general framework which can be easily extended by adding new features when needed.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849343
Zenodo URL: https://zenodo.org/record/849343
2006.16
Interaction and Spatialization: Three Recent Musical Works
Risset, Jean-Claude Laboratoire de Mécanique et d'Acoustique (LMA); Marseille, France
Abstract
This presentation will describe the use of interaction and spatialization in the realization of three recent musical works. In Echappées, the computer responds to the live celtic harp by echoes or harmonizations produced with MaxMSP. Resonant Sound Spaces and Pentacle resort to the tape, either alone for the former or in dialogue with the harpsichord played live for the latter. For these two pieces, real-time synthesis and processing have been used to produce sound material for the tape, and a 8track spatialization has been elaborated, using the Holophon software designed by Laurent Pottier at GMEM. The presentation will be illustrated by sound examples.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849345
Zenodo URL: https://zenodo.org/record/849345
2006.17
Kinetic Engine: Toward an Intelligent Improvising Instrument
Eigenfeldt, Arne School for the Contemporary Arts, Simon Fraser University; Burnaby, Canada
Abstract
Kinetic Engine is an improvising instrument that generates complex rhythms. It is an interactive performance system that models a drum ensemble, and is comprised of four multi-agents (Players) that collaborate to create complex rhythms. Each agent performs a role, and decisions are made according to this understanding. Furthermore, the four Players are under the coordination of a software conductor in a hierarchical structure.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849347
Zenodo URL: https://zenodo.org/record/849347
2006.18
Minimalism and Process Music: A PureData Realization of Pendulum Music
Coco, Remigio Conservatorio Statale di Musica “O. Respighi” di Latina; Latina, Italy
Abstract
Minimalist music often made use of “processes” to express a musical idea. In our “computer-oriented” terms, we can define the musical processes of minimalist composers as predefined sequences of operations, or, in other words, as “compositional algorithms”. In this presentation, one important “process-based” work of the first period of minimalism, “Pendulum Music” by Steve Reich, has been re-created from scratch, using only a personal computer. The implementation of the “process”, as well as the simulation of the Larsen effect, has been made with Pure Data, an Open Source program widely available, and it is explained in detail hereafter. The main goal of this work was not to make a perfect reconstruction of the piece, but to recreate the compositional design and to focus on the musical aspects of the process itself. Therefore, no rigorous validation method has been designed for the simulation; instead, the audio results have been compared empirically with a recorded version.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849349
Zenodo URL: https://zenodo.org/record/849349
2006.19
Music Structure Representation: A Formal Model
Tagliolato, Paolo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Abstract
In the present work we introduce a general formal (Object Oriented) model for the representation of musical structure information, taking into account some common feature of the information vehiculed by music analysis. The model is suitable to represent many different kinds of musical analytical entities. As an example of both musical and mathematical-computational relevance, we introduce the D.Lewin’s GIS theory. A GIS is equivalent to a particular kind of group action over a set: we show that other related structures can be treated in a similar manner. We conclude with the prototype implementation of these ideas in MX, an XML format for music information.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849351
Zenodo URL: https://zenodo.org/record/849351
2006.20
OMAX-OFON
Assayag, Gérard Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bloch, Georges University of Strasbourg; Strasbourg, France
Chemillier, Marc University of Caen; Caen, France
Abstract
We describe an architecture for an improvisation oriented musician-machine interaction system. The virtual improvisation kernel is based on a statistical learning model. The working system involves a hybrid architecture using two popular composition/perfomance environments, Max and OpenMusic, that are put to work and communicate together. The Midi based OMAX system is described first, followed by the OFON system, its extension to audio.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849353
Zenodo URL: https://zenodo.org/record/849353
2006.21
Real-time Control of Greek Chant Synthesis
Zannos, Ioannis Department of Audiovisual Arts, Ionian University; Kerkyra, Greece
Georgaki, Anastasia Department of Musicology, University of Athens; Athens, Greece
Delviniotis, Dimitrios Department of Informatics and Telecommunications, University of Athens; Athens, Greece
Kouroupetroglou, Georgios Department of Informatics and Telecommunications, University of Athens; Athens, Greece
Abstract
This paper we report on an interdisciplinary project for modeling Greek chant with real-time vocal synthesis. Building on previous research, we employ a hybrid musical instrument: Phonodeon (Georgaki et al. 2005), consisting of a MIDI-accordeon coupled to a real-time algorithmic interaction and vocal synthesis engine. The synthesis is based on data provided by the AOIDOS program developed in the Department of the Computer science of the University of Athens, investigating Greek liturgical chant compared to bel canto singing. Phonodeon controls expressive vocal synthesis models based on formant synthesis and concatenated filtered samples. Its bellows serve as hardware control device that is physically analogous to the human breathing mechanism [georgaki, 1998a], while the buttons of the right hand can serve multiple functions. On the level of pitch structure, this paper focuses on a particular aspect of control, namely that of playing in the traditional non-tempered and flexible interval structure of Greek modes (ήχοι: echoi) while using the 12semitone piano-type keyboard of the left hand. This enables the musical exploration of the relationship between the spectral structure of the vocal timbre of Greek chant and characteristic intervals occuring in the modal structure of the chant. To implement that, we developed techniques for superimposing interval patterns of the modes on the keyboard of the phonodeon. The work is the first comprehensive interactive model of antique, medieval and modern near-eastern tunings. The techniques developed can be combined with techniques for other control aspects, such as timbre and vocal expression control, phoneme or (expressive/ornamental/melodic pattern, inflection) sequence recall and combination, data record on/off, or others, which form part of the phonodeon project. On the level of timbre and expression, we make use of data obtained by analysis from audio samples of chanting as control sources for synthesis by concatenation of control data, thereby providing an example of realtime application of Diphone techniques (Rodet and Levevre). This research can find applications in many computer music fields such as algorithmically controlled improvisation, microtonal music, music theory and notation of (algorithmic/computerized) real-time performance, and computer modeling of experimental or non-western musical styles.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849355
Zenodo URL: https://zenodo.org/record/849355
2006.22
Sound and Music Design for Games and Interactive Media
Natkin, Stéphane Graduate School of Games and Interactive Media, Conservatoire national des arts et métiers (CNAM); Angoulême, France
Le Prado, Cécile Centre d'Etudes et de Recherche en Informatique et Communication, Conservatoire national des arts et métiers (CNAM); Paris, France
Abstract
This paper presents the sound and music specialty of the master at ENJMIN (Ecole Nationale des Jeux et Media Interactifs Numériques: Graduate School of Games and Interactive Media) (http://www.enjmin.fr). The sound specialty is opened to composers, musicians, sound engineers, sound designers. The main goals of the school are to teach the use of sound and music in interactive media in general and video games in particular and the ability to work in multidisplinary teams. In the first section we present the whole master goal. The second section is devoted to the description of the sound programme. The third section presents other activities of the school (continuous, training, international partnership, research). The studio presentation will develop these topics through several students project’s demo.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849357
Zenodo URL: https://zenodo.org/record/849357
2006.23
Sound Texture Modeling: A Survey
Strobl, Gerda Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Eckel, Gerhard Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Rocchesso, Davide Department of Computer Science, Università di Verona; Verona, Italy
Abstract
Sound texture modeling is a widely used concept in computer music, that has its well analyzed counterpart in image processing. We report on the current state of different sound texture generation methods and try to outline common problems of the sound texture examples. Published results pursue different kinds of analysis /re-synthesis approaches that can be divided into methods that try to transfer existing techniques from computer graphics and methods that take advantage of well-known techniques found in common computer music systems. Furthermore we present the idea of a new texture generator framework, where different analysis and synthesis tools can be combined and tested with the goal of producing high quality sound examples.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849359
Zenodo URL: https://zenodo.org/record/849359
2006.24
Temporal Control Over Sound Synthesis Processes
Bresson, Jean Music Representations Team, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Agon, Carlos Music Representations Team, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This article addresses the problem of the representation of time in computer-assisted sound composition. We try to point out the specific temporal characteristics of sound synthesis processes, in order to propose solutions for a compositional approach using symbolic models and representations.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849361
Zenodo URL: https://zenodo.org/record/849361
2006.25
The Case Study of an Application of the System, "BodySuit" and "RoboticMusic" - Its Introduction and Aesthetics
Goto, Suguru Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This paper is intended to introduce the system, which combines "BodySuit" and "RoboticMusic," as well as its possibilities and its uses in an artistic application. "BodySuit" refers to a gesture controller in a Data Suit type. "RoboticMusic" refers to percussion robots, which are applied to a humanoid robot type. In this paper, I will discuss their aesthetics and the concept, as well as the idea of the "Extended Body".
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unknown
DOI: 10.5281/zenodo.849363
Zenodo URL: https://zenodo.org/record/849363
2006.26
Trends In/Over Time: Rhythm in Speech and Musical Melody in 19th-century Art Song
VanHandel, Leigh School of Music, Michigan State University; East Lansing, United States
Abstract
This paper presents the results of a quantitative study of the relationship between rhythmic characteristics of spoken German and French and the rhythm of musical melody in 19th-century art song. The study used a modified version of the Normalized Pairwise Variability Index, or nPVI, to measure the amount of variability between successive rhythmic events in the melodies of over 600 songs by 19 French and German composers. The study returned an unexpected result; songs written to texts in the two languages exhibited sharply diverging trends as a function of time through the 19th century. This trend is reflected both in the overall trends and in the trends of individual composers.
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unknown
DOI: 10.5281/zenodo.849365
Zenodo URL: https://zenodo.org/record/849365
2006.27
Using evolving physical models for musical creation in the Genesis environment
Cadoz, Claude ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Tache, Olivier ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
Physical modelling schemes are well known for their ability to generate plausible sounds, i.e. sounds that are perceived as being produced by physical objects. As a result, a large part of physical modelling research is devoted to the realistic synthesis of real-world sounds and has a strong link with instrumental acoustics. However, we have shown that physical modelling not only addresses sound synthesis, but also musical composition. In particular, mass-interaction physical modelling has been presented as enabling the musician to work both on sound production (i.e. microstructure) and events organization (i.e. macrostructure). This article presents a method for building mass-interaction models whose physical structure evolves during the simulation. Structural evolution is implemented in a physically consistent manner, by using nonlinear interactions that set temporary viscoelastic links between independent models. This yields new possibilities for music creation, particularly for the generation of complex sound sequences that exhibit an intimate articulation between the micro- and the macrostructure.
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unknown
DOI: Missing
Zenodo URL: Missing
2006.28
Vocabulaire de l'Espace et de la Spatialisation des Musiques Électroacoustiques: Présentation, Problématique et Taxinomie De l'Espace
Merlier, Bertrand Department of Music, University Lumière Lyon 2; Lyon, France
Abstract
La parution imminente du "Vocabulaire de l’espace et de la spatialisation des musiques électroacoustiques" est tout d’abord l’occasion de faire le point sur les activités du GETEME (Groupe d’Étude sur l’Espace dans les Musiques Électroacoustiques). La présentation de quelques termes essentiels et de leurs définitions donnera un aperçu de la teneur de l’ouvrage. Mais l’objectif principal de cette communication se situe au niveau de l’analyse du travail effectué et des méthodes employées. Les difficultés rencontrées lors de l’élaboration de ce document (sources documentaires, collecte, dépouillement, mise en forme, définitions en usage : floues ou divergentes...) nous ont amené à réaliser une taxinomie de l’espace et de la spatialisation. Cette classification sera présentée en détail. Nous verrons sur divers exemples, comment cet outil permet de lever la confusion de certaines définitions, comment il permet d’éviter les oublis. En conclusion, nous envisagerons quelques travaux de recherche à venir: le "vocabulaire" sera certainement une source importante de débats, de réflexions, de formalisations.
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unknown
DOI: 10.5281/zenodo.849367
Zenodo URL: https://zenodo.org/record/849367
Sound and Music Computing Conference 2007 (ed. 4)
Dates: from July 11 to July 13, 2007
Place: Lefkada, Greece
Proceedings info: Proceedings of the 4th Sound and Music Computing Conference (SMC07), ISBN 978-960-6608-75-9
2007.1
A Component-based Framework for the Development of Virtual Musical Instruments Based on Physical Modeling
Tzevelekos, Panagiotis Department of Informatics and Telecommunications, National and Kapodistrian University of Athens; Athens, Greece
Perperis, Thanassis Department of Informatics and Telecommunications, National and Kapodistrian University of Athens; Athens, Greece
Kyritsi, Varvara Department of Informatics and Telecommunications, National and Kapodistrian University of Athens; Athens, Greece
Kouroupetroglou, Georgios Department of Informatics and Telecommunications, National and Kapodistrian University of Athens; Athens, Greece
Abstract
We propose a framework for the design and development of component-based woodwind virtual instruments. Each functional part of the instrument is represented with an independent component, and can be created with different approaches, by unfamiliar constructors. Using the aforementioned framework, Virtual Zournas is implemented. The user can experiment with the instrument, changing its physical properties. Instrument control is performed via MIDI files or external MIDI devices .
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unknown
DOI: 10.5281/zenodo.849377
Zenodo URL: https://zenodo.org/record/849377
2007.2
Advanced Sound Manipulation in Interactive Multimedia Environments
Deliyiannis, Yannis Department of Audiovisual Arts, Ionian University; Corfu, Greece
Floros, Andreas Department of Audiovisual Arts, Ionian University; Corfu, Greece
Tsakostas, Christos Holistiks Engineering Systems; Athens, Greece
Abstract
Multimedia standards, frameworks and models are already well established for generalized presentations. However, the situation is much less advanced for systems, which require the combination of advanced sound-oriented features and capabilities similar to those used to interact with highly demanding visual content. In this respect, current commercial presentation applications have been found lacking, often revealing multifaceted presentation limitations, including lack of sound control and delivery. They rarely offer cross-platform compatibility, provide limited programmability, are restrictive on data-interaction, and only support static WWW-based delivery. To overcome the above-stated deficiencies, a number of innovations are proposed, including the presentation of a combined multimedia framework, supported by a model that describes content-connectivity and stream-synchronization, enabling interaction for all audiovisual data-types included in the system.
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unknown
DOI: 10.5281/zenodo.849381
Zenodo URL: https://zenodo.org/record/849381
2007.3
A Dynamic Interface for the Audio-visual Reconstruction of Soundscape, Based on the Mapping of its Properties
Stratoudakis, Constantinos Department of Music Studies Arts, Ionian University; Corfu, Greece
Papadimitriou, Kimon Department of Rural and Surveying Engineering, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
The application of hi-end technologies in multimedia platforms provides the dynamic setting of the parameters for the reproduction of audiovisual stimulus from natural environments (virtualization through real-time interaction). Additionally, the integration of cartographic products that describe quantitative and qualitative spatial properties expands multimedia’s capabilities for representations with geographical reference. The proposed interface combines data that are used for the mapping of a sonic environment, as well as sonic elements derived from field recordings and photographic material, in order to reconstruct in-vitro the soundscape of a protected area around Lake Antinioti, at northern Corfu, Greece.
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unknown
DOI: 10.5281/zenodo.849425
Zenodo URL: https://zenodo.org/record/849425
2007.4
A Generative Grammar Approach to Diatonic Harmonic Structure
Rohrmeier, Martin Centre for Music and Science, Faculty of Music, University of Cambridge; Cambridge, United Kingdom
Abstract
This paper aims to give a hierarchical, generative account of diatonic harmony progressions and proposes a generative phrase-structure grammar. The formalism accounts for structural properties of key, functional, scale and surface level. Being related to linguistic approaches in generative syntax and to the hierarchical account of tonality in the generative theory of tonal music (GTTM) [1], cadence-based harmony contexts and its elaborations are formalised. This approach covers cases of modulation, tonicisation and some aspects of large-scale harmonic form, and may be applied to large sets of diatonic compositions. Potential applications may rise in computational harmonic and corpus analysis, as well as in the music psychological investigation of tonal cognition.
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unknown
DOI: 10.5281/zenodo.849397
Zenodo URL: https://zenodo.org/record/849397
2007.5
A Grammatical Approach to Automatic Improvisation
Keller, Robert M. Harvey Mudd College; Claremont, United States
Morrison, David R. Harvey Mudd College; Claremont, United States
Abstract
We describe an approach to the automatic generation of convincing jazz melodies using probabilistic grammars. Uses of this approach include a software tool for assisting a soloist in the creation of a jazz solo over chord progressions. The method also shows promise as a means of automatically improvising complete solos in real-time. Our approach has been implemented and demonstrated in a free software tool.
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unknown
DOI: 10.5281/zenodo.849479
Zenodo URL: https://zenodo.org/record/849479
2007.6
Algorithmic Composition - "Gestalt Revolution" - a New Approach to a Unified View on Structuring Diverse Levels of Musical Composition
Schmitt, Jürgen Studio for Experimental Electronic Music (eem), Hochschule für Musik Würzburg; Würzburg, Germany
Abstract
Original method of revolving distinct structures, preserving their internal "gestalt“, mapped to: harmonic gestures, – ”quantised“ to 12-tet or free microtonality, rhythmic design, based on milliseconds or adapted to traditional mensural notation, overtone structures, e.g. resonance banks, based on frequencies or proportions, distributions and relations of musical formal elements. By ”reverse engineering“, starting from traditionally composed passages the author (composer/ pianist, synthesist) set out to systematize his research project and tried to apply methods from one field of the compositional process to any other. The method aims at a unified approach to generating musical material, controlling its mapping and application, synthesizing overtone spectra or the like and building form blocks.
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unknown
DOI: 10.5281/zenodo.849485
Zenodo URL: https://zenodo.org/record/849485
2007.7
A Neural Network Approach for Synthesising Timbres From Adjectives
Gounaropoulos, Alex Computing Laboratory, University of Kent; Canterbury, United Kingdom
Johnson, Colin G. Computing Laboratory, University of Kent; Canterbury, United Kingdom
Abstract
This paper describes a computer sound synthesis system, based on artificial neural networks, that constructs a mapping between adjectives and adverbs that describe timbres, and sounds having those timbres. This is used in two ways: firstly, to recognize the timbral characteristics of sounds supplied to the system, and, secondly, to make changes to sounds based on descriptions of timbral change.
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unknown
DOI: 10.5281/zenodo.849463
Zenodo URL: https://zenodo.org/record/849463
2007.8
A Neurocognitive Analysis of Rhythmic Memory Process as a Social Space Phenomenon
Bonda, Eva Cabinet Médical; Paris, France
Abstract
Functional neuroimaging has recently offered the means to map the workings of the human auditory system during music processing. I propose a cognitive theoretical account of rhythmic memory brain processing on the basis of current functional neuroimaging data on music perception in the light of my own work on the brain coding of body perception. This framework allows unifying experimental evidence showing activity in brain areas involved in the appreciation of the emotional cues conveyed by music, and data showing activity in the same areas but during the perception of emotional cues conveyed by body actions. This account postulates that the human brain may code the rhythmic processing space as a social space with communicative value.
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Paper type
unknown
DOI: 10.5281/zenodo.849405
Zenodo URL: https://zenodo.org/record/849405
2007.9
An Innovative Method for the Study of African Musical Scales: Cognitive and Technical Aspects
Arom, Simha Centre National de la Recherche Scientifique; Paris, France
Fernando, Nathalie Université de Montréal; Montreal, Canada
Marandola, Fabrice McGill University; Montreal, Canada
Abstract
Our aim is to demonstrate how music computing can increase efficiency in a field of humanities such as ethnomusicology. In particular, we will discuss issues concerning musical scales in Central Africa. We will describe a recent methodology developed by a multidisciplinary team composed of researchers from IRCAM and the CNRS. This methodology allows us to understand the implicit behaviour of musicians and the cognitive cultural categories of the functioning of scale systems.
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unknown
DOI: 10.5281/zenodo.849401
Zenodo URL: https://zenodo.org/record/849401
2007.10
A Platform for Real-Time Multimodal Processing
Camurri, Antonio InfoMus Lab, Università di Genova; Genova, Italy
Coletta, Paolo InfoMus Lab, Università di Genova; Genova, Italy
Demurtas, Mirko InfoMus Lab, Università di Genova; Genova, Italy
Peri, Massimiliano InfoMus Lab, Università di Genova; Genova, Italy
Ricci, Andrea InfoMus Lab, Università di Genova; Genova, Italy
Sagoleo, Roberto InfoMus Lab, Università di Genova; Genova, Italy
Simonetti, Marzia InfoMus Lab, Università di Genova; Genova, Italy
Varni, Giovanna InfoMus Lab, Università di Genova; Genova, Italy
Volpe, Gualtiero InfoMus Lab, Università di Genova; Genova, Italy
Abstract
We present an overview of the architecture and the main technical features of EyesWeb XMI (for eXtended Multimodal Interaction), a hardware and software platform for real-time multimodal processing of multiple data streams. This platform originates from the previous EyesWeb platform, but the XMI is not simply an updated version; it is the result of a 3-year work, concerninig a new conceptual model, design, and implementation. The new platform includes novel approaches integrating new kinds of interfaces (e.g. tangible acoustic interfaces) and a new set of tools for supporting research in multimodal architectures and interfaces. We discuss two case studies from two research projects at our Lab: the “Premio Paganini” Concert-Experiment and the Orchestra Explorer experiment on a new active listening paradigm. The real-time multimodal data streams processing is discussed. The experimental setups are used to clarify the model, technical issues involved in this new platform.
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unknown
DOI: 10.5281/zenodo.849487
Zenodo URL: https://zenodo.org/record/849487
2007.11
A Semi-automated Tagging Methodology for Orthodox Ecclesiastic Chant Acoustic Corpora
Chryssochoidis, Georgios Department of Informatics and Telecommunications, University of Athens; Athens, Greece
Delviniotis, Dimitrios Department of Informatics and Telecommunications, University of Athens; Athens, Greece
Kouroupetroglou, Georgios Department of Informatics and Telecommunications, University of Athens; Athens, Greece
Abstract
This paper addresses the problem of using a semi automated process for tagging lyrics, notation and musical interval metadata of an Orthodox Ecclesiastic Chant (OEC) voice corpus. The recordings are post processed and segmented using the PRAAT software tool. Boundaries are placed, thus creating intervals where all tagging metadata will be embedded. The metadata are encoded and then inserted as labels in the segmented file. The methodology and processes involved in this tagging process are described along with its evaluation with the DAMASKINOS prototype Acoustic Corpus of Byzantine Ecclesiastic Chant Voices.
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unknown
DOI: 10.5281/zenodo.849407
Zenodo URL: https://zenodo.org/record/849407
2007.12
A System of Interactive Scores Based on Petri Nets
Allombert, Antoine Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France / Université Bordeaux-I; Bordeaux, France
Assayag, Gérard Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Desainte-Catherine, Myriam Université Bordeaux-I; Bordeaux, France
Abstract
We propose a formalism for composition and performance of musical pieces involving temporal structures and discrete interactive events. We use the Allen relations to constrain these structures and to partially define a temporal order on them. During the score composition stage, we use a constraints propagation model to maintain the temporal relations between the structures. For the performance stage, we must allow the composer to trigger the interactive events “whenever” he wants and we have to also maintain the temporal relations in a real-time context. We use a model based on Petri nets for this stage. We also provide a solution to define global constraints in addition of the local temporal constraints inspired by the NTCC formalism.
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unknown
DOI: 10.5281/zenodo.849417
Zenodo URL: https://zenodo.org/record/849417
2007.13
Authenticity Issue in Performing Arts Using Live Electronics
Guercio, Mariella Università degli Studi di Urbino "Carlo Bo"; Urbino, Italy
Barthélemy, Jérôme Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bonardi, Alain Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
The CASPAR project is an European project devoted to the preservation of digitally encoded information. In the course of the project, the contemporary arts testbed aims at building a preservation framework for contemporary arts using electronic devices, and particularly for performing arts (music, dance, video installations...). The project addresses very specific issues as digital rights, or authenticity. In this paper, we address the issue of authenticity and give an overview of our approach. The approach of authenticity in CASPAR is based on provenance, that is to say, addressing the question of who, when, and why. Implementing this approach in the field of contemporary artistic production including electronic devices is not a trivial task. In CASPAR we intend to study the production process, and extract from the elements and traces left by the production process key elements for future assessment of authenticity. We will present some "case studies" in order to explain our approach. Notably, in the production of the String Quartet by Florence Baschet, the electronic processes are evaluated towards their robustness against changes of instrumentist, changes of tempo, changes in the hardware settings (particularly, removal of a specific sensor). We will show the interest of this evaluation for authenticity preservation issues, and give an insight on the tools we intend to develop, aiming at proving, beyond authentication of provenance, authentication of the results that can be assessed towards author's intentions.
Keywords
not available
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unknown
DOI: 10.5281/zenodo.849441
Zenodo URL: https://zenodo.org/record/849441
2007.14
Automatic Semantic Annotation of Music With Harmonic Structure
Weyde, Tillman Music Informatics Research Group, Department of Computing, City University London; London, United Kingdom
Wissmann, Jens Music Informatics Research Group, Department of Computing, City University London; London, United Kingdom
Abstract
This paper presents an annotation model for harmonic structure of a piece of music, and a rule system that supports the automatic generation of harmonic annotations. Musical structure has so far received relatively little attention in the context of musical metadata and annotation, although it is highly relevant for musicians, musicologists and indirectly for music listeners. Activities in semantic annotation of music have so far mostly concentrated on features derived from audio data and file-level metadata. We have implemented a model and rule system for harmonic annotation as a starting point for semantic annotation of musical structure. Our model is for the musical style of Jazz, but the approach is not restricted to this style. The rule system describes a grammar that allows the fully automatic creation of an harmonic analysis as tree-structured annotations. We present a prototype ontology that defines the layers of harmonic analysis from chords symbols to the level of a complete piece. The annotation can be made on music in various formats, provided there is a way of addressing either chords or time points within the music. We argue that this approach, in connection with manual annotation, can support a number of application scenarios in music production, education, and retrieval and in musicology. Keywords—harmonic analysis, semantic description, automatic semantic annotation, grammar, ontology.
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unknown
DOI: 10.5281/zenodo.849395
Zenodo URL: https://zenodo.org/record/849395
2007.15
Autosimilar Melodies and Their Implementation in OpenMusic
Amiot, Emmanuel CPGE, Lycée Privé Notre Dame de Bon Secours; Perpignan, France
Agon, Carlos Music Representations Team, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Andreatta, Moreno Music Representations Team, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Autosimilar melodies put together the interplay of several melodies within a monody, the augmentations of a given melody, and the notion of autosimilarity which is well known in fractal objects. From a mathematical study of their properties, arising from experimentations by their inventor, composer Tom Johnson, we have generalized the notion towards the dual aspects of the group of symmetries of a periodic melody, and the creation of a melody featuring a set of given symmetries. This is now a straightforward tool, both for composers and analysts, in OpenMusic visual programming language.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849483
Zenodo URL: https://zenodo.org/record/849483
2007.16
Beyond Movement an Animal, Beyond an Animal the Sound
Philippides, Alkiviades Department of Music Studies Arts, Ionian University; Corfu, Greece
Abstract
‘Beyond movement an animal, beyond an animal the sound’ is a solo interactive dance performance about the route of an animal from birth to an unnatural death. The project experiments with the control and adjustment of musical parameters through movement. Two questions raised during this work are: in which ways are movements translated into sound? How can a single person realize dance and composition, while at the same time efficiently handling software programming? The dancer takes decisions upon the real time sound mixing and processing via a miniDV camera, which is placed on the ceiling of the stage as well as EyesWeb and SuperCollider software. Parameters extracted from video to drive the sound were the coordinates of the center of gravity of the silhouette of the dancer, the total amount of movement of the silhouette and the duration of movement or stasis of the silhouette. These drove the triggering of sound samples and the processing of these via filters, granulation, pitch shift and spectral processing. The duration of the performance varies from ten to fourteen minutes, depending on the time the moving body needs to drive through the different phases of the choreography. Handling the entire production process from sound design over software programming to choreography and performance was a challenge that resulted in an aesthetically homogeneous and finely tuned result, that takes fully into advantage the flexibility afforded by “playing” the sound via the dancer’s movements. Thus “interaction” is here understood as the mutual adjustment of sound from the dancer’s movement and the dancer’s movement from the sound, both at the design stage and during the performance.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849429
Zenodo URL: https://zenodo.org/record/849429
2007.17
Cephalomorphic Interface for Emotion-based Music Synthesis
Maniatakos, Vassilios-Fivos A. Laboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur (LIMSI), Université Paris-Sud XI; Paris, France
Abstract
This article discusses to adapt ’Pogany’, a tangible cephalomorphic interface designed and realized in LIMSI-CNRS laboratory, to use for music synthesis purposes. We are interested in methods for building an affective emotion-based system for gesture and posture identification, captured through a facial interface that understands variations of luminosity by distance or touch. After a brief discussion on related research, the article introduces issues in the development of a robust gesture learning and recognition tool based on HMMs. Results of the first gesture training and recognition system built are presented and evaluated. Explicit future work is described, as well as further possible improvements concerning the interface, the recognition system and its mapping with a music synthesis tool.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849435
Zenodo URL: https://zenodo.org/record/849435
2007.18
Controlling Aural and Visual Particle Systems Through Human Movement
Guedes, Carlos School of Music and Performing Arts (ESMAE), P.Porto (Instituto Politécnico do Porto); Porto, Portugal / Escola Superior de Artes Aplicadas, Instituto Politécnico de Castelo Branco; Castelo Branco, Portugal
Woolford, Kirk Department of Music, Lancaster University; Lancaster, United Kingdom
Abstract
This paper describes the methods used to construct an interactive installation using human motion to animate both an aural and visual particle system in synch. It outlines the rotoscoping, meta-motion processing, and visual particle system software. The paper then goes into a detailed explanation of the audio software developed for the project.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849431
Zenodo URL: https://zenodo.org/record/849431
2007.19
Cordis Anima Physical Modeling and Simulation System Analysis
Kontogeorgakopoulos, Alexandros ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Cadoz, Claude ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
The CORDIS-ANIMA physical modeling system is one of the oldest techniques for digital sound synthesis via physical modeling. This formalism which is based on the mass-interaction paradigm has been designed and developed by ACROE in several stages since 1978. The aim of this article is to enlighten some special and particulars features of this approach by exploiting it mathematically. Linear CORDIS-ANIMA (CA) models are studied and presented using several useful system representations like system function input/output external descriptions, state space internal descriptions, finite difference model, modal decomposition, electrical analogous circuits, CA networks and digital signal processing block diagrams.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849459
Zenodo URL: https://zenodo.org/record/849459
2007.20
Digitally Augmented Everyday Objects in Music Composition
Kojš, Juraj Department of Music, University of Virginia; Charlottesville, United States
Serafin, Stefania Department of Medialogy, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
This paper discusses three instances of compositions, in which physical and cyber everyday objects interact. The physical objects such as plastic corrugated tubes, plastic superballs, glass marbles, cocktail shakers, electric blenders, and others provide unique musical data for the performance and input data for their physically modeled counterparts. Besides the compositional strategies, the article focuses on the software and hardware issues connected with tracking, parametrical mapping, interfacing, and physical modeling of everyday objects.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849481
Zenodo URL: https://zenodo.org/record/849481
2007.21
Discovery of Generalized Interval Patterns
Conklin, Darrell Music Informatics Research Group, Department of Computing, City University London; London, United Kingdom
Bergeron, Mathieu Music Informatics Research Group, Department of Computing, City University London; London, United Kingdom
Abstract
This paper presents a method for pattern discovery based on viewpoints and feature set patterns. The representation for pattern components accommodates in a fully general way the taxonomic relationships that may exist between interval classes. A heuristic probabilistic hill climbing algorithm is developed to rapidly direct the search towards interesting patterns. The method can be used for single piece analysis, for comparison of two pieces, and also for pattern analysis of a large corpus. The method is applied to the music of French singer-songwriter Georges Brassens.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849413
Zenodo URL: https://zenodo.org/record/849413
2007.22
Embodiment and Agency: Towards an Aesthetics of Interactive Performativity
Kim, Jin Hyun Institute of Musicology, University of Cologne; Cologne, Germany
Seifert, Uwe Institute of Musicology, University of Cologne; Cologne, Germany
Abstract
The aim of this paper is to take first steps in direction of a scientifically oriented aesthetics of New Media Art, taking into account the transformation of musical aesthetics taking place at present induced by new digital methods in artistic sound and music computing. Starting from the observation of relevant current issues in music composition and performances such as gesture control in algorithmic sound synthesis, live coding, musical robotics, and live algorithms for music, certain important concepts concerning a theory of human-machine interaction, which are at present under development in our research project C10 "Artistic Interactivity in Hybrid Networks" as part of the collaborative research center SFB/FK 427 "Media and Cultural Communication", are introduced and related to artistic practices. The essential concept of this theory – "interactivity" – is used as a generic term for different kinds of human- machine interactions and is closely related to "agency", "situatedness", and "embodiment". "Agency" stresses a non-asymmetrical relationship between humans and machines. To make clear that some concepts of digital interaction are not conceived of as truly interactive, problems of disembodiment in computer and interactive music and new approaches of embodiment and situatedness in philosophy and cognitive science are discussed. This discussion shows that embodiment serves as a necessary condition for interactivity. Finally, perspectives towards an aesthetics of interactive performativity are discussed, taking into account interactivity, agency, and embodiment. "Performativity" – as developed in German media theories and aesthetics – is characterized as the capacity of a performative act to generate meaning and "reality". It is proposed as a theoretical approach to an aesthetics of New Media Art.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849443
Zenodo URL: https://zenodo.org/record/849443
2007.23
Experimental (δ, γ)-Pattern-Matching with Don't Cares
Iliopoulos, Costas S. Algorithm Design Group, Department of Computer Science, King's College London; London, United Kingdom
Mohamed, Manal Algorithm Design Group, Department of Computer Science, King's College London; London, United Kingdom
Mohanaraj, Velumailum Algorithm Design Group, Department of Computer Science, King's College London; London, United Kingdom
Abstract
The $\delta$-Matching problem calculates, for a given text $T_{1\ldots n}$ and a pattern $P_{1\ldots m}$ on an alphabet of integers, the list of all indices (...). The $\gamma$-Matching problem computes, for given T and P , the list of all indices (...). When a “don’t care” symbol occurs, the associated difference is counted as zero. In this paper, we give experimental results for the different matching algorithms that handle the presence of “don’t care” symbols. We highlight some practical issues and present experimental analysis for the current most efficient algorithms that calculate (...) , for pattern P with occurrences of “don’t cares”. Moreover, we present our own version of $\gamma$-Matching algorithm.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849411
Zenodo URL: https://zenodo.org/record/849411
2007.24
Expressive Text-to-speech Approaches
Kanellos, Ioannis Department of Computer Science, Telecom Bretagne; Brest, France
Suciu, Ioana Department of Computer Science, Telecom Bretagne; Brest, France / France Télécom; Lannion, France
Moudenc, Thierry France Télécom; Lannion, France
Abstract
The core concern of this paper is the modelling and the tractability of expressiveness in natural voice synthesis. In the first part we quickly discuss the imponderable gap between natural and singing voice synthesis approaches. In the second part we outline a four level model and a corpus-based methodology in modelling expressive forms—an essential step towards expressive voice synthesis. We then try to contrast them with recurrent concerns in singing voice synthesis. We finally undertake a first reflection about a possible transposition of the approach to singing voice. We conclude with some program considerations in Research and Development for the singing voice synthesis, inspired from natural voice synthesis techniques.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849379
Zenodo URL: https://zenodo.org/record/849379
2007.25
Fifty Years of Digital Sound for Music
Risset, Jean-Claude Laboratoire de Mécanique et d'Acoustique (LMA); Marseille, France
Abstract
Fifty years ago, Max Mathews opened new territories for music as he implemented the first digital synthesis and the first digital recording of sound. This presentation illustrates some specific problems and possibilities of computer music, focusing on the perception of musical sound and reflecting the points of view of the author.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849369
Zenodo URL: https://zenodo.org/record/849369
2007.26
Fractured Sounds, Fractured Meanings: A Glove-controlled Spectral Instrument
Litke, David School of Music, The University of British Columbia (UBC); Vancouver, Canada
Abstract
The compositional practice of applying data collected from FFT analyses to pre-compositional organization has been well established by composers such as Gerard Grisey, Tristan Murial, and Kaija Saariaho. The instrument presented here builds upon fundamental ideas of the spectral composers, applying the concept of timbral disintegration and re-synthesis in a real-time environment. By allowing a performer to sample a source sound, de-construct its overtone spectrum, and manipulate its individual components in a live performance environment, the Spectral Instrument facilitates the audience's perception and comprehension of spectral concepts. In order to afford performers expressive, gestural control over spectral materials, the instrument uses a three-dimensional glove controller as its primary interface. In using the instrument to deconstruct and manipulate the overtones of the human voice, interesting parallels emerge between the semantic structures of language and timbral identities.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849433
Zenodo URL: https://zenodo.org/record/849433
2007.27
From Music Symbolic Information to Sound Synthesis: An XML-based Approach
Haus, Goffredo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Ludovico, Luca Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Russo, Elisa Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Abstract
This paper deals with the automatic generation of computer-driven performances and related audio renderings of music pieces encoded in symbolic format. A particular XML-based format, namely MX, is used to represent the original music information. The first step is illustrating how symbolic information can originate music performances. The format we have chosen to represent performance information is Csound. Then, an audio rendering is automatically produced. Finally, we will show how the aforementioned computer-generated information can be linked to the original symbolic description, in order to provide an advanced framework for heterogeneous music contents in a single XML-based format.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849455
Zenodo URL: https://zenodo.org/record/849455
2007.28
Generation and Representation of Data and Events for the Control of Sound Synthesis
Bresson, Jean Music Representations Team, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Stroppa, Marco State University of Music and the Performing Arts Stuttgart (HMDK); Stuttgart, Germany
Agon, Carlos Music Representations Team, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This article presents a system created in the computer-aided composition environment OpenMusic in order to handle complex compositional data related to sound synthesis processes. This system gathers two complementary strategies: the use of sound analysis data as basic material, and the specification of abstract rules in order to automatically process and extend this basic material.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849423
Zenodo URL: https://zenodo.org/record/849423
2007.29
Gestural Control of Sonic Swarms: Composing With Grouped Sound Objects
Davis, Tom Sonic Arts Research Centre (SARC), Queen's University Belfast; Belfast, United Kingdom
Karamanlis, Orestis Sonic Arts Research Centre (SARC), Queen's University Belfast; Belfast, United Kingdom
Abstract
This paper outlines an alternative controller designed to diffuse and manipulate a swarm of sounds in 3- dimensional space and discusses the compositional issues that emerge from its use. The system uses an algorithm from a nature-derived model describing the spatial behavior of a swarm. The movement of the swarm is mapped in the 3- dimensional space and a series of sound transformation functions for the sonic agents are implemented. The notion of causal relationships is explored regarding the spatial movement of the swarm and sound transformation of the agents by employing the physical controller as a performance, compositional and diffusion tool.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849427
Zenodo URL: https://zenodo.org/record/849427
2007.30
Haptic Feedback for Improved Positioning of the Hand for Empty Handed Gestural Control
Modler, Paul Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Myatt, Tony University of York; York, United Kingdom
Abstract
The fast development of information technology, which to a large extent deals intensively with human communication, requires a means to integrate gestures into man machine communication. The available CPU power of current computers as well as low cost video devices provide the facilities for tracking human motion by analysis of camera images [5]. In a video tracking environment benefits of mapping freely human gestures to sound and music parameters are often combined with the drawback of a limited feedback to the user. In the case of hand gestures tracked by a video system, a precise positioning of the hand in the gestural space is difficult through the varying bio- motor features of different gestures. In this paper two approaches are proposed for providing a performer with haptic feedback of the hand position whereby the gestural space of the hand is divided in radial and concentric sectors. Two approaches are proposed: a tactile feedback through vibrating actuators and audio feedback through different sound generators.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849493
Zenodo URL: https://zenodo.org/record/849493
2007.31
Horizontal and Vertical Integration/Segregation in Auditory Streaming: A Voice Separation Algorithm for Symbolic Musical Data
Karydis, Ioannis Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Nanopoulos, Alexandros Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Papadopoulos, Apostolos Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Cambouropoulos, Emilios Department of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Manolopoulos, Yannis Department of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
Listeners are thought to be capable of perceiving multiple voices in music. Adopting a perceptual view of musical ‘voice’ that corresponds to the notion of auditory stream, a computational model is developed that splits a musical score (symbolic musical data) into different voices. A single ‘voice’ may consist of more than one synchronous notes that are perceived as belonging to the same auditory stream; in this sense, the proposed algorithm, may separate a given musical work into fewer voices than the maximum number of notes in the greatest chord (e.g. a piece consisting of four or more concurrent notes may be separated simply into melody and accompaniment). This is paramount, not only in the study of auditory streaming per se, but also for developing MIR systems that enable pattern recognition and extraction within musically pertinent ‘voices’ (e.g. melodic lines). The algorithm is tested qualitatively and quantitatively against a small dataset that acts as groundtruth.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849469
Zenodo URL: https://zenodo.org/record/849469
2007.32
Image Features Based on Two-dimensional FFT for Gesture Analysis and Recognition
Modler, Paul Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Myatt, Tony University of York; York, United Kingdom
Abstract
This paper describes features and the feature extraction processing which were applied for recognising gestures by artificial neural networks. The features were applied for two cases: time series of luminance rate images for hand gestures and time series of pure grey-scale images of the facial mouth region. A focus will be on the presentation and discussion of the application of 2-dimensional Fourier transformed images both for luminance rate feature maps of hand gestures and for greyscale images of the facial mouth region. Appearance-based features in this context are understood as features based on whole images, which perform well for highly articulated objects. The described approach was used based on our assumption that highly articulated objects are of great interest for musical applications.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849491
Zenodo URL: https://zenodo.org/record/849491
2007.33
Image to Sound and Sound to Image Transform
Spyridis, Haralampos C. Department of Music, University of Athens; Athens, Greece
Moustakas, Aggelos K. University of Piraeus; Athens, Greece
Abstract
Objective of our paper is the presentation of a software we wrote, which creates the sound analog of an image, as well as the image analog of a sound. To the best of our knowledge, the proposed process is original.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849473
Zenodo URL: https://zenodo.org/record/849473
2007.34
Implementation of Algorithms to Classify Musical Texts According to Rhythms
Chen, Arbee L. P. Department of Computer Science, National Chengchi University; Taiwan, Taiwan
Iliopoulos, Costas S. Algorithm Design Group, Department of Computer Science, King's College London; London, United Kingdom
Michalakopoulos, Spiros Algorithm Design Group, Department of Computer Science, King's College London; London, United Kingdom
Rahman, Mohammad Sohel Algorithm Design Group, Department of Computer Science, King's College London; London, United Kingdom
Abstract
An interesting problem in musicology is to classify songs according to rhythms. A rhythm is represented by a sequence of “Quick” (Q) and “Slow” (S) symbols, which correspond to the (relative) duration of notes, such that S = 2Q. Recently, Christodoulakis et al. [16] presented an efficient algorithm that can be used to classify musical texts according to rhythms. In this paper, we implement the above algorithm along with the naive brute force algorithm to solve the same problem. We then analyze the theoretical time complexity bounds with the actual running times achieved by the experiments and compare the results of the two algorithms.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849409
Zenodo URL: https://zenodo.org/record/849409
2007.35
Injecting Periodicities: Sieves as Timbres
Exarchos, Dimitris Department of Music, Goldsmiths, University of London; London, United Kingdom
Abstract
Although Xenakis’s article on sieves was published in 1990, the first extended reference to Sieve Theory is found in the final section of ‘Towards a Metamusic’ of 1967. There are certain differences among the two. The section of ‘Metamusic’ is titled ‘Sieve Theory’ whereas the 1990 article simply ‘Sieves’. The latter is more practical, as it provides a tool for treating sieves (with the two computer programmes). These two writings mark two periods: during the first, sieves were of the periodic asymmetric type, with significantly large periods; in the more recent, they were irregular with absent periodicity. Also, the option of a simplified formula only appears in the 1990 article: there is a progression from the decomposed formula to the simplified one. This progression reflects Xenakis’s aesthetic of sieves as timbres and is here explored under the light of the idea of injected periodicities.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849389
Zenodo URL: https://zenodo.org/record/849389
2007.36
Is Knowledge Emerging in the Secrecy of Our Digital Collections?
Rousseaux, Francis Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bonardi, Alain Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Object-oriented computer science was created to simulate our activities of placing objects in identified and labeled class structures. As we know, its success was immediate. Recently, an innovative trend appeared. It is characterized by the mobilization of object-oriented computer science for the organization of our collections which are considered like heaps of objects waiting to be classified in ad-hoc classes that could be created at the same time. Undeniably, collecting is an older activity than classifying, in so far as it allows the useful experimentation of the concepts of extension (in the case of a spatiotemporal, even temporary and ephemeral arrangement) and of intension in the idea of an abstract order of similarities. We always put together a collection of something, which makes it impossible to typify the activity regardless of the objects, and which therefore disturbs the modeler's customary practices.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849445
Zenodo URL: https://zenodo.org/record/849445
2007.37
KLAMA: The Voice From Oral Tradition in Death Rituals to a Work for Choir and Live Electronics
Spiropoulos, Georgia Composer, Independent; Paris, France
Meudic, Benoît Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Klama, for mixed choir, live electronics & prerecorded sounds, has its origins in the ritual lament of Southern Peloponnese (Greece); a “polyphony” composed of improvised monodies (moirolóya), epodes, crying, screams and monologues, accompanied by ritual gestures. By its acoustic violence the lament can be considered an alteration of vocality which affects simultaneously tonality, timbre and language. Klama has been developed in three levels, a nexus where vocal writing interacts with electroacoustics and live electronics, the latter seen as a metaphore of the inherent vocal alterations on the lament. In this paper we will show : 1) how the compositional material derived from the voice in oral and byzantine church tradition is explored for the choir and electronic writing; 2) how the three levels of Klama, acoustic, electroacoustic & live electronics interact through the act of composition and by means of the technological tools (Open Music, Max/Msp, Audio Sculpt).
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849447
Zenodo URL: https://zenodo.org/record/849447
2007.38
Large Scale Musical Instrument Identification
Benetos, Emmanouil Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Kotti, Margarita Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Kotropoulos, Constantine Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
In this paper, automatic musical instrument identification using a variety of classifiers is addressed. Experiments are performed on a large set of recordings that stem from 20 instrument classes. Several features from general audio data classification applications as well as MPEG-7 descriptors are measured for 1000 recordings. Branch-and-bound feature selection is applied in order to select the most discriminating features for instrument classification. The first classifier is based on non-negative matrix factorization (NMF) techniques, where training is performed for each audio class individually. A novel NMF testing method is proposed, where each recording is projected onto several training matrices, which have been Gram-Schmidt orthogonalized. Several NMF variants are utilized besides the standard NMF method, such as the local NMF and the sparse NMF. In addition, 3-layered multilayer perceptrons, normalized Gaussian radial basis function networks, and support vector machines employing a polynomial kernel have also been tested as classifiers. The classification accuracy is high, ranging between 88.7\% to 95.3\%, outperforming the state-of-the-art techniques tested in the aforementioned experiment.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849461
Zenodo URL: https://zenodo.org/record/849461
2007.39
LISTEN LISBOA: Scripting Languages for Interactive Musical Installations
Le Prado, Cécile Centre d'Etudes et de Recherche en Informatique et Communication, Conservatoire national des arts et métiers (CNAM); Paris, France
Natkin, Stéphane Centre d'Etudes et de Recherche en Informatique et Communication, Conservatoire national des arts et métiers (CNAM); Paris, France
Abstract
This paper starts from an experimental interactive musical installation designed at IRCAM: “LISTEN LISBOA”. This installation relies on a perceptual paradox: spectators are walking into a real space, see this space and at the same time hears through headphones a virtual sound space, mapped to the real one. In the first part of this paper we present this installation and more precisely the interactive musical “scenario” designed by the composer. We derive from this example general need for tools, used by composers working on this kind of installation. We show that these needs are close to those of video game level designers and associated scene languages with some extensions.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849383
Zenodo URL: https://zenodo.org/record/849383
2007.40
Mapping and Dimensionality of a Cloth-based Sound Instrument
Birnbaum, David Input Devices and Music Interaction Laboratory (IDMIL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Abtan, Freida Concordia University; Montreal, Canada
Sha, Xin Wei Concordia University; Montreal, Canada
Wanderley, Marcelo M. Input Devices and Music Interaction Laboratory (IDMIL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Abstract
This paper presents a methodology for data extraction and sound production derived from cloth that prompts “improvised play” rather than rigid interaction metaphors based on preexisting cognitive models. The research described in this paper is a part of a larger effort to uncover the possibilities of using sound to prompt emergent play behaviour with pliable materials. This particular account documents the interactivation of a stretched elastic cloth with an integrated sensor array called the “Blanket”.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849499
Zenodo URL: https://zenodo.org/record/849499
2007.41
Mapping Chaotic Dynamical Systems Into Timbre Evolution
Rizzuti, Constantino Department of Linguistics, Università della Calabria; Arcavacata di Rende, Italy
Abstract
Until now many approaches have been used to transform in music and sounds time series produced by dynamical systems. Mainly these approaches can be divided in two categories: high level, finalized to melodic pattern generation, low level, in which dynamical systems are used to generate sound samples. In the present work we are going to present a new approach realizing a mapping at an intermediate level between the two previous mentioned in which we use chaotic systems to control the parameters of a sound synthesis process.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849375
Zenodo URL: https://zenodo.org/record/849375
2007.42
Measured Characteristics of Development in Adolescent Singers
Barlow, Christopher School of Computing and Communications, Solent University Southampton; Southampton, United Kingdom
Howard, David M. Department of Electronics, University of York; York, United Kingdom
Abstract
Electrolaryngographic recordings were made of spoken and sung voices of 256 trained and untrained singers aged 8-18. The authors examined measures of Larynx Closed Quotient (CQ) over a sung scale and spoken passage and related them to the parameters of sex, development and vocal training. A positive correlation between CQ and development was found for both the singing and spoken voices of boys. Girls, however, showed a negative correlation between sung CQ and development, but exhibited no correlation between spoken CQ and vocal development. Trained singers in both sexes exhibited slightly lowered mean sung CQ, with a reduced range of values and lower standard deviation, possibly demonstrating greater control over the vocal mechanism. It is proposed that this demonstration of qnuntifiable vocal differences could form the basis of a biofeedback tool for pedagogoy and vocal health monitoring.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849399
Zenodo URL: https://zenodo.org/record/849399
2007.43
Mixing Time Representations in a Programmable Score Editor
Agon, Carlos Music Representations Team, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bresson, Jean Music Representations Team, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This article presents a new type of document developed in the computer-aided composition environment OpenMusic. The sheet extends the compositional tools of this environment by putting forward the concepts of score and music notation. Two principal questions are dealt with: the integration of musical objects corresponding to heterogeneous time systems (e.g. traditionnal music notation representations and linear time representations), and the integration of programs and functional descriptions with the notation aspects within the score framework.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849415
Zenodo URL: https://zenodo.org/record/849415
2007.44
Modelling Dynamics of Key Induction in Harmony Progressions
Rohrmeier, Martin Centre for Music and Science, Faculty of Music, University of Cambridge; Cambridge, United Kingdom
Abstract
This paper presents a statistical model of key induction from given short harmony progressions and its application in modelling dynamics of on-line key induction in harmonic progressions with a sliding window approach. Using a database of Bach’s chorales, the model induces keys and key profiles for given harmonic contexts and accounts for related music theoretical concepts of harmonic ambiguity and revision. Some common results from music analytical practice can be accounted for with the model. The sliding window key induction gives evidence of cases in which key is established or modulation is recognised even though neither dominant nor leading tone was involved. This may give rise to a more flexible, probabilistic interpretation of key which would encompass ambiguity and under-determination. In addition, a novel method of harmonically adequate segmentation is presented.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849393
Zenodo URL: https://zenodo.org/record/849393
2007.45
Multi-channel Formats in Electroacoustic Composition: Acoustic Space as a Carrier of Musical Structure
Stavropoulos, Nikos Leeds Metropolitan University; Leeds, United Kingdom
Abstract
The purpose of this paper is to examine and compare multi-channel compositional practices in the scope of electroacoustic music and discuss arising issues regarding compositional methodology, rationale, performance and dissemination of multi-channel works with examples drawn from the author’s compositional output. The paper describes principal theories of musical space and draws parallels between those and compositional practices whilst discussing the articulation of acoustic space as another expressive dimension in the musical language with reference to specific multi-channel formats.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849449
Zenodo URL: https://zenodo.org/record/849449
2007.46
ORPHEUS: A Virtual Learning Environment of Ancient Greek Music
Politis, Dionysios Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Margounakis, Dimitrios Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Botsaris, George Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Papaleontiou, Leontios Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
The applications ORPHEUS and ARION have been presented to vast audiences during the International Fair of Thessaloniki between 8-17 September 2006. They were presented in international conferences, in nation-wide radio emissions, in newspaper and magazine articles. ORPHEUS has been supported by the “HERMES” 1 project, while ARION is under the auspices of the SEEArchWeb 2 project. ORPHEUS is an interactive presentation of Ancient Greek Musical Instruments. The virtual environment of ORPHEUS allows the experimentation with the use and the sounds of the modeled ancient instruments. The Ancient Greek Guitar (“Kithara”), which was the first modeled instrument, can be virtually strummed using the mouse or the keyboard. The auditory result is ancient Greek melodies. The application, which is accompanied by information about the history of Ancient Greek Music and a picture gallery relative to the Ancient Greek Instruments, has mainly educational character. Its main scope is to demonstrate the Ancient Greek Musical Instruments to the audience.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849467
Zenodo URL: https://zenodo.org/record/849467
2007.47
Pitch Spelling: Investigating Reductions of the Search Space
Honingh, Aline Music Informatics Research Group, Department of Computing, City University London; London, United Kingdom
Abstract
Pitch spelling addresses the question of how to derive traditional score notation from pitch classes or MIDI numbers. In this paper, we motivate that the diatonic notes in a piece of music are easier to spell correctly than the non-diatonic notes. Then we investigate 1) whether the generally used method of calculating the proportion of correctly spelled notes to evaluate pitch spelling models can be replaced by a method that concentrates only on the non- diatonic pitches, and 2) if an extra evaluation measure to distinguish the incorrectly spelled diatonic notes from the incorrectly spelled non-diatonic notes would be useful. To this end, we calculate the typical percentage of pitch classes that correspond to diatonic notes and check whether those pitch classes do indeed refer to diatonic notes in a piece of music. We explore extensions of the diatonic set. Finally, a good performing pitch spelling algorithm is investigated to see what percentage of its incorrectly spelled notes are diatonic notes. It turns out that a substantial part of the incorrectly spelled notes consist of diatonic notes, which means that the standard evaluation measure of pitch spelling algorithms cannot be replaced by a measure that only concentrates on non-diatonic notes without losing important information. We propose instead that two evaluation measures could be added to the standard correctness rate to be able to give a more complete view of a pitch spelling model.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849391
Zenodo URL: https://zenodo.org/record/849391
2007.48
Preparing for TreeTorika: Computer-assisted Analysis of Mao's Oratory
Lindborg, PerMagnus School of Contemporary Music, LASALLE College of the Arts; Singapore, Singapore
Abstract
This paper examines computer-assisted analysis techniques in extracting musical features from a recording of a speech by Mao Zedong. The data was used to prepare compositional material such as global form, melody, harmony and rhythm for TreeTorika for chamber orchestra. The text focuses on large-scale segmentation, melody transcription, quantification and quantization 1 . It touches upon orchestration techniques but does not go into other aspects of the work such as constrained-based rhythm development. Automatic transcription of the voice was discarded in favour of an aurally based method supported by tools in Amadeus and Max/MSP. The data were processed in OpenMusic to optimise the notation with regards to accuracy and readability for the musicians. The harmonic context was derived from AudioSculpt partial tracking and chord-sequence analyses. Finally, attention will be given to artistic and political considerations when using recordings of such an intensively disputed public figure as Mao.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849457
Zenodo URL: https://zenodo.org/record/849457
2007.49
Prolegomena to Sonic Toys
De Götzen, Amalia CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Serafin, Stefania Department of Medialogy, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
A variety of electronic sonic toys is available in the market. However, such toys are usually played by pushing buttons which trigger different sampled sounds. In this paper we advocate the possibility of using continuous natural gestures connected with synthesized sounds for the creation of enactive sonic toys.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849421
Zenodo URL: https://zenodo.org/record/849421
2007.50
Real-time Spatial Mixing Using Binaural Processing
Tsakostas, Christos Holistiks Engineering Systems; Athens, Greece
Floros, Andreas Department of Audiovisual Arts, Ionian University; Corfu, Greece
Deliyiannis, Yannis Department of Audiovisual Arts, Ionian University; Corfu, Greece
Abstract
In this work, a professional audio mastering / mixing software platform is presented which employs state-of-the-art binaural technology algorithms for efficient and accurate sound source positioning. The proposed mixing platform supports high-quality audio (typically 96kHz/24bit) for an arbitrary number of sound sources, while room acoustic analysis and simulation models are also incorporated. All binaural calculations and audio signal processing/mixing are performed in real-time, due to the employment of an optimized binaural 3D Audio Engine developed by the authors. Moreover, all user operations are performed through a user-friendly graphical interface allowing the efficient control of a large number of binaural mixing parameters. It is shown that the proposed mixing platform achieves subjectively high spatial impression, rendering it suitable for high-quality professional audio applications.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849465
Zenodo URL: https://zenodo.org/record/849465
2007.51
Reviewing the Transformation of Sound to Image in New Computer Music Software
Lemi, Esther Department of Music, National and Kapodistrian University of Athens; Athens, Greece
Georgaki, Anastasia Department of Music, National and Kapodistrian University of Athens; Athens, Greece
Abstract
In the following essay we are going to analyse the relationship between sound and image in computer music. We will be examining sound visualisation software, and its evolution over the thirty-five year timespan in which it has existed. How we judge software, is based on aesthetic criteria, the way they were handed down to us from theories of abstract painting (20th century avant-garde) , the theory of montage by Sergei Eisenstein, of neurophysiology (synesthesia, muscular images) and of the successful correspondence of the two media (pixel and music) in the works and theory of James Whitney.
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Paper type
unknown
DOI: 10.5281/zenodo.849385
Zenodo URL: https://zenodo.org/record/849385
2007.52
Self-Space: Interactive, Self Organized, Robotics Mediated, Cross-Media Platform for Music and Multimedia Performance
Giannoukakis, Marinos Department of Music, Ionian University; Corfu, Greece
Zannos, Ioannis Department of Audiovisual Arts, Ionian University; Corfu, Greece
Abstract
In this paper, we present a platform for experimental music and multimedia performance that uses swarm theory, a subfield of complexity theory, to model of complex behaviors in intelligent environments. The platform is a kinetic structure equipped with sensors and mobile speakers that functions as a dynamically changing space for music performance. Game development software and Internet technologies have been used for the creation of a 3D virtual environment for remote control and data exchange, thereby adding an augmented reality component. The paper describes the hardware and software architecture of the system and discusses implementation issues concerning multilayered control architecture. This research combines approaches and techniques from the fields of kinetic architecture and intelligent environments on the one hand and of generative music algorithms on the other hand.
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not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849489
Zenodo URL: https://zenodo.org/record/849489
2007.53
Singer Identification in Rembetiko Music
Holzapfel, André Institute of Computer Science, Foundation for Research and Technology - Hellas (FORTH); Heraklion, Greece
Stylianou, Yannis Multimedia Informatics Laboratory, Department of Computer Science, University of Crete; Heraklion, Greece
Abstract
In this paper, the problem of the automatic identification of a singer is investigated using methods known from speaker identification. Ways for using world models are presented and the usage of Cepstral Mean Subtraction (CMS) is evaluated. In order to minimize the difference due to musical style we use a novel data set, consisting of samples from greek Rembetiko music, being very similar in style. The data set also explores for the first time the influence of the recording quality, by including many historical gramophone recordings. Experimental evaluations show the benefits of world models for frame selection and CMS, resulting in an average classification accuracy of about 81\% among 21 different singers.
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not available
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unknown
DOI: 10.5281/zenodo.849477
Zenodo URL: https://zenodo.org/record/849477
2007.54
Some Symbolic Possibilities Specific to Electroacoustic Music
Di Santo, Jean-Louis Studio de Création et de Recherche en Informatique et Musique Electroacoustique; Bordeaux, France
Abstract
In the past, very often composers tried to show a part of reality or ideas with music. But their expression was limited by the use of instruments. Today, computers offer the possibility of using and transforming the sounds existing in the world (referential sounds). This is a real revolution, and now composers can make several kinds of symbolic music, according to their wish: narrative, argumentative or sound poetry. One will use the CH. Sanders Peirce's sign theory to analyse all these possibilities and their functioning.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849439
Zenodo URL: https://zenodo.org/record/849439
2007.55
Sonification of Gestures Using Specknets
Lympouridis, Vangelis School of Arts, Culture and Environment, The University of Edinburgh; Edinburgh, United Kingdom
Parker, Martin School of Arts, Culture and Environment, The University of Edinburgh; Edinburgh, United Kingdom
Young, Alex School of Informatics, The University of Edinburgh; Edinburgh, United Kingdom
Arvind, DK School of Informatics, The University of Edinburgh; Edinburgh, United Kingdom
Abstract
This paper introduces a novel approach to gesture recognition for interactive virtual instruments. The method is based on the tracking of body postures and movement which is achieved by a wireless network of Orient-2 specks strapped to parts of the body. This approach is in contrast to camera-based methods which require a degree of infrastructure support. This paper describes the rationale underlying the method of sonification from gestures, addressing issues such as disembodiment and virtuality. A working system is described together with the method for interpreting the gestures as sounds in the MaxMSP tool.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849497
Zenodo URL: https://zenodo.org/record/849497
2007.56
Sound Synthesis and Musical Composition by Physical Modelling of Self-sustained Oscillating Structures
Poyer, François ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Cadoz, Claude ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
In this paper we present the first results of a study that is carried out with the sound synthesis and musical creation environment GENESIS on self-sustained oscillating structures models. Based on the mass-interaction CORDIS-ANIMA physical modelling formalism, GENESIS has got the noteworthy property that it allows to work both on sound itself and on musical composition in a single coherent environment. By taking as a starting point the analysis of real self-sustained instruments like bowed strings or woodwinds, our aim is to develop generic tools that enable to investigate a wide family of physical models: the self-sustained oscillating structures. But, if this family is able to create rich timbres, it can also play a new and fundamental role at the level of the temporal macrostructure of the music (the gesture and the instrumental performance level, as well as the composition one). So we propose also in this paper to use the relatively complex motion of a bowed macrostructure as a musical events generator, in order to work with the musical composition possibilities of this type of models.
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not available
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unknown
DOI: 10.5281/zenodo.849373
Zenodo URL: https://zenodo.org/record/849373
2007.57
SRA: A Web-based Research Tool for Spectral and Roughness Analysis of Sound Signals
Vassilakis, Pantelis N. School of Music, DePaul University; Chicago, United States
Abstract
SRA is a web-based tool that performs Spectral and Roughness Analysis on user-submitted sound files (.wav and .aif formats). Spectral analysis incorporates an improved Short-Time Fourier Transform (STFT) algorithm [1-2] and automates spectral peak-picking using Loris opensource C++ class library components. Users can set three spectral analysis/peak-picking parameters: analysis bandwidth, spectral-amplitude normalization, and spectral- amplitude threshold. These are described in detail within the tool, including suggestions on settings appropriate to the submitted files and research questions of interest. The spectral values obtained from the analysis enter a roughness calculation model [3-4], outputting roughness values at user-specified points within a file or roughness profiles at user-specified time intervals. The tool offers research background on spectral analysis, auditory roughness, and the algorithms used, including links to relevant publications. Spectral and roughness analysis of sound signals finds applications in music cognition, musical analysis, speech processing, and music teaching research, as well as in medicine and other areas. Presentation of the spectral analysis technique, the roughness estimation model, and the online tool is followed by a discussion of research studies employing the tool and an outline of future possible applications.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849475
Zenodo URL: https://zenodo.org/record/849475
2007.58
Synthesising Singing
Sundberg, Johan Department of Speech Music Hearing, KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This is a review of some work carried out over the last decades at the Speech Music Hearing Department, KTH, where the analysis-by-synthesis strategy was applied to singing. The origin of the work was a hardware synthesis machine combined with a control program, which was a modified version of a text- to-speech conversion system. Two applications are described, one concerning vocal loudness variation, the other concerning coloratura singing. In these applications the synthesis work paved the way for investigations of specific aspects of the singing voice. Also, limitations and advantages of singing synthesis are discussed.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849371
Zenodo URL: https://zenodo.org/record/849371
2007.59
Synthesis of a Macro Sound Structure Within a Self Organizing System
Bökesoy, Sinan CICM, University Paris VIII; Paris, France
Abstract
This paper is focused on synthesizing macro-sound structures with certain ecological attributes to obtain perceptually interesting and compositionally useful results. The system, which delivers the sonic result is designed as a self organizing system. Certain principles of cybernetics are critically assessed in the paper in terms of interdependencies among system components, system dynamics and the system/environment coupling. It is aiming towards a self evolution of an ecological kind, applying an interactive exchange with its external conditions. The macro-organization of the sonic material is a result of interactions of events at a meso and micro level but also this exchange with its environment. The goal is to formulate some new principles and present its sketches here by arriving to a network of concepts suggesting new ideas in sound synthesis.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849419
Zenodo URL: https://zenodo.org/record/849419
2007.60
The Breaking-continuity Paradox in Artificial Vocality Aesthetics
Bossis, Bruno Laboratoire d'Informatique de Paris 6 (LIP6), Université Paris 1 Panthéon-Sorbonne; Paris, France / MIAC, University of Rennes 2; Rennes, France
Abstract
The first part of this paper shows the cutting and centrifugal force of the technosciences, by taking support on some examples drawn from the field of vocal music. The questioning on the traditional nomenclature of voices and the intrinsic heterogeneity of the increased voice are characteristic of this shattering of the usual aesthetic references. The second part will explore a direction tending, a contrario, to mix various musical aspects in a single perception. Thus, various acoustic parameters control the ones by the others, aesthetic dimensions belonging to separate artistic fields are meeting together. This paradoxical connection currently seems to lead to a renewed reading of the aesthetics of contemporary arts in the light of the technological repercussions.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849453
Zenodo URL: https://zenodo.org/record/849453
2007.61
The Cube: An Audiovisual Interactive Installation
Didakis, Stavros Sonic Arts Research Centre (SARC), Queen's University Belfast; Belfast, United Kingdom
Abstract
New cross-disciplinary areas from sonic arts, to wireless interfaces, and visual graphics have been implemented into one system that applies high-level interaction from the user/participant. An embedded tangible controller is used to navigate between six different audiovisual landscapes and presents aspects of live-gaming performance as the user is able to “unlock” stages and explore virtual worlds. Other interactive approaches such as mobile technologies, website interaction accompanied with texts, visuals, and sounds have also been researched and applied, to create an immersive environment for communication between the audience and the installation.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849387
Zenodo URL: https://zenodo.org/record/849387
2007.62
The Program in Electronic Music Composition and Musical Production at the School of the Arts of the Polytechnic Institute of Castelo Branco
Guedes, Carlos Escola Superior de Artes Aplicadas, Instituto Politécnico de Castelo Branco; Castelo Branco, Portugal
Dias, Rui Escola Superior de Artes Aplicadas, Instituto Politécnico de Castelo Branco; Castelo Branco, Portugal
Abstract
This paper presents the program in electronic music composition and musical production at the School of the Arts of the Polytechnic Institute of Castelo Branco (http://www.esart.ipcb.pt). This study program offers a 1 st cycle degree and is functioning since the academic year of 2005/2006. At the conference, we will present the curriculum of the program, some recent work by the students, and the next phase in the program development, which includes making contacts with people and institutions to further develop the program through ERASMUS exchanges of faculty and students, hiring of new faculty members, and eventual creation of an European partnership for a 2 nd cycle degree.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849495
Zenodo URL: https://zenodo.org/record/849495
2007.63
Time Domain Pitch Recognition
Chourdakis, Michael G. Department of Music, University of Athens; Athens, Greece
Spyridis, Haralampos C. Department of Music, University of Athens; Athens, Greece
Abstract
The power of Time Domain based methods over Frequency Domain methods for signal processing and pitch recognition; The suggestion of new Notation Symbols in order to represent all possible frequencies in the European, Byzantine, or Electronic (MIDI) notation.
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not available
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unknown
DOI: 10.5281/zenodo.849471
Zenodo URL: https://zenodo.org/record/849471
2007.64
VEMUS - Feedback and Groupware Technologies for Music Instrument Learning
Fober, Dominique GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
Vemus is a european research project that aims at developing and validating an open music tuition framework for popular wind instruments such as the flute, the saxophone, the clarinet and the recorder. The system will address students of beginning to intermediate level. It proposes an innovative approach both at technological and pedagogical levels. This paper presents the project with a specific focus on the feedback technologies developed to extend the instrumental and pedagogic practices.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849403
Zenodo URL: https://zenodo.org/record/849403
2007.65
Wirelessly Interfacing With the Yamaha Disklavier Mark IV
Teeter, Matthew Department of Music, University of California, Irvine; Irvine, United States
Dobrian, Christopher Department of Music, University of California, Irvine; Irvine, United States
Abstract
The music technology industry is only recently beginning to realize the potential of wireless communication technology for control and communication of data for music and multimedia applications. A new breed of musical devices is starting to integrate technology that allows the wireless transmission of MIDI (Musical Instrument Digital Interface) messages, real-time audio and video data, control data for performance synchronization, and commands for remote hardware control of these instruments. The Yamaha Disklavier Mark IV piano, which debuted in 2004, is the first instrument with wireless capabilities built-in [1]. It communicates via the 802.11b protocol (WiFi), which allows the piano to transmit and receive information to/from nearby wireless controllers. The piano originally comes with two such controllers: the handheld Pocket Remote Controller (PRC), as well as the larger Tablet Remote Controller (TRC). Both of these devices are proprietary, closed systems that accomplish the specific function of controlling the piano. In this project, we wished to create platform-independent software having the same functionality as these existing controllers, which could run on a conventional laptop with wireless capabilities. Although this solution has several advantages over the prepackaged solutions, it is unsupported by Yamaha because it was developed entirely at the University of California, Irvine. We were able to interface with the Disklavier by sniffing wireless network traffic with Ethereal [2]. We then deciphered this raw information to determine the messaging protocol the Disklavier used to communicate with the supplied controllers. Once we understood the inner workings of the piano, we created software using a variety of technologies, including Java, PostgreSQL, XML, and Flash. Our software can control a Mark IV piano from a Windows, Mac, or Linux laptop, thereby opening new possibilities in music creation and performance. Although we assume the primary users of our software will be universities, we hope it benefits the music technology industry as a whole.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849437
Zenodo URL: https://zenodo.org/record/849437
Sound and Music Computing Conference 2008 (ed. 5)
Dates: from July 31 to August 03, 2008
Place: Berlin, Germany
Proceedings info: Proceedings of the 5th Sound and Music Computing Conference (SMC2008), ISBN 978-3-7983-2094-9
2008.1
A Dynamic Spatial Locator Ugen for Clm
Lopez-lezcano, Fernando Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
Dlocsig is a dynamic spatial locator unit generator written for the Common Lisp Music (CLM) sound synthesis and processing language. Dlocsig was first created in 1992 as a four channel 2d dynamic locator and since then it has evolved to a full 3d system for an arbitrary number of speakers that can render moving sound objects through amplitude panning (VBAP) or Ambisonics. This paper describes the motivations for the project, its evolution over time and the details of its software implementation and user interface.
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not available
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unknown
DOI: 10.5281/zenodo.849501
Zenodo URL: https://zenodo.org/record/849501
2008.2
An Algorithm for Real-time Harmonic Microtuning
Sabat, Marc Audiokommunikation, Technische Universität Berlin (TU Berlin); Berlin, Germany
Abstract
Subtle inflections of pitch, often performed intuitively by musicians, create a harmonically sensitive expressive intonation. As each new pitch is added to a simultaneously sounding structure, very small variations in its tuning have a substantial impact on overall harmonic comprehensibility. In this project, James Tenney’s multidimensional lattice model of intervals (‘harmonic space’) and a related measure of relative consonance (‘harmonic distance’) are used to evaluate and optimize the clarity of sound combinations. A set of tuneable intervals, expressed as whole-number frequency ratios, forms the basis for real-time harmonic microtuning. An algorithm, which references this set, allows a computer music instrument to adjust the intonation of input frequencies based on previously sounded frequencies and several user-specified parameters (initial reference pitch, tolerance range, pitch-class scaling, prime limit). Various applications of the algorithm are envisioned: to find relationships within components of a spectral analysis, to dynamically adjust a computer instrument to other musicians in real time, to research the tuneability of complex microtonal pitch structures. More generally, it furthers research into the processes underlying harmonic perception, and how these may lead to musical applications.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849505
Zenodo URL: https://zenodo.org/record/849505
2008.3
An A-Life Approach to Machine Learning of Musical Worldviews for Improvisation Systems
Gimenes, Marcelo Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
In this paper we introduce Interactive Musical Environments (iMe), an interactive intelligent music system based on software agents that is capable of learning how to generate music autonomously and in real-time. iMe belongs to a new paradigm of interactive musical systems that we call “ontomemetical musical systems” for which a series of conditions are proposed.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849503
Zenodo URL: https://zenodo.org/record/849503
2008.4
Applications of Typomorphology in Acute; Scoring the Ideal and Its Mirror
Climent, Ricardo Novars Research Centre, The University of Manchester; Manchester, United Kingdom
Abstract
Acute, is a music score composed by the author of this paper, for Percussion Quartet and Fixed Media (tape) using ‘Searched Objects’ as instruments. This paper examines how this piece recontextualises existing research in Typology and Morphology of Sound Objects to produce a unique music mixed-media score, for the exploration of the sonic possibilities when confronting the ‘ideal’ (sonic object to be found) with ‘the reconstruction of itself’ through time (when performers attempt to recreate the given sounds) using processes of Spectro-gestural mimesis.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849507
Zenodo URL: https://zenodo.org/record/849507
2008.5
Asymmetrical Envelope Shapes in Sound Spatialization
Canavese, Francesco Tempo Reale; Firenze, Italy
Giomi, Francesco Tempo Reale; Firenze, Italy
Meacci, Damiano Tempo Reale; Firenze, Italy
Schwoon, Kilian University of Arts Bremen (HFK); Bremen, Germany
Abstract
Amplitude-based sound spatialization without any further signal processing is still today a valid musical choice in certain contexts. This paper emphasizes the importance of the resulting envelope shapes on the single loudspeakers in common listening situations such as concert halls, where most listeners will find themselves in off-centre positions, as well as in other contexts such as sound installations. Various standard spatialization techniques are compared in this regard and a refinement is proposed, which results in asymmetrical envelope shapes. This method combines a strong sense of localization and a natural sense of continuity. Some examples of pratical application carried out by Tempo Reale are also discussed.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849511
Zenodo URL: https://zenodo.org/record/849511
2008.6
Breeding Rhythms With Artificial Life
Martins, João M. Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
We are interested in developing intelligent systems for music composition. In this paper we focus on our research into generative rhythms. We have adopted an Artificial Life (A-Life) approach to intelligent systems design in order to develop generative algorithms inspired by the notion of music as social phenomena that emerge from the overall behaviour of interacting autonomous software agents. Whereas most A-Life approaches to implementing computer music systems are chiefly based on algorithms inspired by biological evolution (for example, Genetic Algorithms [2]), this work is based on cultural development (for example, Imitation Games [12, 13]). We are developing a number of such “cultural” algorithms, one of which is introduced in this paper: the popularity algorithm. We also are developing a number of analysis methods to study the behaviour of the agents. In our experiments with the popularity algorithm we observed the emergence of coherent repertoires of rhythms across the agents in the society.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849513
Zenodo URL: https://zenodo.org/record/849513
2008.7
CompScheme: A Language for Composition and Stochastic Synthesis
Döbereiner, Luc Institute of Sonology, Royal Conservatory of The Hague; The Hague, Netherlands
Abstract
In this paper, I present a programming language for algorithmic composition and stochastic sound synthesis called CompScheme. The primary value generating mechanism in the program are streams, which allow the user to concisely describe networks of dynamic data. Secondly, I present CompScheme’s event model, which provides a framework for building abstract structural musical units, exemplified by showing CompScheme’s functionalities to control the SuperCollider server in real-time. Thirdly, I discuss CompScheme’s stochastic synthesis functionality, an attempt to generalize from I. Xenakis’s dynamic stochastic synthesis and G.M. Koenig’s SSP.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849515
Zenodo URL: https://zenodo.org/record/849515
2008.8
Concatenative Synthesis of Expressive Saxophone Performance
Kersten, Stefan Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Ramirez, Rafael Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this paper we present a systematic approach to applying expressive performance models to non-expressive score transcriptions and synthesizing the results by means of concatenative synthesis. Expressive performance models are built from score transcriptions and recorded performances by means of decision tree rule induction, and those models are used both to transform inexpressive input scores and to guide the concatenative synthesizer unit selection.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849517
Zenodo URL: https://zenodo.org/record/849517
2008.9
Designing and Synthesizing Delay-based Digital Audio Effects Using the CORDIS ANIMA Physical Modeling Formalism
Kontogeorgakopoulos, Alexandros ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Cadoz, Claude ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
Throughout this paper, several CORDISANIMA physical models will be presented to offer an alternative synthesis of some classical delay-based digital audio effects: a delay model, two comb filter models, three flanger models and a sound spatialization model. Several of these realizations support a control scheme based on the ''Physical Instrumental Interaction''. Additionally they provide several sonic characteristics which do not appear in the original ones. Especially the flanger model, for certain parameter values may give a new digital audio effect between flanging and filtering.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849519
Zenodo URL: https://zenodo.org/record/849519
2008.10
Distance Encoding in Ambisonics Using Three Angular Coordinates
Penha, Rui INET-md (Instituto de Etnomusicologia - Centro de Estudos em Música e Dança), University of Aveiro; Aveiro, Portugal
Abstract
In this paper, the author describes a system for encoding distance in an Ambisonics soundfield. This system allows the postponing of the application of cues for the perception of distance to the decoding stage, where they can be adapted to the characteristics of a specific space and sound system. Additionally, this system can be used creatively, opening some new paths for the use of space as a compositional factor.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849521
Zenodo URL: https://zenodo.org/record/849521
2008.11
Echi tra le Volte, a Sound Design Project for Churches
Taroppi, Andrea Conservatorio di musica “Giuseppe Verdi” di Como; Como, Italy
Abstract
This work is about the relation between music and architecture. In particular we are interested in the concept of space, as the way where music and architecture meet each other. The study of this topic offer the starting point to the development of Echi tra le Volte, a music installation for churches, where sounds are from the natural reverb of the place, excited by a sinusoidal impulses, which receive its pitches from a genetic algorithm.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849523
Zenodo URL: https://zenodo.org/record/849523
2008.12
Ephemeron: Control Over Self-organised Music
Kollias, Phivos-Angelos CICM, University Paris VIII; Paris, France
Abstract
The present paper discusses an alternative approach to electroacoustic composition based on principles of the interdisciplinary scientific field of Systemics. In this approach, the setting of the electronic device is prepared in such a way to be able to organise its own function, according to the conditions of the sonic environment. We discuss the approaches of Xenakis and of Di Scipio in relation to Systemics, demonstrating the applications in their compositional models. In my critique on Di Scipio’s approach, I argue that the composer is giving away a major part of his control over the work and therefore the notion of macro-structural form is abandoned. Based on my work Ephemeron, I show that it is possible to conduct emerging situations applying the systemic principle of ‘equifinality’. Moreover, I argue that it is possible to acquire control over these situations and their properties over time so as to develop formal structure.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849525
Zenodo URL: https://zenodo.org/record/849525
2008.13
Expressive Performance in the Human Tenor Voice
Marinescu, Maria Cristina Thomas J. Watson Research Center, IBM; New York, United States
Ramirez, Rafael Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
This paper presents preliminary results on expressive performance in the human tenor voice. This work investigates how professional opera singers manipulate sound properties such as timing, amplitude, and pitch in order to produce expressive performances. We also consider the contribution of features of prosody in the artistic delivery of an operatic aria. Our approach is based on applying machine learning to extract patterns of expressive singing from performances by Josep Carreras. This is a step towards recognizing performers by their singing style, capturing some of the aspects which make two performances of the same piece sound different, and understanding whether there exists a correlation between the occurrences correctly covered by a pattern and specific emotional attributes.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849527
Zenodo URL: https://zenodo.org/record/849527
2008.14
Extending Voice-driven Synthesis to Audio Mosaicing
Janer, Jordi Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
de Boer, Maarten Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
This paper presents a system for controlling audio mosaicing with a voice signal, which can be interpreted as a further step in voice-driven sound synthesis. Compared to voice-driven instrumental synthesis, it increases the variety in the synthesized timbre. Also, it provides a more direct interface for audio mosaicing applications, where the performer voice controls rhythmic, tonal and timbre properties of the output sound. In a first step, voice signal is segmented into syllables, extracting a set of acoustic features for each segment. In the concatenative synthesis process, the voice acoustic features (target) are used to retrieve the most similar segment from the corpus of audio sources. We implemented a system working in pseudo-realtime, which analyzes voice input and sends control messages to the concatenative synthesis module. Additionally, this work raises questions to be further explored about mapping the input voice timbre space onto the audio sources timbre space.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849529
Zenodo URL: https://zenodo.org/record/849529
2008.15
Granular Sound Spatialization Using Dictionary-based Methods
McLeran, Aaron Media Arts and Technology Program, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Roads, Curtis Media Arts and Technology Program, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Sturm, Bob Luis Department of Electrical and Computer Engineering, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Shynk, John J. Department of Electrical and Computer Engineering, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Abstract
We present methods for spatializing sound using representations created by dictionary-based methods (DBMs). DBMs have been explored primarily in applications for signal processing and communications, but they can also be viewed as the analytical counterpart to granular synthesis. A DBM determines how to synthesize a given sound from any collection of grains, called atoms, specified in a dictionary. Such a granular representation can then be used to perform spatialization of sound in complex ways. To facilitate experimentation with this technique, we have created an application for providing real-time synthesis, visualization, and control using representations found via DBMs. After providing a brief overview of DBMs, we present algorithms for spatializing granular representations, as well as our application program Scatter, and discuss future work.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849531
Zenodo URL: https://zenodo.org/record/849531
2008.16
Melody Characterization by a Genetic Fuzzy System
Ponce de León, Pedro José Department of Informatic Languages and Systems, Universidad de Alicante; Alicante, Spain
Rizo, David Department of Informatic Languages and Systems, Universidad de Alicante; Alicante, Spain
Ramirez, Rafael Department of Informatic Languages and Systems, Universidad de Alicante; Alicante, Spain
Iñesta, José Manuel Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
We present preliminary work on automatic human-readable melody characterization. In order to obtain such a characterization, we (1) extract a set of statistical descriptors from the tracks in a dataset of MIDI files, (2) apply a rule induction algorithm to obtain a set of (crisp) classification rules for melody track identification, and (3) automatically transform the crisp rules into fuzzy rules by applying a genetic algorithm to generate the membership functions for the rule attributes. Some results are presented and discussed.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849533
Zenodo URL: https://zenodo.org/record/849533
2008.17
Memory Space
Emmerson, Simon Music, Technology and Innovation Research Centre (MTI), De Montfort University Leicester; Leicester, United Kingdom
Abstract
Memory may be mapped metaphorically onto space, as in the mediaeval and renaissance Memory Theatre (see Frances Yates, Art of Memory, 1966/1992 [Reference 4]). But we now have the power to project this literally in sound in sound installation systems such as the Klangdom. In Resonances (8 channel acousmatic work, commissioned by the IMEB (Bourges) in 2007), I explore my memories of the modernist repertoire (1820-1940) using small timbral ‘instants’, extended, layered and spatialised. Some juxta- and superpositions are logical, others unlikely – but that is the joy of memory and creativity. But memories also fade and die ... This paper examines this work, and how the memory and spatial relationships are articulated through the material. It also presents plans for a more elaborate work to be realised in 2008-2009. In this the fixed nature of the previous work will give way to an ‘evolving’ acousmatic piece which changes at each performance as new spatial layers are added, others fade. The paper will be illustrated with music examples.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849535
Zenodo URL: https://zenodo.org/record/849535
2008.18
Mode-dependent Differences in Chord Classification Under an Original Computational Method of Tonal Structure Analysis
Majchrzak, Miroslaw Institute of Art, Polish Academy of Sciences; Warsaw, Poland
Abstract
Basing upon original computational analytic method (Majchrzak 2005, 2007), the present work aims, at: 1) Showing the differences for the major key and the minor (harmonic) key in the classification of chords, as an aspect of importance for interpreting a piece’s tonal structure diagram; 2) Drawing attention to the subordination of the minor key as versus the major key in the chord classification, using the same algorithm. The relations between chords appearing in the major and minor (harmonic) key are shown by applying the comparisons of: 1) third-based chords; 2) degrees in the C major and A minor keys, on which the same diatonic chords appear.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849537
Zenodo URL: https://zenodo.org/record/849537
2008.19
Modeling Affective Content of Music: A Knowledge Base Approach
Oliveira, António Pedro Centre for Informatics and Systems, University of Coimbra; Coimbra, Portugal
Cardoso, Amílcar Centre for Informatics and Systems, University of Coimbra; Coimbra, Portugal
Abstract
The work described in this paper is part of a project that aims to implement and assess a computer system that can control the affective content of the music output, in such a way that it may express an intended emotion. In this system, music selection and transformation are done with the help of a knowledge base with weighted mappings between continuous affective dimensions (valence and arousal) and music features (e.g., rhythm and melody) grounded on results from works of Music Psychology. The system starts by making a segmentation of MIDI music to obtain pieces that may express only one kind of emotion. Then, feature extraction algorithms are applied to label these pieces with music metadata (e.g., rhythm and melody). The mappings of the knowledge base are used to label music with affective metadata. This paper focus on the refinement of the knowledge base (subsets of features and their weights) according to the prediction results of listeners’ affective answers.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849539
Zenodo URL: https://zenodo.org/record/849539
2008.20
Modeling Moods in Violin Performances
Pérez Carrillo, Alfonso Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Ramirez, Rafael Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Kersten, Stefan Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this paper we present a method to model and compare expressivity for different Moods in violin performances. Models are based on analysis of audio and bowing control gestures of real performances and they predict expressive scores from non expressive ones. Audio and control data is captured by means of a violin pickup and a 3D motion tracking system and aligned with the performed score. We make use of machine learning techniques in order to extract expressivity rules from score-performance deviations. The induced rules conform a generative model that can transform an inexpressive score into an expressive one. The paper is structured as follows: First, the procedure of performance data acquisition is introduced, followed by the automatic performance-score alignment method. Then the process of model induction is described, and we conclude with an evaluation based on listening test by using a sample based concatenative synthesizer.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849541
Zenodo URL: https://zenodo.org/record/849541
2008.21
NOVARS Research Centre, University of Manchester, UK. Studio Report
Climent, Ricardo Novars Research Centre, The University of Manchester; Manchester, United Kingdom
Berezan, David Novars Research Centre, The University of Manchester; Manchester, United Kingdom
Davison, Andrew Novars Research Centre, The University of Manchester; Manchester, United Kingdom
Abstract
NOVARS is a new Research Centre started in March 2007 with specialisms in areas of Electroacoustic Composition, Performance and Sound-Art. The Centre is capitalising on the success of Music at the University of Manchester with the expansion of its existing research programme in Electroacoustic Composition with a new £2.2 million investment in a cutting-edgev new studios infrastructure. This studio report covers key aspects of architectural and acoustic design of the Studios, functionality and existing technology.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849543
Zenodo URL: https://zenodo.org/record/849543
2008.22
Retrospat: A Perception-based System for Semi-automatic Diffusion of Acousmatic Music
Mouba, Joan Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Marchand, Sylvain Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Mansencal, Boris Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Rivet, Jean-Michel Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Abstract
We present the RetroSpat system for the semiautomatic diffusion of acousmatic music. This system is intended to be a spatializer with perceptive feedback. More precisely, RetroSpat can guess the positions of physical sound sources (e.g. loudspeakers) from binaural inputs, and can then output multichannel signals to the loudspeakers while controlling the spatial location of virtual sound sources. Together with a realistic binaural spatialization technique taking into account both the azimuth and the distance, we propose a precise localization method which estimates the azimuth from the interaural cues and the distance from the brightness. This localization can be used by the system to adapt to the room acoustics and to the loudspeaker configuration. We propose a simplified sinusoidal model for the interaural cues, the model parameters being derived from the CIPIC HRTF database. We extend the binaural spatialization to a multi-source and multiloudspeaker spatialization system based on a static adaptation matrix. The methods are currently implemented in a real-time free software. Musical experiments are conducted at the SCRIME, Bordeaux.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849545
Zenodo URL: https://zenodo.org/record/849545
2008.23
Sound as Multiplicity: Spaces and Representations in Computer Music Composition
Fuentes, Arturo CICM, University Paris VIII; Paris, France
Abstract
This text deals with the subject of sonic spaces within the field of computer music composition. Highlighted by the notion of multiplicity, the sound will be analysed as a multi-representational space. This central idea will take us to consider some proposals of the hermeneutical criticism of representation, where we’ll observe the emergence of sonic spaces from an action-perception perspective: our musical significations appear at the very moment we execute a “local action” in the composition process. Multiplicity is produced by singularities as well as singularity is conceived as a multiple entity: depending on our operatory procedure in music composition we shall consider a sound as One or as Multiple. In music composition, human-computer interaction moves towards this problematic.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849547
Zenodo URL: https://zenodo.org/record/849547
2008.24
Sound in Cyberspace: Exploring Material Technoculture
Polymeropoulou, Marilou Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Abstract
Cyberspace is nowadays a social network of people that produce, reproduce and consume technology culture, or as it is better expressed, technoculture. In this vast environment, transmittable digital information represents sound. However, what is the function of sound and why does it matter? In the following pages, I shall present sound as the materiality of technoculture in cyberspace, or, the cultural meanings of sound beyond natural space.
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849549
Zenodo URL: https://zenodo.org/record/849549
2008.25
Sound Spatialisation, Free Improvisation and Ambiguity
Mooney, James Culture Lab, Newcastle University; Newcastle upon Tyne, United Kingdom
Belly, Paul International Center for Music Studies, Newcastle University; Newcastle upon Tyne, United Kingdom
Parkinson, Adam Culture Lab, Newcastle University; Newcastle upon Tyne, United Kingdom
Abstract
This paper documents emergent practice led research that brings together live sound spatialisation and free improvisation with digital tools in a performance context. An experimental performance is described in which two musicians – a turntablist and a laptop performer – improvised, with the results being spatialised via multiple loudspeakers by a third performer using the Resound spatialisation system. This paper focuses on the spatial element of the performance and its implications, its technical realisation and some aesthetic observations centring on the notion of ‘ambiguity’ in free improvisation. An analysis raises numerous research questions, which feed into a discussion of subsequent, current and future work.
Keywords
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849551
Zenodo URL: https://zenodo.org/record/849551
2008.26
Space as an Evolution Strategy. Sketch of a Generative Ecosystemic Structure of Sound
Scamarcio, Massimo School of Electronic Music, Conservatorio di Musica San Pietro a Majella; Napoli, Italy
Abstract
This paper discusses a generative, systemic approach on sound processing, touching topics like genetics, evolutionary programming, eco-systemic interaction of sound in space, and feedback, putting them in the context of the author’s Syntáxis(Acoustic Generative Sound Processing System, part 1): a sound installation for stereophonic speaker system and microphone. The main implications of the overall structure of the installation are analysed, focusing on the dynamics of it and its relationships with space. The paper also illustrates the main structure of the algorithm regulating the installation behavior, along with brief references to the software platform used to develop it (Max MSP 5).
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849553
Zenodo URL: https://zenodo.org/record/849553
2008.27
Space Resonating Through Sound
Iazzetta, Fernando Department of Music (CMU), University of São Paulo (USP); São Paulo, Brazil
Campesato, Lílian Department of Music (CMU), University of São Paulo (USP); São Paulo, Brazil
Abstract
In this paper we will analyze how the conception of space in music is expanded by the repertoire of sound art, moving from the idea of space as a delimited area with physical and acoustical characteristics, to the notion of site in which representational aspects of a place become expressive elements of a work of art.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849555
Zenodo URL: https://zenodo.org/record/849555
2008.28
Spatial Orchestration
Lyon, Eric Sonic Arts Research Centre (SARC), Queen's University Belfast; Belfast, United Kingdom
Abstract
The emergence of multiple sites for the performance of multi-channel spatial music motivates a consideration of strategies for creating spatial music, and for making necessary adjustments to existing spatial works for performances in spaces with significantly different acoustic properties and speaker placement. Spatial orchestration is proposed as a conceptual framework for addressing these issues.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849559
Zenodo URL: https://zenodo.org/record/849559
2008.29
Speaker-Herd: A Multi-channel Loudspeaker Project for Miscellaneous Spaces, Loudspeaker Architectures and Compositional Approaches
Bierlein, Frank Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Farchmin, Elmar Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Fütterer, Lukas Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Kerschkewicz, Anja Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Loscher, David Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Modler, Paul Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Möhrmann, Thorsten Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Myatt, Tony Department of Music, University of York; York, United Kingdom
Rafinski, Adam Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Räpple, René Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Rosinski, Stefan Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Schwarz, Lorenz Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Unger, Amos Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Zielke, Markus Department of Media Art / Sound, Karlsruhe University of Arts and Design (HfG); Karlsruhe, Germany
Abstract
Strong interest in spatial sound has existed at all times and on various levels of aesthetic music and sound production and perception. In recent years the availability of high-quality loudspeakers and digital multi-channel audio systems has paved the way to incorporate spatial acoustics into musical composition. In this paper we describe a project which is aimed at providing flexible possibilities to experiment with miscellaneous loudspeaker architectures and multi-channel distribution systems. The system allows the use of up to 96 audio channels in real time which can be fed to loudspeakers setup according to varying spatial designs. As examples a number of realized architectures and compositions will be described.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849561
Zenodo URL: https://zenodo.org/record/849561
2008.30
Textural Composition and Its Space
Hagan, Kerry University of Limerick; Limerick, Ireland
Abstract
The aesthetic implications of real-time stochastic sound mass composition call for a new approach to musical material and spatialization. One possibility is found in the fertile ground of musical texture. Texture exists between notions of the singular sound object and the plurality of a sound mass or lo-fi soundscape. Textural composition is the practice of elevating and exploring the intermediary position between the single and the plural while denying other musical attributes. The consequences of this aesthetic principle require a similarly intermediary spatialization conducive to textural listening. This spatialization exists between point-source diffusion and mimetic spatialization. Ultimately, the ramifications of textural composition affect both the space in the sound and the sound in space. This paper introduces the intermediary aesthetics of textural composition focusing on its spaces. It then describes an implementation in the author’s work, real-time tape music III.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849563
Zenodo URL: https://zenodo.org/record/849563
2008.31
Towards a Decodification of the Graphical Scores of Anestis Logothetis (1921-1994). The Graphical Space of Odysee(1963)
Baveli, Maria-Dimitra Department of Music, University of Athens; Athens, Greece / Hochschule für Musik Franz Liszt Weimar; Weimar, Germany
Georgaki, Anastasia Department of Music, University of Athens; Athens, Greece
Abstract
In this presentation we are going to examine, via de-codification of graphic scores, the work of the avantgarde composer and pre-media artist Anestis Logothetis, who is considered one of the most prominent figures in graphic musical notation. In the primary stage of our research, we have studied these graphical scores in order to make a first taxonomy of his graphical language and to present the main syntax of his graphic notation, aiming at a future sonic representation of his scores. We also present an example of graphical space through his ballet Odysee (1963).
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849565
Zenodo URL: https://zenodo.org/record/849565
2008.32
Traditional and Digital Music Instruments: A Relationship Based on a Interactive Model
Ferreira-Lopes, Paulo Research Centre for Science and Technology of the Arts (CITAR), Catholic University of Portugal; Porto, Portugal / Institute for Musics and Acoustics (IMA), Center for Art and Media Karlsruhe (ZKM); Karlsruhe, Germany
Abstract
In the present work some aspects of the influence of the digital music instruments on composition methods are observed. Some consequences of the relationship between traditional instruments and digital music instruments result on a triangular interactive process. As an analytical approach to understand this relationship and the association process between traditional instruments and digital music instruments, a typology of interaction for the musical performance based on this instrumental configuration is proposed. The deduced classes are based upon the observation and systematization of my work as a composer. The proposed model aims to contribute towards an unifying terminology and systematization of some of the major questions that arise from the coexistence between two different paradigms (traditional and digital music instruments) in the universe of live electronic music.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849567
Zenodo URL: https://zenodo.org/record/849567
2008.33
Vocabulary of Space Perception in Electroacoustic Musics Composed or Spatialised in Pentaphony
Merlier, Bertrand Department of Music, University Lumière Lyon 2; Lyon, France
Abstract
This paper begins with a brief introduction of the GETEME (Groupe d’Étude sur l’Espace dans les M usiques É lectroacoustiques - Working Group about Space in Electroacoustic Musics), followed by an overview on its past, present and future activities. A first major achievement was the completion and publication of the “vocabulary of space electroacoustic musics…”, coupled with the realization of a taxonomy of space. Beyond this collection and clarification of these words in general use, it appears necessary to begin to connect words and sound. The goal of our present research is to clarify or elaborate a vocabulary (a set of specialized words) allowing to describe space perception in electroacoustic (multiphonic) musics. The issue is delicate as it deals with psychoacoustics… as well as creators’ or listeners’ imagination. In order to conduct this study, it was necessary to develop a battery of tests, procedures and listening collection of words describing listening space, and then counting and sorting words. The sound descriptions quickly overlap, the words coincide with the same listening situations. A consensus seemed to emerge, revealing: 5 types of spatiality and 2 types of mobility, as well as a variety of adjectives to describe or characterize spatiality or mobility.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849569
Zenodo URL: https://zenodo.org/record/849569
2008.34
Zsa.Descriptors: A Library for Real-time Descriptors Analysis
Malt, Mikhail Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Jourdan, Emmanuel Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In the past few years, several strategies to characterize sound signals have been suggested. The main objective of these strategies was to describe the sound [1]. However, it was only with the creation of a new standard format for indexing and transferring audio MPEG 7 data that the desire to define audio data semantic content descriptors came about [2, p.52]. The widely known document written by Geoffroy Peeters [1] is an example where, even if the goal announced is not to carry out a systematic taxonomy on all the functions intended to describe sound, it does in fact systematize the presentation of various descriptors.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849571
Zenodo URL: https://zenodo.org/record/849571
Sound and Music Computing Conference 2009 (ed. 6)
Dates: from July 23 to July 25, 2009
Place: Porto, Portugal
Proceedings info: Proceedings of the 6th Sound and Music Computing Conference (SMC2009), ISBN 978-989-95577-6-5
2009.1
Accessing Structure of Samba Rhythms Through Cultural Practices of Vocal Percussion
Naveda, Luiz Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Leman, Marc Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Abstract
In the field of computer music, melodic based forms of vocalizations have often been used as channels to access subject’s queries and retrieve information from music databases. In this study, we look at percussive forms of vocalizations in order to retrieve rhythmic models entrained by subjects in Samba culture. By analyzing recordings of vocal percussions collected from randomly selected Brazilian subjects, we aim at comparing emergent rhythmic structures with the current knowledge about Samba music forms. The database of recordings was processed using a psychoacoustically inspired auditory model and further displayed on loudness and onset images. The analyses of emergent rhythmic patterns show intriguing similarities with the findings in previous studies in the field and put different perspectives on the use of vocal forms in music information retrieval and musicology.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849591
Zenodo URL: https://zenodo.org/record/849591
2009.2
A Chroma-based Salience Function for Melody and Bass Line Estimation From Music Audio Signals
Salamon, Justin Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this paper we present a salience function for melody and bass line estimation based on chroma features. The salience function is constructed by adapting the Harmonic Pitch Class Profile (HPCP) and used to extract a mid-level representation of melodies and bass lines which uses pitch classes rather than absolute frequencies. We show that our salience function has comparable performance to alternative state of the art approaches, suggesting it could be successfully used as a first stage in a complete melody and bass line estimation system.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849573
Zenodo URL: https://zenodo.org/record/849573
2009.3
A Classification Approach to Multipitch Analysis
Klapuri, Anssi Department of Signal Processing, Tampere University of Technology; Tampere, Finland
Abstract
This paper proposes a pattern classification approach to detecting the pitches of multiple simultaneous sounds. In order to deal with the octave ambiguity in pitch estimation, a statistical classifier is trained which observes the value of a detection function both at the position of a candidate pitch period and at its integer multiples and submultiples, in order to decide whether the candidate period should be accepted or rejected. The method improved significantly over a reference method in simulations.
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not available
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unknown
DOI: 10.5281/zenodo.849575
Zenodo URL: https://zenodo.org/record/849575
2009.4
A Computational Model That Generalises Schoenberg's Guidelines for Favourable Chord Progressions
Anders, Torsten Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
This paper presents a formal model of Schoenberg’s guidelines for convincing chord root progressions. This model has been implemented as part of a system that models a considerable part of Schoenberg’s Theory of Harmony. This system implements Schoenberg’s theory in a modular way: besides generating four-voice homophonic chord progressions, it can also be used for creating other textures that depend on harmony (e.g., polyphony). The proposed model generalises Schoenberg’s guidelines in order to make them applicable for more use cases. Instead of modelling his rules directly (as constraints on scale degree intervals between chord roots), we actually model his explanation of these rules (as constraints between chord pitch class sets and roots, e.g., whether the root pitch class of some chord is an element in the pitch class set of another chord). As a result, this model can not only be used for progressions of diatonic triads, but in addition also for chords with a large number of tones, and in particular also for microtonal music beyond 12-tone equal temperament and beyond 5-limit harmony.
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not available
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unknown
DOI: 10.5281/zenodo.849577
Zenodo URL: https://zenodo.org/record/849577
2009.5
A Dynamic Analogy Between Integro-differential Operators and Musical Expressiveness
De Poli, Giovanni CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Rodà, Antonio CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Mion, Luca TasLab, Informatica Trentina; Trento, Italy
Abstract
Music is often related to mathematics. Since Pythagoras, the focus is mainly on the relational and structural aspects of pitches described by arithmetic or geometric theories, and on the sound production and propagation described by differential equation, Fourier analysis and computer algorithms. However, music is not only score or sound; it conveys emotional and affective content. The aim of this paper is to explore a possible association between musical expressiveness and basic physical phenomena described by integro-differential operators.
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unknown
DOI: 10.5281/zenodo.849579
Zenodo URL: https://zenodo.org/record/849579
2009.6
A Framework for Ecosystem-based Generative Music
Bown, Oliver Centre for Electronic Media Art, Monash University; Clayton, Australia
Abstract
Ecosystem-based generative music is computer-generated music that uses principles borrowed from evolution and ecosystem dynamics. These are different from traditional interactive genetic algorithms in a number of ways. The possibilities of such an approach can be explored using multi-agent systems. I discuss the background, motivations and expectations of ecosystem-based generative music and describe developments in building a software framework aimed at facilitating the design of ecosystemic sonic artworks, with examples of how such a system can be used creatively.
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unknown
DOI: 10.5281/zenodo.849581
Zenodo URL: https://zenodo.org/record/849581
2009.7
A Framework for Musical Multiagent Systems
Ferrari Thomaz, Leandro Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Abstract
Multiagent system technology is a promising new venue for interactive musical performance. In recent works, this technology has been tailored to solve specific, limited scope musical problems, such as pulse detection, instrument simulation or automatic accompaniment. In this paper, we present a taxonomy of such musical multiagent systems, and an implementation of a computational framework that subsumes previous works and addresses general-interest low-level problems such as real-time synchronization, sound communication and spatial agent mobility. By using it, a user may develop a musical multiagent system focusing primarily in his/her musical needs, while leaving most of the technical problems to the framework. To validate this framework, we implemented and discussed two cases studies that explored several aspects of musical multiagent systems, such as MIDI and audio communication, spatial trajectories and acoustical simulation, and artificial life constructs like genetic codes and reproduction, thus indicating the usefulness of this framework in a variety of musical applications.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849583
Zenodo URL: https://zenodo.org/record/849583
2009.8
A Framework for Soundscape Analysis and Re-synthesis
Valle, Andrea CIRMA, Università di Torino; Torino, Italy
Schirosa, Mattia CIRMA, Università di Torino; Torino, Italy
Lombardo, Vincenzo CIRMA, Università di Torino; Torino, Italy
Abstract
This paper presents a methodology for the synthesis and interactive exploration of real soundscapes. We propose a soundscape analysis method that relies upon a sound object behavior typology and a notion of “sound zone” that collocates objects typologies in spatial locations. Then, a graphbased model for organising sound objects in space and time is described. Finally, the resulting methodology is discussed in relation to a case study.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849585
Zenodo URL: https://zenodo.org/record/849585
2009.9
Album and Artist Effects for Audio Similarity at the Scale of the Web
Flexer, Arthur Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Schnitzer, Dominik Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Abstract
In audio based music recommendation, a well known effect is the dominance of songs from the same artist as the query song in recommendation lists. We verify that this effect also exists in a very large data set at the scale of the world wide web (> 250000). Since our data set contains multiple albums from individual artists, we can also show that the album effect is relatively bigger than the artist effect.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849593
Zenodo URL: https://zenodo.org/record/849593
2009.10
A Stratified Approach for Sound Spatialization
Peters, Nils Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Lossius, Trond Bergen Center for Electronic Arts (BEK); Bergen, Norway
Schacher, Jan C. Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Baltazar, Pascal Centre National de Creation Musicale (GMEA); Albi, France
Bascou, Charles Centre National de Creation Musicale (GMEM); Marseille, France
Place, Timothy Cycling '74; Paris, France
Abstract
We propose a multi-layer structure to mediate essential components in sound spatialization. This approach will facilitate artistic work with spatialization systems, a process which currently lacks structure, flexibility, and interoperability.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849587
Zenodo URL: https://zenodo.org/record/849587
2009.11
A System for Musical Improvisation Combining Sonic Gesture Recognition and Genetic Algorithms
Van Nort, Doug Rensselaer Polytechnic Institute (RPI); Troy, United States
Braasch, Jonas Rensselaer Polytechnic Institute (RPI); Troy, United States
Oliveros, Pauline Rensselaer Polytechnic Institute (RPI); Troy, United States
Abstract
This paper describes a novel system that combines machine listening with evolutionary algorithms. The focus is on free improvisation, wherein the interaction between player, sound recognition and the evolutionary process provides an overall framework that guides the improvisation. The project is also distinguished by the close attention paid to the nature of the sound features, and the influence of their dynamics on the resultant sound output. The particular features for sound analysis were chosen in order to focus on timbral and textural sound elements, while the notion of “sonic gesture” is used as a framework for the note-level recognition of performer’s sound output, using a Hidden Markov Model based approach. The paper discusses the design of the system, the underlying musical philosophy that led to its construction as well as the boundary between system and composition, citing a recent composition as an example application.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849589
Zenodo URL: https://zenodo.org/record/849589
2009.12
Auditory Representations as Landmarks in the Sound Design Space
Drioli, Carlo Department of Computer Science, Università di Verona; Verona, Italy
Polotti, Pietro Department of Computer Science, Università di Verona; Verona, Italy
Rocchesso, Davide IUAV University of Venice; Venezia, Italy
Delle Monache, Stefano IUAV University of Venice; Venezia, Italy
Adiloğlu, Kamil Technische Universität Berlin (TU Berlin); Berlin, Germany
Anniés, Robert Technische Universität Berlin (TU Berlin); Berlin, Germany
Obermayer, Klaus Technische Universität Berlin (TU Berlin); Berlin, Germany
Abstract
A graphical tool for the timbre space exploration and interactive design of complex sounds by physical modeling synthesis is presented. It is built around an auditory representation of sounds based on spike functions and provides the designer with both a graphical and an auditory insight. The auditory representation of a number of reference sounds, located as landmarks in a 2D sound design space, provides the designer with an effective aid to direct his search along the paths that lie in the proximity of the most inspiring landmarks.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849597
Zenodo URL: https://zenodo.org/record/849597
2009.13
Automatic Jazz Harmony Evolution
Bäckman, Kjell University West; Trollhättan, Sweden
Abstract
Jazz harmony has during jazz history mainly been functionally based on principles of tonality derived from the classical and romantic periods of the 18th and 19th centuries. In the Evolutionary Jazz Harmony project we introduced a functionless harmony system that impacted the musical feeling in jazz compositions to imitate the harmonic feeling in an avant-garde way. The main features of that new harmony system were chords not built on any specific base note and not necessarily connected to the major/minor concept. In this project we introduce an automatic evaluation of the produced harmony sequences that both looks at each individual chord and the chord progression. A population of chord progressions is evaluated and the highest ranked ones will most likely be used for breeding of the offspring. This project is one of the sub-projects of the EJI (Evolutionary Jazz Improvisation) project, where we explore various aspects of jazz music; improvised solo, harmony, tune creation, algorithmic creation of piano, bass and drum accompaniment, communication between instruments etc. The results have been evaluated by a live jazz group consisting of professional jazz musicians.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849599
Zenodo URL: https://zenodo.org/record/849599
2009.14
Automatic Manipulation of Music to Express Desired Emotions
Oliveira, António Pedro Centre for Informatics and Systems, University of Coimbra; Coimbra, Portugal
Cardoso, Amílcar Centre for Informatics and Systems, University of Coimbra; Coimbra, Portugal
Abstract
We are developing a computational system that produces music expressing desired emotions. This paper is focused on the automatic transformation of 2 emotional dimensions of music (valence and arousal) by changing musical features: tempo, pitch register, musical scales, instruments and articulation. Transformation is supported by 2 regression models, each with weighted mappings between an emotional dimension and music features. We also present 2 algorithms used to sequence segments. We made an experiment with 37 listeners who were asked to label online 2 emotional dimensions of 132 musical segments. Data coming from this experiment was used to test the effectiveness of the transformation algorithms and to update the weights of features of the regression models. Tempo and pitch register proved to be relevant on both valence and arousal. Musical scales and instruments were also relevant for both emotional dimensions but with a lower impact. Staccato articulation influenced only valence.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849601
Zenodo URL: https://zenodo.org/record/849601
2009.15
Computational Investigations Into Between-hand Synchronization in Piano Playing: Magaloff's Complete Chopin
Goebl, Werner Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Flossmann, Sebastian Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Abstract
The paper reports on first steps towards automated computational analysis of a unique and unprecedented corpus of symbolic performance data. In particular, we focus on between-hand asynchronies – an expressive device that plays an important role particularly in Romantic music, but has not been analyzed quantitatively in any substantial way. The historic data were derived from performances by the renowned pianist Nikita Magaloff, who played the complete work of Chopin live on stage, on a computer-controlled grand piano. The mere size of this corpus (over 320,000 performed notes or almost 10 hours of continuous performance) challenges existing analysis approaches. The computational steps include score extraction, score-performance matching, definition and measurement of the analyzed features, and a computational visualization tool. We then present preliminary data to demonstrate the potential of our approach for future computational modeling and its application in computational musicology.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849603
Zenodo URL: https://zenodo.org/record/849603
2009.16
Content Analysis of Note Transitions in Music Performance
Loureiro, Maurício School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Yehia, Hani School of Engineering, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
de Paula, Hugo Pontifical Catholic University of Minas Gerais (PUC Minas); Belo Horizonte, Brazil
Campolina, Thiago School of Engineering, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Mota, Davi School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Abstract
Different aspects of music performance have been quantified by a set of descriptor parameters, which try to incorporate the resources used by the performer to communicate his/her intention of expressiveness and intelligibility. The quality of note transitions are quite important in the construction of an interpretation. They are manipulated by the performer by controlling note durations and the quality of attacks and note groupings. These characteristics can be modeled by parameters that may describe what happens between the notes of a musical sentence, which attempt to represent how we perceive note articulations and groupings of legato or detached notes. On the other hand, the quality of transitions between legato notes may be related to the musician's abilities, to the reverberation characteristics of the performance room and to the acoustic characteristics of the instrument. This text illustrates methods of extraction and definition of descriptor parameters related to the quality of transitions between notes, which are capable to reveal relevant aspects about the accomplishment of these transitions. The procedures here described integrate a model of analysis of the expressiveness of performance in monophonic musical instruments. The samples used consist of recordings of interpretations of excerpts of the classic repertoire for solo clarinet.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849605
Zenodo URL: https://zenodo.org/record/849605
2009.17
Current Directions With Musical Plus One
Raphael, Christopher Indiana University Bloomington; Bloomington, United States
Abstract
We discuss the varieties of musical accompaniment systems and place our past efforts in this context. We present several new aspects of our ongoing work in this area. The basic system is presented in terms of the tasks of score following, modeling of musical timing, and the computational issues of the actual implementation. We describe some improvements in the probabilistic modeling of the audio data, as well as some ideas for more sophisticated modeling of musical timing. We present a set of recent pieces for live player and computer controlled pianos, written specifically for our accompaniment system. Our presentation will include a live demonstration of this work.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849607
Zenodo URL: https://zenodo.org/record/849607
2009.18
Dissonances: Brief Description and Its Computational Representation in the RTCC Calculus
Perchy, Salim AVISPA (Ambientes Visuales de Programación Aplicativa) Research Group, Pontificia Universidad Javeriana de Cali; Cali, Colombia
Sarria Montemiranda, Gerardo Mauricio AVISPA (Ambientes Visuales de Programación Aplicativa) Research Group, Pontificia Universidad Javeriana de Cali; Cali, Colombia
Abstract
Dissonances in music have had a long evolution history dating back to days of strictly prohibition to times of enricheness of musical motives and forms. Nowadays, dissonances account for most of the musical expressiveness and contain a full application theory supporting their use making them a frequently adopted resource of composition. This work partially describes their theoretical background as well as their evolution in music and finally proposing a new model for their computational use.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849609
Zenodo URL: https://zenodo.org/record/849609
2009.19
Does a "natural" Sonic Feedback Affect Perceived Usability and Emotion in the Context of Use of an ATM?
Susini, Patrick Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Misdariis, Nicolas Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Houix, Olivier Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Lemaitre, Guillaume Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
The present study examines the question of a “natural” sonic feedback associated with keys of a numerical keyboard - in the context of use of an Automatic Teller Machine (ATM). “Natural” is defined here as an obvious sound feedback with regards to the action made by a user on a device. The aim is then to study how “naturalness” is related to the perceived usability and the perceived emotion of the sonic feedback before and after participants perform several tasks with the keyboard. Three levels of “naturalness” are defined: causal, iconic, and abstract. In addition, two levels of controlled usability of the system are used: a low level and a high one. Results show that preexperimental ratings of perceived “naturalness” and perceived usability were highly correlated. This relationship held after the participants interacted with the keyboard. “Naturalness” and emotional aspects were less dependant, revealing that “naturalness” and usability represent a special type of relation. However, results are affected by the level of controlled usability of the system. Indeed, the positive change at the high level of controlled usability for the iconic sounds (medium level of naturalness) obtained after the performance task failes at the low level of controlled usability.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849611
Zenodo URL: https://zenodo.org/record/849611
2009.20
Empirically Based Auditory Display Design
Brazil, Eoin Interaction Design Center, University of Limerick; Limerick, Ireland
Fernstrom, Mikael Interaction Design Center, University of Limerick; Limerick, Ireland
Abstract
This paper focuses on everyday sounds and in particular on sound description, sound understanding, sound synthesis/modelling and on sonic interaction design. The argument made in this paper is that the quantitative-analytical reductionist approach reduces a phenomenon into isolated individual parts which do not reflect the richness of the whole, as also noted by Widmer et al. [1]. As with music, so is it for everyday sounds that multidimensional approaches and techniques from various domains are required to address the complex interplay of the various facets in these types of sounds. An empirically inspired framework for sonic interaction design is proposed that incorporates methods and tools from perceptual studies, from auditory display theories, and from machine learning theories. The motivation for creating this framework is to provide designers with accessible methods and tools, to help them bridge the semantic gap between low-level perceptual studies and high-level semantically meaningful concepts. The framework is designed to be open and extendable to other types of sound such as music.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849613
Zenodo URL: https://zenodo.org/record/849613
2009.21
Enhancing Expressive and Technical Performance in Musical Video Games
Marczak, Raphaël Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Robine, Matthias Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Desainte-Catherine, Myriam Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Allombert, Antoine Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Hanna, Pierre Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Kurtág, György Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Abstract
Musical video games are best sellers games. One of their selling point is based on the improvement of players’ musical abilities. But interviews made with gamers and musicians show that if the former feel enough freedom in musical expression, the latter are more sceptical and feel more limited in the possibility of express themselves when they are playing. In parallel with the games development, some research works propose to improve control and meta-control on music to allow expressive performance without the user being a virtuoso. The goal of this article is first to present interviews made for knowing users opinions. Some research works about improving musical expressive performance are then presented. Finally, we propose games enhancing the expressive and technical musical performance, linking current game-play with current research. 67 percent of rhythm gamers will certainly buy a real instrument in mid-term. So playing musical video games could make players wanted to play real instruments. But do they really learn music playing this kind of game? Do they have enough freedom to express themselves musically? And what about the sensation of playing as a band when several players are allowed? This article starts with the description of musical video games main characteristics in section 2. Section 3 presents the main categories of musical video games with some famous examples. Interviews with different gamers and musicians illustrate the main assets and limits of this kind of games in section 4. We then present in section 5 some hardware and software developed in a computer music research environment. A way of pooling musical video games and this research in innovative games is finally proposed in section 6.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849615
Zenodo URL: https://zenodo.org/record/849615
2009.22
Explorations in Convolutional Synthesis
Smyth, Tamara School of Computing Science, Simon Fraser University; Vancouver, Canada
Elmore, Andrew R. School of Computing Science, Simon Fraser University; Vancouver, Canada
Abstract
In this work we further explore a previously proposed technique, used in the context of physical modeling synthesis, whereby a waveguide structure is replaced by a low-latency convolution operation with an impulse response. By doing so, there is no longer the constraint that successive arrivals be uniformly spaced, nor need they decay exponentially as they must in a waveguide structure. The structure of an impulse response corresponding to an acoustic tube is discussed, with possible synthesis parameters identified. Suggestions are made for departing from a physicallyconstrained structure, looking in particular at impulse responses that are mathematically-based and/or that correspond to hybrid or multi-phonic instruments by interleaving two or more impulse responses. The result is an exploration of virtual musical instruments that are either based on physical instruments, completely imagined, or somewhere in between.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849617
Zenodo URL: https://zenodo.org/record/849617
2009.23
Expressive Performance Rendering: Introducing Performance Context
Flossmann, Sebastian Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Grachten, Maarten Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria / Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Abstract
that uses a probabilistic network to model dependencies between score and performance. The score context of a note is used to predict the corresponding performance characteristics. Two extensions to the system are presented, which aim at incorporating the current performance context into the prediction, which should result in more stable and consistent predictions. In particular we generalise the Viterbi-algorithm, which works on discrete-state Hidden Markov Models, to continuous distributions and use it to calculate the overall most probable sequence of performance predictions. The algorithms are evaluated and compared on two very large data-sets of human piano performances: 13 complete Mozart Sonatas and the complete works for solo piano by Chopin.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849619
Zenodo URL: https://zenodo.org/record/849619
2009.24
Extending the Folksonomies of freesound.org Using Content-based Audio Analysis
Martínez, Elena Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Celma, Òscar Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Sordo, Mohamed Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
de Jong, Bram Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
This paper presents an in–depth study of the social tagging mechanisms used in Freesound.org, an online community where users share and browse audio files by means of tags and content–based audio similarity search. We performed two analyses of the sound collection. The first one is related with how the users tag the sounds, and we could detect some well–known problems that occur in collaborative tagging systems (i.e. polysemy, synonymy, and the scarcity of the existing annotations). Moreover, we show that more than 10\% of the collection were scarcely annotated with only one or two tags per sound, thus frustrating the retrieval task. In this sense, the second analysis focuses on enhancing the semantic annotations of these sounds, by means of content– based audio similarity (autotagging). In order to “autotag” the sounds, we use a k–NN classifier that selects the available tags from the most similar sounds. Human assessment is performed in order to evaluate the perceived quality of the candidate tags. The results show that, in 77\% of the sounds used, the annotations have been correctly extended with the proposed tags derived from audio similarity.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849621
Zenodo URL: https://zenodo.org/record/849621
2009.25
First-order Logic Classification Models of Musical Genres Based on Harmony
Anglade, Amélie Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom
Ramirez, Rafael Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Dixon, Simon Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom
Abstract
We present an approach for the automatic extraction of transparent classification models of musical genres based on harmony. To allow for human-readable classification models we adopt a first-order logic representation of harmony and musical genres: pieces of music are represented as lists of chords and musical genres are seen as context-free definite clause grammars using subsequences of these chord lists. To induce the context-free definite clause grammars characterising the genres we use a first-order logic decision tree induction algorithm, Tilde. We test this technique on 856 Band in a Box files representing academic, jazz and popular music. We perform 2-class and 3-class classification tasks on this dataset and obtain good classification results: around 66\% accuracy for the 3-class problem and between 72\% and 86\% accuracy for the 2-class problems. A preliminary analysis of the most common rules extracted from the decision tree models built during these experiments reveals a list of interesting and/or well-known jazz, academic and popular music harmony patterns.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.849623
Zenodo URL: https://zenodo.org/record/849623
2009.26
FM4 Soundpark Audio-based Music Recommendation in Everyday Use
Gasser, Martin Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Flexer, Arthur Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Abstract
We present an application of content-based music recommendation techniques within an online community platform targeted at an audience interested mainly in independent and alternative music. The web platform’s goals will be described, the problems of content management approaches based on daily publishing of new music tracks will be discussed, and we will give an overview of the user interfaces that have been developed to simplify access to the music collection. Finally, the adoption of content-based music recommendation tools and new user interfaces to improve user acceptance and recommendation quality will be justified by detailed user access analyses.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.849625
Zenodo URL: https://zenodo.org/record/849625
2009.27
Free Classification of Vocal Imitations of Everyday Sounds
Dessein, Arnaud Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Lemaitre, Guillaume Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This paper reports on the analysis of a free classification of vocal imitations of everyday sounds. The goal is to highlight the acoustical properties that have allowed the listeners to classify these imitations into categories that are closely related to the categories of the imitated sound sources. We present several specific techniques that have been developed to this end. First, the descriptions provided by the participants suggest that they have used different kinds of similarities to group together the imitations. A method to assess the individual strategies is therefore proposed and allows to detect an outlier participant. Second, the participants’ classifications are submitted to a hierarchical clustering analysis, and clusters are created using the inconsistency coefficient, rather than the height of fusion. The relevance of the clusters is discussed and seven of them are chosen for further analysis. These clusters are predicted perfectly with a few pertinent acoustic descriptors, and using very simple binary decision rules. This suggests that the acoustic similarities overlap with the similarities used by the participants to perform the classification. However, several issues need to be considered to extend these results to the imitated sounds.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849627
Zenodo URL: https://zenodo.org/record/849627
2009.28
Instrument Augmentation Using Ancillary Gestures for Subtle Sonic Effects
Lähdeoja, Otso CICM, University Paris VIII; Paris, France
Wanderley, Marcelo M. Input Devices and Music Interaction Laboratory (IDMIL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Malloch, Joseph Input Devices and Music Interaction Laboratory (IDMIL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Abstract
In this paper we present an approach to instrument augmentation using the musician's ancillary gestures to enhance the liveliness of real-time digitally processed sound. In augmented instrument praxis, the simultaneous control of the initial instrument and its' electric/electronic extension is a challenge due to the musician's physical and psychological constraints. Our work seeks to address this problem by designing non-direct gesture-sound relationships between ancillary gestures and subtle sonic effects, which do not require a full conscious control of the instrumentalist. An application for the electric guitar is presented on the basis of an analysis of the ancillary movements occurring in performance, with specific gesture data acquisition and mapping strategies, as well as examples of musical utilizations. While the research work focuses on the electric guitar, the system is not instrument-specific, and can be applied to any instrument using digital sound processing.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849629
Zenodo URL: https://zenodo.org/record/849629
2009.29
Interactive Infrasonic Environment: A New Type of Sound Installation for Controlling Infrasound
Gupfinger, Reinhard Graduate School of Interface Culture, Kunstuniversität Linz (UFG); Linz, Austria
Ogawa, Hideaki Graduate School of Interface Culture, Kunstuniversität Linz (UFG); Linz, Austria
Sommerer, Christa Graduate School of Interface Culture, Kunstuniversität Linz (UFG); Linz, Austria
Mignonneau, Laurent Graduate School of Interface Culture, Kunstuniversität Linz (UFG); Linz, Austria
Abstract
This paper proposes a new type of interactive sound instrument for use with audiences in sound installations and musical performances. The Interactive Infrasonic Environment allows users to perceive and experiment with the vibration and acoustic energy produced by infrasound. This article begins with a brief overview of infrasound and examines its generation, human perception, areas of application and some odd myths. Infrasound is sound with a frequency lower than 20 hertz (20 cycles per second) – outside the normal limits of human hearing. Nevertheless the human body can perceive such low frequencies via cross-modal senses. This paper describes three key aspects of infrasonic sound technologies: the artificial generation of infrasound, the human perception of infrasound, and the interactive environment for sound installations and musical performances. Additionally we illustrate these ideas with related works from the field of sound art and interactive art.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849631
Zenodo URL: https://zenodo.org/record/849631
2009.30
InTune: A Musician's Intonation Visualization System
Lim, Kyung Ae School of Informatics, Indiana University Bloomington; Bloomington, United States
Raphael, Christopher School of Informatics, Indiana University Bloomington; Bloomington, United States
Abstract
We present a freely downloadable program, InTune, designed to help musicians better hear and improve their intonation. The program uses the musical score from which the musician plays, assisting our approach in two ways. First, we use score following to automatically align the player’s audio signal to the musical score, thus allowing better and more flexible estimation of pitch. Second, we use the score match to present the tuning analysis in ways that are natural and intuitive for musicians. One representation presents the player with a marked-up musical score showing notes whose pitch characteristics deserve closer attention. Two other visual representations of audio overlay a musical time grid on the music data and allow random access to the audio, keyed by musical time. We present a user study involving 20 highly educated instrumentalists and vocalists.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849633
Zenodo URL: https://zenodo.org/record/849633
2009.31
JackТrip/SoundWIRE Meets Server Farm
Cáceres, Juan-Pablo Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Chafe, Chris Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
Even though bidirectional, high-quality and low-latency audio systems for network performance are available, the complexity involved in setting up remote sessions needs better tools and methods to asses and tune network parameters. We present an implementation of a system to intuitively evaluate the Quality of Service (QoS) on best effort networks. In our implementation, musicians are able to connect to a multi-client server and tune the parameters of a connection using direct “auditory displays.” The server can scale up to hundreds of users by taking advantage of modern multi-core machines and multi-threaded programing techniques. It also serves as a central “mixing hub” when network performance involves several participants.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849635
Zenodo URL: https://zenodo.org/record/849635
2009.32
Learning Jazz Grammars
Gillick, Jon Wesleyan University; Middletown, United States
Tang, Kevin Cornell University; Ithaca, United States
Keller, Robert M. Harvey Mudd College; Claremont, United States
Abstract
We are interested in educational software tools that can generate novel jazz solos in a style representative of a body of performed work, such as solos by a specific artist. Our approach is to provide automated learning of a grammar from a corpus of performances. Use of a grammar is robust, in that it can provide generation of solos over novel chord changes, as well as ones used in the learning process. Automation is desired because manual creation of a grammar in a particular playing style is a labor-intensive, trial-and-error, process. Our approach is based on unsupervised learning of a grammar from a corpus of one or more performances, using a combination of clustering and Markov chains. We first define the basic building blocks for contours of typical jazz solos, which we call “slopes”, then show how these slopes may be incorporated into a grammar wherein the notes are chosen according to tonal categories relevant to jazz playing. We show that melodic contours can be accurately portrayed using slopes learned from a corpus. By reducing turn-around time for grammar creation, our method provides new flexibility for experimentation with improvisational styles. Initial experimental results are reported.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849639
Zenodo URL: https://zenodo.org/record/849639
2009.33
L-systems, Scores, and Evolutionary Techniques
Figueira Lourenço, Bruno Department of Computational Science, University of Brasilia; Brasilia, Brazil
Ralha, José C. L. Department of Computational Science, University of Brasilia; Brasilia, Brazil
Brandão, Márcio C. P. Department of Computational Science, University of Brasilia; Brasilia, Brazil
Abstract
Although musical interpretation of L-Systems has not been explored as extensively as the graphical interpretation, there are many ways of creating interesting musical scores from strings generated by L-Systems. In this article we present some thoughts on this subject and propose the use of genetic operators with L-System to increase variability.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849637
Zenodo URL: https://zenodo.org/record/849637
2009.34
Making an Orchestra Speak
Nouno, Gilbert Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Cont, Arshia Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Carpentier, Grégoire Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Harvey, Jonathan Composer, Independent; United Kingdom
Abstract
This paper reports various aspects of the computer music realization of “Speakings” for live electronic and large orchestra by composer Jonathan Harvey, with the artistic aim of making an orchestra speak through computer music processes. The underlying project asks for various computer music techniques: whether through computer aided compositions as an aid for composer’s writing of instrumental scores, or real-time computer music techniques for electronic music realization and performance issues on the stage with the presence of an orchestra. Besides the realization techniques, the problem itself brings in challenges for existing computer music techniques that required the authors to pursue further research and studies in various fields. The current paper thus documents this collaborative process and introduce technical aspects of the proposed methods in each area with an emphasis on the artistic aim of the project.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849641
Zenodo URL: https://zenodo.org/record/849641
2009.35
Motion-enabled Live Electronics
Eckel, Gerhard Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Pirrò, David Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Sharma, Gerriet Krishna Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
Motion-Enabled Live Electronics (MELE) is a special approach towards live electronic music aiming at increasing the degree of the performers’ embodiment in shaping the sound processing. This approach is characterized by the combination of a high-resolution and fully-3D motion tracking system with a tracking data processing system tailored towards articulating the relationship between bodily movement and sound processing. The artistic motivations driving the MELE approach are described, an overview of related work is given and the technical setup used in a workshop exploring the approach is introduced. Brief descriptions of the pieces realized in the workshop and performed in the final concert inform the presentation of the conclusions drawn from the workshop.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849643
Zenodo URL: https://zenodo.org/record/849643
2009.36
Musical Applications and Design Techniques for the Gametrak Tethered Spatial Position Controller
Freed, Adrian Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley; Berkeley, United States
McCutchen, Devin Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley; Berkeley, United States
Schmeder, Andy Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley; Berkeley, United States
Skriver Hansen, Anne-Marie Department for Media Technology, Aalborg University; Aalborg, Denmark
Overholt, Daniel Department for Media Technology, Aalborg University; Aalborg, Denmark
Burleson, Winslow Arizona State University; Tempe, United States
Nørgaard Jensen, Camilla Arizona State University; Tempe, United States
Mesker, Alex Macquarie University; Sydney, Australia
Abstract
Novel Musical Applications and Design Techniques for the Gametrak tethered spatial positioning controller are described. Individual musical instrument controllers and large-scale musical and multimedia applications are discussed.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849645
Zenodo URL: https://zenodo.org/record/849645
2009.37
Musical Groove Is Correlated With Properties of the Audio Signal as Revealed by Computational Modelling, Depending on Musical Style
Madison, Guy Umeå University; Umeå, Sweden
Gouyon, Fabien INESC TEC; Porto, Portugal
Ullén, Fredrik Karolinska Institutet; Solna, Sweden
Abstract
With groove we mean the subjective experience of wanting to move rhythmically when listening to music. Previous research has indicated that physical properties of the sound signal contribute to groove - as opposed to mere association due to previous exposure, for example. Here, a number of quantitative descriptors of rhythmic and temporal properties were derived from the audio signal by means of computational modeling methods. The music examples were 100 samples from 5 distinct music styles, which were all unfamiliar to the listeners. Listeners’ ratings of groove were correlated with aspects of rhythmic patterning for Greek, Indian, Samba, and West African music. Microtiming was positively correlated with groove for Samba and negatively correlated with groove for Greek, but had very small unique contributions in addition to the rhythmical properties. For Jazz, none of the measured properties had any significant contributions to groove ratings.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849647
Zenodo URL: https://zenodo.org/record/849647
2009.38
Musical Voice Integration/Segregation: VISA Revisited
Rafailidis, Dimitris Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Cambouropoulos, Emilios Department of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Manolopoulos, Yannis Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
The Voice Integration/Segregation Algorithm (VISA) proposed by Karydis et al. [7] splits musical scores (symbolic musical data) into different voices, based on a perceptual view of musical voice that corresponds to the notion of auditory stream. A single ‘voice’ may consist of more than one synchronous notes that are perceived as belonging to the same auditory stream. The algorithm was initially tested against a handful of musical works that were carefully selected so as to contain a steady number of streams (contrapuntal voices or melody with accompaniment). The initial algorithm was successful on this small dataset, but was proven to run into serious problems in cases were the number of streams/voices changed during the course of a musical work. A new version of the algorithm has been developed that attempts to solve this problem; the new version, additionally, includes an improved mechanism for context-dependent breaking of chords and for keeping streams homogeneous. The new algorithm performs equally well on the old dataset, but gives much better results on the new larger and more diverse dataset.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849649
Zenodo URL: https://zenodo.org/record/849649
2009.39
New Tendencies in the Digital Music Instrument Design: Progress Report
Ferreira-Lopes, Paulo Research Centre in Science and Technology of the Arts (CITAR), Catholic University of Portugal; Porto, Portugal / Hochschule für Musik Karlsruhe; Karlsruhe, Germany
Vitez, Florian Hochschule für Musik Karlsruhe; Karlsruhe, Germany
Dominguez, Daniel Hochschule für Musik Karlsruhe; Karlsruhe, Germany
Wikström, Vincent Hochschule für Musik Karlsruhe; Karlsruhe, Germany
Abstract
This paper is a progress report from a workgroup of the University of Music Karlsruhe studying Music Technology at the Institut für Musikwissenschaft und Musikinformatik (Institute for Musicology and Music Technology). The group activity is focused on the development and design of computer-controlled instruments – digital music instruments [5]. We will describe three digital music instruments, havedeveloped at the Computer Studio. These instruments are mostly unified by the idea of human gesture and human interaction using new technologies to control the interaction processes. At the same time they were built upon the consciousness of musical tradition taking a fresh approach on everyday objects.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849651
Zenodo URL: https://zenodo.org/record/849651
2009.40
Non-negative Matrix Factorization With Selective Sparsity Constraints for Transcription of Bell Chiming Recordings
Marolt, Matija Faculty of Computer and Information Science, University of Ljubljana; Ljubljana, Slovenia
Abstract
The paper presents a method for automatic transcription of recordings of bell chiming performances. Bell chiming is a Slovenian folk music tradition involving performers playing tunes on church bells by holding the clapper and striking the rim of a stationary bell. The tunes played consist of repeated rhythmic patterns into which various changes are included. Because the sounds of bells are inharmonic and their tuning not known in advance, we propose a two step approach to transcription. First, by analyzing the covariance matrix of the time-frequency representation of a recording, we estimate the number of bells and their approximate spectra using prior knowledge of church bell acoustics and bell chiming performance rules. We then propose a non-negative matrix factorization algorithm with selective sparsity constraints that learns the basis vectors that approximate the previously estimated bell spectra. The algorithm also adapts the number of basis vectors during learning. We show how to apply the proposed method to bell chiming transcription and present results on a set of field recordings.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849653
Zenodo URL: https://zenodo.org/record/849653
2009.41
Parallelization of Audio Applications With Faust
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Fober, Dominique GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
Faust 0.9.9.6 introduces new compilation options to automatically parallelize audio applications. This paper explains how the automatic parallelization is done and presents some benchmarks.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849655
Zenodo URL: https://zenodo.org/record/849655
2009.42
Polynomial Extrapolation for Prediction of Surprise Based on Loudness - a Preliminary Study
Purwins, Hendrik Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain / Neural Information Processing Group, Technische Universität Berlin (TU Berlin); Berlin, Germany
Holonowicz, Piotr Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Herrera, Perfecto Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
The phenomenon of music surprise can be evoked by various musical features, such as intensity, melody, harmony, and rhythm. In this preliminary study we concentrate on the aspect of intensity. We formulate surprise as a critical derivation from the predicted next intensity value, based on the “immediate” past (∼ 7 s), slightly longer than the short-term memory. Higher level cognition, processing the long range structure of the piece and general stylistic knowledge, is not considered by the model. The model consists of a intensity calculation step and a prediction function. As a preprocessing method we compare instantaneous energy (root mean square), loudness, and relative specific loudness. This processing stage is followed by a prediction function for which the following alternative implementations are compared with each other: 1) discrete temporal difference of intensity functions, 2) FIR filter, and 3) polynomial extrapolation. In addition, we experimented with different analysis window length, sampling rate and hop size of the intensity curve. Good results are obtained for loudness and polynomial extrapolation based on an analysis frame of 7 s, a sampling rate of the loudness measures of 1.2 s, and a hop size of 0.6 s. In the polynomial extrapolation a polynomial of degree 2 is fitted to the loudness curve in the analysis window. The absolute difference between the extrapolated next loudness value and the actual value is then calculated and divided by the standard deviation within the analysis window. If the result is above a threshold value we predict surprise. The method is preliminarily evaluated with a few classical music examples.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849657
Zenodo URL: https://zenodo.org/record/849657
2009.43
Predicting the Perceived Spaciousness of Stereophonic Music Recordings
Sarroff, Andy M. New York University (NYU); New York, United States
Bello, Juan Pablo New York University (NYU); New York, United States
Abstract
In a stereophonic music production, music producers seek to impart impressions of one or more virtual spaces upon the recording with two channels of audio. Our goal is to map spaciousness in stereophonic music to objective signal attributes. This is accomplished by building predictive functions by exemplar-based learning. First, spaciousness of recorded stereophonic music is parameterized by three discrete dimensions of perception—the width of the source ensemble, the extent of reverberation, and the extent of immersion. A data set of 50 song excerpts is collected and annotated by humans for each dimension of spaciousness. A verbose feature set is generated on the music recordings and correlation-based feature selection is used to reduce the feature spaces. Exemplar-based support vector regression maps the feature sets to perceived spaciousness. We show that the predictive algorithms perform well on all dimensions and that perceived spaciousness can be successfully mapped to objective attributes of the audio signal.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849659
Zenodo URL: https://zenodo.org/record/849659
2009.44
Prototyping Musical Experiments for Tangisense, a Tangible and Traceable Table
Arfib, Daniel Laboratoire d'Informatique de Grenoble (LIG); Grenoble, France
Filatriau, Jehan-Julien Université catholique de Louvain; Louvain-la-Neuve, Belgium
Kessous, Loïc ISIR-UPMC, University Paris VI; Paris, France
Abstract
We describe two musical experiments that are designed for the interaction with a new tangible interface named by us Tangisense, based on a set of antennas and RFIDs. These experiments (classification, game of) use different kind of time schedule, and are now simulated using Max-Msp and Java programs and common computer-human interfaces. They are developed in such a way that they can be ported on a specific tangible interface using RFID tags in its heart. Details about this portage are given. These experiments will in the future serve as user-centered applications of this interactive table, be it for musical practice or sonic interaction design.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849661
Zenodo URL: https://zenodo.org/record/849661
2009.45
PV Stoch: A Spectral Stochastic Synthesis Generator
Döbereiner, Luc Institute of Sonology, Royal Conservatory of The Hague; The Hague, Netherlands
Abstract
PV Stoch is a phase vocoder (PV) unit generator (UGen) for SuperCollider. Its objective is the exploration of methods used in “non-standard synthesis”, especially in Dynamic Stochastic Synthesis (Xenakis), in another domain. In contrast to their original conception, the methods are applied in the frequency domain. This paper discusses some of the compositional motivations and considerations behind the approach, it gives a description of the actual synthesis method and its implementation, as well as a summary of the results and conclusions drawn.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849663
Zenodo URL: https://zenodo.org/record/849663
2009.46
Real-time Binaural Audio Rendering in the Near Field
Spagnol, Simone CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Avanzini, Federico CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Abstract
This paper considers the problem of 3-D sound rendering in the near field through a low-order HRTF model. Here we concentrate on diffraction effects caused by the human head which we model as a rigid sphere. For relatively close source distances there already exists an algorithm that gives a good approximation to analytical spherical HRTF curves; yet, due to excessive computational cost, it turns out to be impractical in a real-time dynamic context. For this reason the adoption of a further approximation based on principal component analysis, which can significantly speed up spherical HRTF computation, is proposed. The model resulting from such an approach is suitable for future integration in a structural HRTF model and parameterization over anthropometrical measurements of a wide range of subjects.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849665
Zenodo URL: https://zenodo.org/record/849665
2009.47
Real-time DTW-based Gesture Recognition External Object for Max/MSP and Puredata
Bettens, Frederic Department of Circuit Theory and Signal Processing (TCTS Lab), Faculty of Engineering, University of Mons; Mons, Belgium
Todoroff, Todor ARTeM (Art, Recherche, Technologie et Musique); Brussels, Belgium / Department of Circuit Theory and Signal Processing (TCTS Lab), Faculty of Engineering, University of Mons; Mons, Belgium
Abstract
This paper focuses on a real-time Max/MSP implementation of a gesture recognition tool based on Dynamic Time Warping (DTW). We present an original ”multi-grid” DTW algorithm, that does not require prior segmentation. The num.dtw object will be downloadable on the numediart website both for Max/MSP and for Pure Data. Though this research was conducted in the framework described below, with wearable sensors, we believe it could be useful in many other contexts. We are for instance starting a new project where we will evaluate our DTW object on video tracking data as well as on a combination of video tracking and wearable sensors data.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849667
Zenodo URL: https://zenodo.org/record/849667
2009.48
Score Playback Devices in PWGL
Laurson, Mikael Centre for Music and Technology, Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Kuuskankare, Mika Centre for Music and Technology, Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Abstract
This paper presents a novel system that allows the user to customize playback facilities in our computer-assisted environment, PWGL. The scheme is based on a class hierarchy. The behavior of an abstract root playback class containing a set of methods can be customized through inheritance. This procedure is demonstrated by a subclass that is capable of playing MIDI data. This playback device allows to realize automatically multi-instrument and micro-tonal scores by using pitchbend setups and channel mappings. Also continuous control information can be given in a score by adding dynamics markings and/or special Score-BPF expressions containing break-point functions. We give several complete code examples that demonstrate how the user could further change the playback behavior. We start with a simple playback device that allows to override channel information. Next we discuss how to implement the popular keyswitch mechanism in our system. This playback device is capable of mapping high-level score information with commercial orchestral database supporting keyswitch instruments. Our final example shows how to override the default MIDI output and delegate the play events to an external synthesizer using OSC.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849669
Zenodo URL: https://zenodo.org/record/849669
2009.49
Sensory Threads: Sonifying Imperceptible Phenomena in the Wild
Fencott, Robin Interaction, Media, and Communication Group, Queen Mary University of London; London, United Kingdom
Bryan-Kinns, Nick Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom
Abstract
Sensory Threads is a pervasive multi-person interactive experience in which sensors monitor phenomena that are imperceptible or periphery to our everyday senses. These phenomena include light temperature, heart-rate and spatialdensity. Participants each wear a sensor as they move around an urban environment, and the sensor data is mapped in realtime to an interactive soundscape which is transmitted wirelessly back to the participants. This paper discusses the design requirements for the Sensory Threads soundscape. These requirements include intuitive mappings between sensor data and audible representation and the ability for participants to identify individual sensor representations within the overall soundscape mix. Our solutions to these requirements draw upon work from divergent research fields such as musical interface design, data sonification, auditory scene analysis, and the theory of electroacoustic music. We discuss mapping strategies between sensor data and audible representation, our decisions about sound design and issues surrounding the concurrent presentation of multiple data sets. We also explore the synergy and tension between functional and aesthetic design, considering in particular how affective design can provide solutions to functional requirements.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849671
Zenodo URL: https://zenodo.org/record/849671
2009.50
Shape-based Spectral Contrast Descriptor
Akkermans, Vincent Faculty of Art, Media and Technology, University of the Arts Utrecht (HKU); Utrecht, Netherlands
Serrà, Joan Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Herrera, Perfecto Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Mel-frequency cepstral coefficients are used as an abstract representation of the spectral envelope of a given signal. Although they have been shown to be a powerful descriptor for speech and music signals, more accurate and easily interpretable options can be devised. In this study, we present and evaluate the shape-based spectral contrast descriptor, which is build up from the previously proposed octave-based spectral contrast descriptor. We compare the three aforementioned descriptors with regard to their discriminative power and MP3 compression robustness. Discriminative power is evaluated within a prototypical genre classification task. MP3 compression robustness is measured by determining the descriptor values’ change between different encodings. We show that the proposed shape-based spectral contrast descriptor yields a significant increase in accuracy, robustness, and applicability over the octave-based spectral contrast descriptor. Our results also corroborate initial findings regarding the accuracy improvement of the octave-based spectral contrast descriptor over Mel-frequency cepstral coefficients for the genre classification task.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849673
Zenodo URL: https://zenodo.org/record/849673
2009.51
Sound and the City: Multi-layer Representation and Navigation of Audio Scenarios
Ludovico, Luca Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Mauro, Davide Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Abstract
IEEE 1599-2008 is an XML-based standard originally intended for the multi-layer representation of music information. Nevertheless, it is versatile enough to describe also information different from traditional scores written according to the Common Western Notation (CWN) rules. This paper will discuss the application of IEEE 1599-2008 to the audio description of paths and scenarios from the urban life or other landscapes. The standard we adopt allows the multilayer integration of textual, symbolical, structural, graphical, audio and video contents within a unique synchronized environment. Besides, for each kind of media, a number of digital objects is supported. As a consequence, thanks to the features of the format the produced description will be more than a mere audio track, a slideshow made of sonified static images or a movie. Finally, an ad hoc evolution of a standard viewer for IEEE 1599 documents will be presented, in order to enjoy the results of our efforts.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849675
Zenodo URL: https://zenodo.org/record/849675
2009.52
Sound Object Classification for Symbolic Audio Mosaicing: A Proof-of-concept
Janer, Jordi Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Haro, Martin Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Roma, Gerard Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Fujishima, Takuya Yamaha Corporation; Hamamatsu, Japan
Kojima, Naoaki Media Artist, Independent; Japan
Abstract
Sample-based music composition often involves the task of manually searching appropriate samples from existing audio. Audio mosaicing can be regarded as a way to automatize this process by specifying the desired audio attributes, so that sound snippets that match these attributes are concatenated in a synthesis engine. These attributes are typically derived from a target audio sequence, which might limit the musical control of the user. In our approach, we replace the target audio sequence by a symbolic sequence constructed with pre-defined sound object categories. These sound objects are extracted by means of automatic classification techniques. Three steps are involved in the sound object extraction process: supervised training, automatic classification and user-assisted selection. Two sound object categories are considered: percussive and noisy. We present an analysis/synthesis framework, where the user explores first a song collection using symbolic concepts to create a set of sound objects. Then, the selected sound objects are used in a performance environment based on a loop-sequencer paradigm.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849677
Zenodo URL: https://zenodo.org/record/849677
2009.53
Sound Search by Content-based Navigation in Large Databases
Schwarz, Diemo Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Schnell, Norbert Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
We propose to apply the principle of interactive real-time corpus-based concatenative synthesis to search in effects or instrument sound databases, which becomes content-based navigation in a space of descriptors and categories. This surpasses existing approaches of presenting the sound database first in a hierarchy given by metadata, and then letting the user listen to the remaining list of responses. It is based on three scalable algorithms and novel concepts for efficient visualisation and interaction: Fast similarity-based search by a kD-tree in the high-dimensional descriptor space, a mass– spring model for layout, efficient dimensionality reduction for visualisation by hybrid multi-dimensional scaling, and novel modes for interaction in a 2D representation of the descriptor space such as filtering, tiling, and fluent navigation by zoom and pan, supported by an efficient 3-tier visualisation architecture. The algorithms are implemented and tested as C-libraries and Max/MSP externals within a prototype sound exploration application.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849679
Zenodo URL: https://zenodo.org/record/849679
2009.54
The Effect of Visual Cues on Melody Segregation
Burkitt, Anthony Neville The University of Melbourne; Melbourne, Australia
Grayden, David B. The University of Melbourne; Melbourne, Australia
Innes-Brown, Hamish The Bionic Ear Institute; Melbourne, Australia
Marozeau, Jeremy The Bionic Ear Institute; Melbourne, Australia
Abstract
Music often contains many different auditory streams and one of its great interests is the relationship between these streams (melody vs. counterpoint vs. harmony). As these different streams reach our ears at the same time, it is up to the auditory system to segregate them. Auditory stream segregation is based mainly on our ability to group different streams according to their overall auditory perceptual differences (such as pitch or timbre). People with impaired hearing have great difficulty separating auditory streams, including those in music. It has been suggested that attention can influence auditory streaming and, by extension, visual information. A psychoacoustics experiment was run on eight musically trained listeners to test whether visual cues could influence the segregation of a 4-note repeating melody from interleaved pseudo-random notes. Results showed that the amount of overall segregation was significantly improved when visual information related to the 4-note melody is provided. This result suggests that music perception for people with impaired hearing could be enhanced using appropriate visual information
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: Missing
Zenodo URL: Missing
2009.55
The Flops Glass: A Device to Study Emotional Reactions Arising From Sonic Interactions
Lemaitre, Guillaume Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Houix, Olivier Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Franinović, Karmen Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Visell, Yon Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Susini, Patrick Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This article reports on an experimental study of emotional reactions felt by users manipulating an interactive object augmented with sounds: the Flops glass. The Flops interface consists of a glass embedded with sensors, which produces impact sounds after it is tilted, implementing the metaphor of the falling of objects out of the glass. The sonic and behavioural design of the glass was conceived specifically for the purpose of studying emotional reactions in sonic interactions. This study is the first of a series. It aims at testing the assumption that emotional reactions are influenced by three parameters of the sounds: spectral centroid, tonality and naturalness. The experimental results reported here confirm the significant influence of perceptual centroid and naturalness, but fail to show an effect of the tonality.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849681
Zenodo URL: https://zenodo.org/record/849681
2009.56
The Hyper-kalimba: Developing an Augmented Instrument From a Performer's Perspective
Rocha, Fernando School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Malloch, Joseph Input Devices and Music Interaction Laboratory (IDMIL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Abstract
The paper describes the development of the hyper-kalimba, an augmented instrument created by the authors. This development was divided into several phases and was based on constant consideration of technology, performance and compositional issues. The basic goal was to extend the sound possibilities of the kalimba, without interfering with any of the original features of the instrument or with the performer’s pre-existing skills. In this way performers were able to use all the traditional techniques previously developed, while learning and exploring all the new possibilities added to the instrument.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849683
Zenodo URL: https://zenodo.org/record/849683
2009.57
The Kinematic Rubato Model as a Means of Studying Final Ritards Across Pieces and Pianists
Grachten, Maarten Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria / Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Abstract
This paper presents an empirical study of the performance of final ritards in classical piano music by a collection of famous pianists. The particular approach taken here uses Friberg and Sundberg’s kinematic rubato model in order to characterize the variability of performed ritards across pieces and pianists. The variability is studied in terms of the model parameters controlling the depth and curvature of the ritard, after the model has been fitted to the data. Apart from finding a strong positive correlation of both parameters, we derive curvature values from the current data set that are substantially higher than curvature values deemed appropriate in previous studies. Although the model is too simple to capture all meaningful fluctuations in tempo, its parameters seem to be musically relevant, since performances of the same piece tend to be strongly concentrated in the parameter space. Unsurprisingly, the model parameters are generally not discriminative for pianist identity. Still, in some cases systematic differences between pianists are observed between pianists.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849685
Zenodo URL: https://zenodo.org/record/849685
2009.58
The Sonified Music Stand - an Interactive Sonification System for Musicians
Großhauser, Tobias Ambient Intelligence Group, Center of Excellence in Cognitive Interaction Technology, Bielefeld University; Bielefeld, Germany
Hermann, Thomas Ambient Intelligence Group, Center of Excellence in Cognitive Interaction Technology, Bielefeld University; Bielefeld, Germany
Abstract
This paper presents the sonified music stand, a novel interface for musicians that provides real-time feedback for professional musicians in an auditory form by means of interactive sonification. Sonifications convey information by using non-speech sound and are a promising means for musicians since they (a) leave the visual sense unoccupied, (b) address the sense of hearing which is already used and in this way further trained, (c) allow to relate feedback information in the same acoustic medium as the musical output, so that dependencies between action and reaction can be better understood. This paper presents a prototype system together with demonstrations of applications that support violinists during musical instrument learning. For that a pair of portable active loudspeaker has been designed for the music stand and a small motion sensor box has been developed to be attached to the bow, hand or hand wrist. The data are sonified in real-time according to different training objectives. We sketch several sonification ideas with sound examples and give a qualitative description of using the system.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849687
Zenodo URL: https://zenodo.org/record/849687
2009.59
Three Methods for Pianist Hand Assignment
Hadjakos, Aristotelis Technische Universität Darmstadt (TU Darmstadt); Darmstadt, Germany
Lefebvre-Albaret, François Institut de Recherche en Informatique de Toulouse (IRIT); Toulouse, France
Abstract
Hand assignment is the task to determine which hand of the pianist has played a note. We propose three methods for hand assignment: The first method uses Computer Vision and analyzes video images that are provided by a camera mounted over the keyboard. The second and third methods use Kalman filtering to track the hands using MIDI data only or a combination of MIDI and inertial sensing data. These methods have applications in musical practice, new piano pedagogy applications, and notation.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849689
Zenodo URL: https://zenodo.org/record/849689
2009.60
Towards an Experimental Platform for Collective Mobile Music Performance
Tahiroğlu, Koray Department of Signal Processing and Acoustics (SPA), Helsinki University of Technology; Espoo, Finland
Abstract
This paper presents an experimentation of an interactive performance system that enables audience participation in an improvisational computer music performance. The design purports an improvisation tool and a mechanism by involving collective mobile interfaces. It also provides a design of an adaptive control module in parts of the system. Designing a collaborative interface for an easy to use and easy to control everyday-life communication tool allows for an audience to become more familiar with the collaboration process and experience a way of making music with a mobile device. The role of the audience is critical, not only for the design process of the system, but also for the experience of such experimental music.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849693
Zenodo URL: https://zenodo.org/record/849693
2009.61
Towards a Prosody Model of Attic Tragic Poetry: From Logos to Mousiké
Georgaki, Anastasia Department of Music, University of Athens; Athens, Greece
Psaroudakēs, Stelios Department of Music, University of Athens; Athens, Greece
Carlé, Martin Institute of Music and Media Studies, Humboldt-Universität zu Berlin; Berlin, Germany
Tzevelekos, Panagiotis Department of Informatics and Telecommunications, University of Athens; Athens, Greece
Abstract
Recently there has been increasing interest of scientists for the performance of singing or reciting voices of the past in utilising analysis-synthesis methods. In the domain of Ancient Greek musicology indeed, where we find the roots of the occidental music, the main research has been done mostly by scholars of classical Greek literature. However, there is still a vast territory for research in audio performances to be carried out with the help of new digital technologies. In this paper, we will present an attempt to decode a recited text of Ancient Greek tragedy and render it into sound. At the first paragraph of this article we underline the origin of music arising from the melodicity of speech in Ancient Greek tragedy. In the second paragraph, we describe the methodology we have used in order to analyse the voice of S. Psaroudak!s, himself professor of Ancient Greek music, by an open source prosodic feature extraction tool based on Praat. We give a description of the prosodic analysis, implementation details and discuss its feature extension capabilities as well. Last, we refer to the difference between the Ancient and Modern Greek phonological system, the application of this research in music and further development.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849691
Zenodo URL: https://zenodo.org/record/849691
2009.62
Towards Audio to Score Alignment in the Symbolic Domain
Niedermayer, Bernhard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Abstract
This paper presents a matrix factorization based feature for audio to score alignment. We show that in combination with dynamic time warping it can compete with chroma vectors, which are the probably most frequently used approach within the last years. A great benefit of the factorizationbased feature is its sparseness, which can be used in order to transform it into a symbolic representation. We will show that music to score alignments using the symbolic version of the feature is less accurate but on the other hand reduces the memory required for feature representation and during the alignment process to a fraction of the original amount. This is of special value when dealing with very long pieces of music where the limits of default DTW are reached.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849695
Zenodo URL: https://zenodo.org/record/849695
2009.63
VocaListener: A Singing-to-singing Synthesis System Based on Iterative Parameter Estimation
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
This paper presents a singing synthesis system, VocaListener, that automatically estimates parameters for singing synthesis from a user’s singing voice with the help of song lyrics. Although there is a method to estimate singing synthesis parameters of pitch (F0 ) and dynamics (power) from a singing voice, it does not adapt to different singing synthesis conditions (e.g., different singing synthesis systems and their singer databases) or singing skill/style modifications. To deal with different conditions, VocaListener repeatedly updates singing synthesis parameters so that the synthesized singing can more closely mimic the user’s singing. Moreover, VocaListener has functions to help modify the user’s singing by correcting off-pitch phrases or changing vibrato. In an experimental evaluation under two different singing synthesis conditions, our system achieved synthesized singing that closely mimicked the user’s singing.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849697
Zenodo URL: https://zenodo.org/record/849697
Sound and Music Computing Conference 2010 (ed. 7)
Dates: from July 18 to July 23, 2010
Place: Barcelona, Spain
Proceedings info: not available
2010.1
A COMPARISON OF PROBABILISTIC MODELS FOR ONLINE PITCH TRACKING
Simsekli, Umut Boğaziçi University; Istanbul, Turkey
Cemgil, Ali Taylan Boğaziçi University; Istanbul, Turkey
Abstract
In this study, we propose and compare two probabilistic models for online pitch tracking: Hidden Markov Model and Change Point Model. In our models each note has a certain characteristic spectral shape which we call spectral templates. Hence the system's goal is to find the note whose template is active given the audio data. The main focus on this work is the trade off between latency and accuracy of the pitch tracking system. We present the probabilistic models and the inference schemes in detail. Encouraging results are obtained from the experiments that are done on low-pitched monophonic audio.
Keywords
Change Point Model, Hidden Markov Model, Pitch tracking, Real-time audio processing
Paper topics
Automatic music transcription, Musical pattern recognition/modeling, Sound/music signal processing algorithms
Easychair keyphrases
pitch tracking [17], gamma potential [16], probabilistic model [16], change point [10], hidden markov model [7], indicator variable [7], change point model [6], online pitch tracking [6], polyphonic pitch tracking [6], time frame [6], spectral template [5], certain characteristic spectral shape [4], compound poisson observation model [4], computational complexity [4], exact forward backward algorithm [4], inference scheme [4], low pitched instrument [4], monophonic pitch tracking [4], non negative matrix factorization [4], pitch tracking method [4], pitch tracking system [4], standard hidden markov model [4]
Paper type
unknown
DOI: 10.5281/zenodo.849699
Zenodo URL: https://zenodo.org/record/849699
2010.2
ACOUSTIC REHABILITATION OF A LITTLE CHURCH IN VINAROS (SPAIN)
Segura Garcia, Jaume Universitat de València; Valencia, Spain
Romero, Alvaro Catholic University of Valencia (UCV); Valencia, Spain
Navarro Camba, Enrique A. Universitat de València; Valencia, Spain
Abstract
Nowadays some churches are not used for worship, but they are used for cultural or leisure performances. The acoustic conditions of the original buildings are not the optimum for these new uses. For this reason it is necessary an acoustical rehabilitation. This paper describes the work done in order to improve the acoustic of a church in Vinaròs and it is presented the refurbishment of this room as a multiple-use room. To make this improvement a ray tracing tool has been used. The improvement has been evaluated with virtual acoustics and according to Beranek’s parameters. The main aims of this study were to evaluate the actual acoustic conditions and to present a proposal for later acoustic refurbishment.
Keywords
Acoustical rehabilitation, Simultation, Virtual acoustics
Paper topics
Computer environments for sound/music processing
Easychair keyphrases
acoustic fitting [16], reverberation time [16], saint agustine church [11], absorbent material [7], stained glass sheet [7], octave band [5], pressure level [5], stall seat [5], absorption coefficient [4], catt acoustic [4], clarity index c80 [4], definition index d50 [4], frequency band [4], index d50 distribution [4], meter wide [4], rapid speech transmission index [4], saint augustine church [4], sti index [4]
Paper type
unknown
DOI: 10.5281/zenodo.849707
Zenodo URL: https://zenodo.org/record/849707
2010.3
ADAPTIVE SPATIALIZATION AND SCRIPTING CAPABILITIES IN THE SPATIAL TRAJECTORY EDITOR HOLO-EDIT
Bascou, Charles Centre National de Création Musicale (GMEM); France
Abstract
This paper presents recent works on controlling and editing sound spatialization on multiple speakers based on sound descriptors. It has been implemented as an extension of Holo-Edit, an OpenSoundControl compliant multitrack spatial trajectory editor developed at GMEM. An SDIF interface has been implemented allowing importing and visualizing sound descriptors generated by third party softwares. A set of scripting tools is proposed to process and map these time-tagged data to sound trajectory generation.
Keywords
adaptive spatialization, OSC, sdif visualization, SpatDIF, trajectory scripting
Paper topics
3D sound/music, Computer environments for sound/music processing, Visualization of sound/music data
Easychair keyphrases
holo edit [7], sound spatialization [7], fundamental frequency [6], international computer music [6], adaptive spatialization [4], begin time [4], data object [4], global time selection [4], instrumental sound [4], sound description [4], sound event [4]
Paper type
unknown
DOI: 10.5281/zenodo.849709
Zenodo URL: https://zenodo.org/record/849709
2010.4
Additional Evidence That Common Low-level Features of Individual Audio Frames Are Not Representative of Music Genre
Marques, Gonçalo Department of Electronics, Telecommunications and Computers Engineering (ADEETC), Instituto Superior de Engenharia de Lisboa (ISEL); Lisbon, Portugal
Lopes, Miguel Faculdade de Engenharia da Universidade do Porto (FEUP), Universidade do Porto; Porto, Portugal
Sordo, Mohamed Pompeu Fabra University (UPF); Barcelona, Spain
Langlois, Thibault Department of Informatics (DI), Universidade de Lisboa; Lisbon, Portugal
Gouyon, Fabien INESC TEC; Porto, Portugal
Abstract
The Bag-of-Frames (BoF) approach has been widely used in music genre classification. In this approach, music genres are represented by statistical models of low-level features computed on short frames (e.g. in the tenth of ms) of audio signal. In the design of such models, a common procedure in BoF approaches is to represent each music genre by sets of instances (i.e. frame-based feature vectors) inferred from training data. The common underlying assumption is that the majority of such instances do capture somehow the (musical) specificities of each genre, and that obtaining good classification performance is a matter of size of the training dataset, and fine-tuning feature extraction and learning algorithm parameters. We report on extensive tests on two music databases that contradict this assumption. We show that there is little or no benefit in seeking a thorough representation of the feature vectors for each class. In particular, we show that genre classification performances are similar when representing music pieces from a number of different genres with the same set of symbols derived from a single genre or from all the genres. We conclude that our experiments provide additional evidence to the hypothesis that common low-level features of isolated audio frames are not representative of music genres.
Keywords
audio music genre classification, Bag of Frames, short time descriptors, vector quantization
Paper topics
Musical pattern recognition/modeling, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
music piece [24], feature vector [18], common low level feature [12], music genre [12], music genre classification [11], genre classification [9], second best accuracy [7], genre markov svm [6], markov model [6], music information retrieval [6], audio feature [5], classification accuracy [5], last column [5], percentage point [5], average accuracy [4], genre classification contest [4], latin music database [4], low level feature [4], markov model classifier [4], training data [4]
Paper type
unknown
DOI: 10.5281/zenodo.849711
Zenodo URL: https://zenodo.org/record/849711
2010.5
A Look Into the Past: Analysis of Trends and Topics in Proceedings of Sound and Music Computing Conference
Pratyush, Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Umbert, Martí Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this paper we analyze the proceedings of all the past six editions of the Sound & Music Computing Confer- ence. The proceedings are analyzed using knowledge based “keywords to text” mapping to discover the overall conference evolution trends. The analysis is done on a basis of number of papers and distinct authors, participa- tion ratio for each relevant topic, the interdependence of topics in terms of shared keywords and the overall popu- larity of keywords. The analysis was done for each con- ference year as well as for the overall collection of pro- ceedings till date. The objective of the discussed work is to provide an insight of the progress made over the past six years in the SMC community that was envisioned in the roadmap.
Keywords
Knowledge mining, SMC Conference, trends
Paper topics
Multimodality in sound and music computing, Web 2.0 and music
Easychair keyphrases
middle level topic [20], high level topic [19], level topic [16], musical sound source separation [6], music computing [6], preliminary analysis [5], distinct author [4], gesture controlled audio system [4], middle level [4], musical performance modeling visualization [4], music information retrieval [4], relevant topic [4]
Paper type
unknown
DOI: 10.5281/zenodo.849701
Zenodo URL: https://zenodo.org/record/849701
2010.6
A Lyrics-matching QBH System for Interactive Environments
Papiotis, Panagiotis Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Purwins, Hendrik Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Query-by-Humming (QBH) is an increasingly popular technology that allows users to browse through a song database by singing/humming a part of the song they wish to retrieve. Besides these cases, QBH can also be used in applications such as Score Alignment and Real-Time Accompaniment. In this paper we present an online QBH algorithm for audio recordings of singing voice, which uses a Multi-Similarity measurement approach to pinpoint the location of a query within a musical piece taking into account the pitch trajectory, phonetic content and RMS energy envelope. Experiments show that our approach can achieve 75% Top-1 accuracy in locating an exact melody from the whole song, and 58% Top-1 accuracy in locating the phrase which contains the exact lyrics – an improvement of 170% over the basic pitch trajectory method. Average query duration is 6 seconds while average runtime is 1.1 times the duration of the query.
Keywords
Dynamic Time Warping, Interactive Music Systems, Lyrics-based Similarity, Query by Humming, Score Alignment
Paper topics
Automatic music generation/accompaniment systems, Automatic music transcription, Interactive performance systems, Musical pattern recognition/modeling, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
pitch contour [14], random guess accuracy [12], dynamic time warping [6], melodic variation [6], lyric matching [5], musical piece [5], reference vocal [5], retrieved phrase [5], average accuracy [4], best candidate [4], contour based dtw [4], post processing [4], real time accompaniment system [4], reference recording [4]
Paper type
unknown
DOI: 10.5281/zenodo.849703
Zenodo URL: https://zenodo.org/record/849703
2010.7
Analysis and automatic annotation of singer’s postures during concert and rehearsal
Grachten, Maarten Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Demey, Michiel Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Moelants, Dirk Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Leman, Marc Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Abstract
Bodily movement of music performers is widely acknowledged to be a means of communication with the audience. For singers, where the necesity of movement for sound production is limited, postures, i.e. static positions of the body, may be relevant in addition to actual movements. In this study, we present the results of an analysis of a singer's postures, focusing on differences in postures between a dress rehearsal without audience and a concert with audience. We provide an analysis based on manual annotation of postures and propose and evaluate methods for automatic annotation of postures based on motion capture data, showing that automatic annotation is a viable alternative to manual annotation. Results furthermore suggest that the presence of an audience leads the singer to use more `open' postures, and differentiate more between different postures. Also, speed differences of transitions from one posture to another are more pronounced in concert than during rehearsal.
Keywords
Annotation, Body movement, Music Performance
Paper topics
Computational musicology, Multimodality in sound and music computing, Musical pattern recognition/modeling
Easychair keyphrases
data point [12], manual annotation [12], angular velocity [11], automatic annotation [10], left arm [10], arm next [8], concert performance [8], forearm angle [8], right arm [8], mean angular velocity [7], clustering algorithm [6], dress rehearsal [6], right forearm [6], right forearm angle [6], singer posture [6], video recording [6], rehearsal condition [5], angle left arm [4], average angular velocity [4], motion sensing data [4], musical gesture [4], sensor data [4], singing performance [4], systematic difference [4], viola da gamba [4], wilcoxon signed rank test [4]
Paper type
unknown
DOI: 10.5281/zenodo.849595
Zenodo URL: https://zenodo.org/record/849595
2010.8
Analyzing Gesture and Sound Similarities With a HMM-based Divergence Measure
Caramiaux, Baptiste Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bevilacqua, Frédéric Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Schnell, Norbert Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In this paper we propose a divergence measure which is applied to the analysis of the relationships between gesture and sound. Technically, the divergence measure is defined based on a Hidden Markov Model (HMM) that is used to model the time profile of sound descriptors. We show that the divergence has the following properties: non- negativity, global minimum and non-symmetry. Particularly, we used this divergence to analyze the results of experiments where participants were asked to perform physical gestures while listening to specific sounds. We found that the proposed divergence is able to measure global and local differences in either time alignment or amplitude between gesture and sound descriptors.
Keywords
Divergence Measure, Gesture-Sound Similarity, Hidden Markov Modeling (HMM)
Paper topics
Gesture controlled audio systems, Sonic interaction design
Easychair keyphrases
divergence measure [41], hidden markov model [9], global minimum [7], model state [7], gesture parameter [6], gesture velocity [6], hidden markov modeling [6], hmm based divergence measure [6], temporal evolution [6], hidden markov [5], non negativity [5], sound descriptor [5], temporal alignment [5], audio descriptor sample [4], audio visual speech recognition [4], markov chain [4], model signal sample [4], physical gesture [4], real time [4], sample unit [4], standard deviation [4], time invariant observation distribution [4], time profile [4]
Paper type
unknown
DOI: 10.5281/zenodo.849715
Zenodo URL: https://zenodo.org/record/849715
2010.9
Analyzing left hand fingering in guitar playing
Guaus, Enric Artificial Intelligence Research Institute (IIIA), Spanish National Research Council (CSIC); Madrid, Spain
Arcos, Josep Lluís Artificial Intelligence Research Institute (IIIA), Spanish National Research Council (CSIC); Madrid, Spain
Abstract
In this paper, we present our research on left hand gesture acquisition and analysis in guitar performances. The main goal of our research is the study of expressiveness. Here, we focus on a detection model for the left hand fingering based on gesture information. We use capacitive sensors to capture fingering positions and we look for a prototyp- ical description of the most common fingering positions in guitar playing. We report the performed experiments and study the obtained results proposing the use of classification techniques to automatically determine the finger positions.
Keywords
capacitive sensor, gesture acquisition, guitar, machine learning
Paper topics
Gesture controlled audio systems
Easychair keyphrases
finger position [13], capacitive sensor [11], hand position [9], left hand [8], finger combination [7], fingering position [6], index finger [6], measured relative capacitance [6], acquisition system [5], automatic classification [5], classical guitar [5], classification technique [5], default fingering [5], gesture information [5], guitar performance [5], played string [5], automatically classified category [4], automatic classifier [4], capacitance measured relative capacitance [4], collected data [4], finger activation [4], guitar playing [4], recorded position [4], weighted averaged f measure [4]
Paper type
unknown
DOI: 10.5281/zenodo.849719
Zenodo URL: https://zenodo.org/record/849719
2010.10
An Audiovisual Workspace for Physical Models
Schroeder, Benjamin The Ohio State University; Columbus, United States
Ainger, Marc The Ohio State University; Columbus, United States
Parent, Richard The Ohio State University; Columbus, United States
Abstract
We present an experimental environment for working with physically based sound models. We situate physical models in an interactive multi-modal space. Users may interact with the models through touch, using tangible controllers, or by setting up procedurally animated physical machines. The system responds with both real-time sound and graphics. A built-in strongly-timed scripting language allows for a different kind of exploration. The scripting language may be used to play the models with precise timing, to change their relation, and to create new behaviors. This environment gives direct, concrete ways for users to learn about how physical models work and begin to explore new musical ideas.
Keywords
graphics, interactive, language, multi-modal, physical models
Paper topics
Computer environments for sound/music processing, Interactive performance systems, Interfaces for music creation and fruition, Multimodality in sound and music computing, Physical modeling for sound generation, Visualization of sound/music data
Easychair keyphrases
physical model [16], diffuse illumination multitouch table [8], procedural animation [7], simtime advance [7], direct manipulation [6], direct manipulation environment [6], tangible controller [6], real time [5], stringd pluckatfraction [5], finite difference [4], real world [4], textual language [4]
Paper type
unknown
DOI: 10.5281/zenodo.849713
Zenodo URL: https://zenodo.org/record/849713
2010.11
A perceptual study on dynamical form in music
Hjortkjær, Jens Department of Arts and Cultural Studies, University of Copenhagen (UCPH); Copenhagen, Denmark
Nielbo, Frederik Center for Semiotics, Aarhus University; Aarhus, Denmark
Abstract
The concept of dynamical form is presented as a dimension of music perception. Dynamical form refers to the subjective perception of temporal events in music (explosive, fading out, rising etc.). In a behavioral experiment listeners were asked to categorize musical excerpts varying in musical period, tonality, instrumentation, and acoustic features while attending to their dynamical form. Data indicates that subjects are sensitive to dynamical forms, but were particularly sensitive to a specific one (suspense). We also discuss a method of categorizing dynamical forms in terms of force dynamics.
Keywords
Dynamical form, Musical semantics, Music perception
Paper topics
Musical pattern recognition/modeling, Music and emotions, Sound/music perception and cognition
Easychair keyphrases
dynamical form [37], force tendency [10], music perception [9], stable state [7], changing state pattern [6], force dynamical pattern [6], force dynamical structure [6], musical excerpt [6], man leaning [5], atonal orch [4], behavioral data [4], force dynamical [4], free clustering task [4], verbal label [4]
Paper type
unknown
DOI: 10.5281/zenodo.849705
Zenodo URL: https://zenodo.org/record/849705
2010.12
AUDIO-BASED MUSIC VISUALIZATION FOR MUSIC STRUCTURE ANALYSIS
Wu, Ho-Hsiang Music and Audio Research Lab (MARL), Department of Music and Performing Arts Professions, New York University (NYU); New York, United States
Bello, Juan Pablo Music and Audio Research Lab (MARL), Department of Music and Performing Arts Professions, New York University (NYU); New York, United States
Abstract
We propose an approach to audio-based data-driven music visualization and an experimental design to study if the music visualization can aid listeners in identifying the structure of music. A three stage system is presented including feature extraction, the generation of a recurrence plot and the creation of an arc diagram to visualize the repetitions within a piece. Then subjects are asked to categorize simple forms of classical music with and without audio and visual cues provided. The accuracy and speed are measured. The results show that the visualization can reinforce the identification of musical forms.
Keywords
arc diagram, music structure analysis, music visualization, recurrence plot
Paper topics
Music information retrieval, Sound/music perception and cognition, Visualization of sound/music data
Easychair keyphrases
arc diagram [17], recurrence plot [11], phase space [9], musical form [7], music structure analysis [6], time series [6], visual cue [5], chroma feature [4], classical music [4], main theme [4], music information retrieval [4], music visualization [4], segmentation boundary [4], strophic form [4]
Paper type
unknown
DOI: 10.5281/zenodo.849721
Zenodo URL: https://zenodo.org/record/849721
2010.13
AUTOMATIC MUSIC COMPOSITION BASED ON COUNTERPOINT AND IMITATION USING STOCHASTIC MODELS
Tanaka, Tsubasa The University of Tokyo; Tokyo, Japan
Nishimoto, Takuya The University of Tokyo; Tokyo, Japan
Ono, Nobutaka The University of Tokyo; Tokyo, Japan
Sagayama, Shigeki The University of Tokyo; Tokyo, Japan
Abstract
In this paper, we propose a computational method of automatic music composition which generates pieces based on counterpoint and imitation. Counterpoint is a compositional technique to make several independent melodies which sound harmonious when they are played simultaneously. Imitation is another compositional technique which repeats a theme in each voice and associate the voices. Our computational method consists of the stochastic model of counterpoint and that of imitation. Both stochastic models are simple Markov models whose unit of state is a beat. We formulate the problem as the problem to find the piece which maximize the product of probabilities that correspond to both stochastic models. Dynamic programming can be used to find the solution because the models are simple Markov models. Experimental results show that our method can generate pieces which satisfy the requirements of counterpoint within two successive beats, and can realize imitations of the theme with flexible transformations.
Keywords
automatic compotion, counterpoint, dynamic programming, imitation, stochastic model
Paper topics
Automatic music generation/accompaniment systems
Easychair keyphrases
stochastic model [21], successive beat [15], dynamic programming [13], markov model [13], transition probability [12], pitch transition [7], unigram probability [7], absolute value [6], melodic interval [5], probability distribution [5], rhythm pattern [5], automatic composition [4], automatic counterpoint [4], data sparseness problem [4], free counterpoint [4], generate piece [4], last slice [4], lower voice [4], musical knowledge [4], musical piece [4], similar way [4], successive accented perfect fifth [4]
Paper type
unknown
DOI: 10.5281/zenodo.849723
Zenodo URL: https://zenodo.org/record/849723
2010.14
Automatic Music Tag Classification based on Block-Level Features
Seyerlehner, Klaus Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Schedl, Markus Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Knees, Peter Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Abstract
In this paper we propose to use a set of block-level audio features for automatic tag prediction. As the proposed feature set is extremely high-dimensional we will investigate the Principal Component Analysis (PCA) as compression method to make the tag classification computationally tractable. We will then compare this block-level feature set to a standard feature set that is used in a state-of-the-art tag prediction approach. To compare the two feature sets we report on the tag classification results obtained for two publicly available tag classification datasets using the same classification approach for both feature sets. We will show that the proposed features set outperform the standard feature set, thus contributing to the state-of-the-art in automatic tag prediction.
Keywords
block-level features, tag classification, tag prediction
Paper topics
Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
block level feature [31], block level [27], tag classification [27], feature set [22], automatic tag prediction [14], level feature [13], summarization function [13], automatic tag classification [11], hop size [11], music information retrieval [11], standard feature set [11], tag prediction [11], performance measure [10], principal component [10], audio feature [9], block size [9], delta spectral pattern [9], automatic tag [8], frequency band [8], feature vector [7], music similarity estimation [7], second classification stage [7], stacked generalization [7], total variance [7], audio signal [6], classification stage [6], level feature set [6], probabilistic output [6], tag affinity vector [6], tag classification task [6]
Paper type
unknown
DOI: 10.5281/zenodo.849725
Zenodo URL: https://zenodo.org/record/849725
2010.15
AUTOMATIC SONG COMPOSITION FROM THE LYRICS EXPLOITING PROSODY OF JAPANESE LANGUAGE
Fukayama, Satoru The University of Tokyo; Tokyo, Japan
Nakatsuma, Kei The University of Tokyo; Tokyo, Japan
Sako, Shinji Nagoya Institute of Technology; Nagoya, Japan
Nishimoto, Takuya The University of Tokyo; Tokyo, Japan
Sagayama, Shigeki The University of Tokyo; Tokyo, Japan
Abstract
Automatic composition techniques are important in sense of upgrading musical applications for amatuer musicians such as composition support systems. In this paper, we present an algorithm that can automatically generate songs from Japanese lyrics. The algorithm is designed by considering composition as an optimal solution search problem under constraints given by the prosody of the lyrics. To verify the algorithm, we launched "Orpheus" which composes with the visitor's lyrics on the web-site, and 56,000 songs were produced within a year. Evaluation results on generated songs are also reported, indicating that "Orpheus" can help users to compose their original Japanese songs.
Keywords
Automatic Composition, Lyrics, Probabilistic Models, Prosody, Song
Paper topics
Automatic music generation/accompaniment systems, Computational musicology, Musical pattern recognition/modeling
Easychair keyphrases
japanese lyric [6], evaluation result [5], pitch accent [5], amateur musician [4], automatic composition [4], composition algorithm [4], composition system [4], japanese song [4], pitch sequence [4]
Paper type
unknown
DOI: 10.5281/zenodo.849727
Zenodo URL: https://zenodo.org/record/849727
2010.16
AV Clash - Online Tool for Mixing and Visualizing Audio Retrieved From freesound.org Database
Correia, Nuno N. Media Lab, School of Arts, Design and Architecture, Aalto University; Espoo, Finland
Abstract
In this paper, the project AV Clash will be presented. AV Clash is a Web-based tool for integrated audiovisual expression, created by Video Jack (Nuno N. Correia and André Carrilho, with the assistance of Gokce Taskan). In AV Clash, users can manipulate seven “objects” that represent sounds, incorporating audioreactive animations and graphical user interface elements to control animation and sound. The sounds are retrieved from online sound database Freesound.org, while the animations are internal to the project. AV Clash addresses the following research question: how to create a tool for integrated audiovisual expression, with customizable content, which is flexible, playful to use and engaging to observe? After an introduction to the project, a contextualization with similar works is presented, followed by a presentation of the motivations behind the project, and past work by Video Jack. Then the project and its functionalities are described. Finally, conclusions are presented, assessing the achievement of the initial aims, and addressing the limitations of the project, while outlining paths for future developments.
Keywords
Audiovisual tool, Freesound.org, Net art, Performance, Sound visualization
Paper topics
Interactive performance systems, Interfaces for music creation and fruition, Visualization of sound/music data, Web 2.0 and music
Easychair keyphrases
selection button [12], video jack [11], visual effect [8], integrated audiovisual expression [7], loop selection button [7], back stage button [6], playing iavo [6], audio reactive [5], freesound radio [5], audio effect selection button [4], effect button [4], graphical user interface element [4], iavo user interface [4], online sound database freesound [4], pre loader [4]
Paper type
unknown
DOI: 10.5281/zenodo.849729
Zenodo URL: https://zenodo.org/record/849729
2010.17
Chord Sequence Patterns in OWL
Wissmann, Jens FZI Research Center for Information Technology; Karlsruhe, Germany
Weyde, Tillman City University London; London, United Kingdom
Conklin, Darrell University of the Basque Country (UPV/EHU); San Sebastián, Spain
Abstract
Chord symbols and progressions are a common way to describe musical harmony. In this paper we present SEQ, a pattern representation using the Web Ontology Language OWL DL and its application to modelling chord sequences. SEQ provides a logical representation of order information, which is not available directly in OWL DL, together with an intuitive notation. It therefore allows the use of OWLreasoners for tasks such as classification of sequences by patterns and determining subsumption relationships between the patterns. We present and discuss application examples using patterns obtained from data mining.
Keywords
chord sequences, discovery, OWL, pattern, subsumption
Paper topics
Computational musicology, Musical pattern recognition/modeling, Music information retrieval, Web 2.0 and music
Easychair keyphrases
meeus kp degree [17], basedegree triad rootmvt [12], chord sequence [10], distinctive pattern [8], subsumption relationship [8], feature set pattern [7], kp degree basedegree [6], seq pattern [6], owl reasoner [5], degree basedegree triad [4], description logic [4], distinctive chord pattern [4], first order logic [4], pattern discovery [4], pattern subsumption [4], semantic web [4]
Paper type
unknown
DOI: 10.5281/zenodo.849733
Zenodo URL: https://zenodo.org/record/849733
2010.18
Comparison of non-stationary sinusoid estimation methods using reassignment and derivatives
Muševič, Sašo Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Bonada, Jordi Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this paper, three state of the art non-stationary sinusoidal analysis methods based on Fourier transform (FT) are compared - the derivative method, reassignment and generalized reassignment. The derivative method and reassignment were designed to analyze linear log-AM/linear FM sinusoids. Generalized reassignment can analyze sinusoids containing arbitrary order modulations, however the discussion will be limited to linear log-AM/linear FM in order to compare it objectively to reassignment and the derivative method. In this paper, the equivalence of reassignment and the derivative method is shown to hold for arbitray order modulation estimation and theoretical comparison with generalized reassignment is presented. The results of tests conducted on two different frequency ranges, full range (frequencies up to Nyquist) and reduced range (frequencies up to 3/4 Nyquist) frequency range, are compared to the Cramer-Rao bounds (CRBs).
Keywords
derivative method, non-stationary analysis, reassignment method, signal processing, sinusoidal modeling
Paper topics
Sound/music signal processing algorithms
Easychair keyphrases
derivative method [35], generalized reassignment [18], linear log [14], time derivative [14], window function [12], frequency range [9], frequency estimate [8], estimation error [7], linear fm sinusoid [7], parameter estimation [7], signal processing [7], digital audio effect [6], reassignment method [6], bin frequency [5], higher order [5], noise ratio [5], analysis method [4], arbitrary order [4], derivative method stft expression [4], frequency derivative [4], general equation [4], non stationary [4], order modulation [4], reduced frequency range [4], see equation [4], signal derivative [4], spectrum peak [4]
Paper type
unknown
DOI: 10.5281/zenodo.849735
Zenodo URL: https://zenodo.org/record/849735
2010.19
Concurrent Constraints Conditional-Branching Timed Interactive Scores
Toro-Bermudez, Mauricio Université Bordeaux-I; Bordeaux, France
Desainte-Catherine, Myriam Université Bordeaux-I; Bordeaux, France
Abstract
Multimedia scenarios have multimedia content and inter- active events associated with computer programs. Inter- active Scores (IS) is a formalism to represent such sce- narios by temporal objects, temporal relations (TRs) and interactive events. IS describe TRs, but IS cannot repre- sent TRs together with conditional branching. We propose a model for conditional branching timed IS in the Non- deterministic Timed Concurrent Constraint (ntcc) calculus. We ran a prototype of our model in Ntccrt (a real-time ca- pable interpreter for ntcc) and the response time was ac- ceptable for real-time interaction. An advantage of ntcc over Max/MSP or Petri Nets is that conditions and global constraints are represented declaratively.
Keywords
concurrent constraint programming, interactive multimedia, interactive scores, ntccrt, real time
Paper topics
Computer environments for sound/music processing, Interactive performance systems
Easychair keyphrases
conditional branching [14], interactive score [14], time unit [14], real time interaction [9], real time [8], real time capable interpreter [8], concurrent constraint [7], desainte catherine [7], interactive event [7], rigid duration [7], temporal object [7], timed conditional relation [6], local variable [5], start point [5], controlt ransf [4], interactive multimedia [4], local constraint [4], nondeterministic timed concurrent constraint [4], petri net [4], pure data [4], temporal concurrent constraint programming [4], w aitf orallp [4]
Paper type
unknown
DOI: 10.5281/zenodo.849737
Zenodo URL: https://zenodo.org/record/849737
2010.20
Connecting Graphical Scores to Sound Synthesis in PWGL
Kuuskankare, Mika Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Laurson, Mikael Aalto University; Espoo, Finland
Abstract
In this paper we describe how graphical scores can be coupled with synthesis algorithms in the visual programming language PWGL. The present approach is based on an extensible music notation and a direct connection to a flexible sound synthesis engine. We implement, as an exercise, a simple working model that makes it possible create graphical scores out of user defined graphical objects and connect the graphical objects to specific synthesis methods.
Keywords
Graphical notation, musical performance, sound synthesis
Paper topics
Computer environments for sound/music processing, Interactive performance systems, Interfaces for music creation and fruition, Visualization of sound/music data
Easychair keyphrases
graphical object [16], graphical score [12], visual instrument definition [11], synthesis algorithm [10], pwgl playback device [9], computer music [8], playback device [7], sample player [7], playback event [5], sound sample [5], enp expression [4], enp expression designer [4], extensible music notation system [4], filename property [4], flexible sound synthesis engine [4], international computer music [4], prepare playback [4], sound synthesis [4], synthesis instrument [4], synth plug box [4], visual programming language pwgl [4]
Paper type
unknown
DOI: 10.5281/zenodo.849739
Zenodo URL: https://zenodo.org/record/849739
2010.21
CONSTANT-Q TRANSFORM TOOLBOX FOR MUSIC PROCESSING
Schörkhuber, Christian University of Music and Performing Arts (KUG); Graz, Austria
Klapuri, Anssi Queen Mary University of London; London, United Kingdom
Abstract
This paper proposes a computationally efficient method for computing the constant-Q transform (CQT) of a time-domain signal. CQT refers to a time-frequency representation where the frequency bins are geometrically spaced and the Q-factors (ratios of the center frequencies to bandwidths) of all bins are equal. An inverse transform is proposed which enables a reasonable-quality (around 55dB signal-to-noise ratio) reconstruction of the original signal from its CQT coefficients. Here CQTs with high Q-factors, equivalent to 12–96 bins per octave, are of particular interest. The proposed method is flexible with regard to the number of bins per octave, the applied window function, and the Q-factor, and is particularly suitable for the analysis of music signals. A reference implementation of the proposed methods is published as a Matlab toolbox. The toolbox includes user-interface tools that facilitate spectral data visualization and the indexing and working with the data structure produced by the CQT.
Keywords
Acoustic signal analysis, Constant-Q transform, Music, Wavelet transform
Paper topics
Automatic music transcription, Computer environments for sound/music processing, Musical pattern recognition/modeling, Musical sound source separation and recognition
Easychair keyphrases
spectral kernel [19], frequency bin [17], time domain signal [14], window function [13], constant q transform [9], inverse transform [9], blackman harris window [7], center frequency [7], frequency resolution [7], high q factor [7], discrete fourier transform [6], time frequency [6], time shifted atom [6], conjugate transpose [5], interface tool [5], lowpass filter [5], signal processing [5], time domain [5], transform domain [5], atom hop size [4], complex valued dft [4], computational efficiency [4], highest snr value [4], hop size [4], inverse cqt transform [4], lowest frequency bin [4], reference implementation [4], spectral kernel ak [4], temporal kernel [4], time resolution [4]
Paper type
unknown
DOI: 10.5281/zenodo.849741
Zenodo URL: https://zenodo.org/record/849741
2010.22
Creation and Exploration of a Perceptual Sonic Textures Space Using a Tangible Interface
Filatriau, Jehan-Julien Université catholique de Louvain; Louvain-la-Neuve, Belgium
Arfib, Daniel Multicom, Laboratoire d'Informatique de Grenoble (LIG); Grenoble, France
Abstract
This study takes place in the framework of an ongoing research dealing with the analysis, synthesis and gestural control of sonic textures. In this paper, we describe two recent contributions related to this field: the first one aimed at providing a sonic textures space based on human perception. For that purpose, we conducted a psychoacoustic experiment, relying on the tangible interface, where subjects were asked to evaluate similarity between sonic textures by gathering them in several groups. The second part of this study aimed at experimenting the control of sonic textures synthesis using a tangible interactive table. We also designed a musical tabletop application inspired by the metaphor of a sonic space exploration. This gave very promising insights on the possibilities offered by such interfaces for the real-time processing of sonic textures.
Keywords
perceptual space, sonic interaction design, sonic textures, tangible interface
Paper topics
Computer environments for sound/music processing, Gesture controlled audio systems, Interactive performance systems, Interfaces for music creation and fruition, Sonic interaction design
Easychair keyphrases
sonic texture [61], sonic texture space [16], sonic space [15], distance matrix [13], psychoacoustic experiment [13], tangible interface [13], perceptual sonic texture space [10], tangible object [10], grouping experiment [7], musical tabletop application [7], tangible sound actuator [7], multidimensional scaling analysis [6], music information retrieval [6], sonic texture grouping experiment [6], tangible sound [6], texture space [6], group according [5], listening area [5], sound attractor [5], sound classification [5], actual tangible sound object [4], group classification [4], musical sonic texture [4], music computing [4], scalar product matrix [4], sonic texture distance matrix [4], sonic texture space resulting [4], sound actuator [4], sound grouping experiment [4], tangible interactive table [4]
Paper type
unknown
DOI: 10.5281/zenodo.849743
Zenodo URL: https://zenodo.org/record/849743
2010.23
CROWDSOURCING A REAL-WORLD ON-LINE QUERY BY HUMMING SYSTEM
Huq, Arefin Northwestern University; New York, United States
Cartwright, Mark Northwestern University; New York, United States
Pardo, Bryan Northwestern University; New York, United States
Abstract
Systems able to find a song based on a sung, hummed, or whistled melody are called Query-By-Humming (QBH) systems. Tunebot is an online QBH web service and iPhone app that connects users to the desired re-cording on Amazon.com or iTunes. Tunebot’s searchable database is composed of thousands of user-contributed melodies. Melodies are collected from user queries, sung contributions and through contributions from on-line play of an associated iPhone Karaoke game: Karaoke Callout. In this paper we describe the architecture and workings of the paired systems, as well as issues involved in building a real-world, working music search engine from user-contributed data.
Keywords
crowdsourcing, gwap, mobile, music, query-by-humming
Paper topics
Mobile music, Music information retrieval, Web 2.0 and music
Easychair keyphrases
karaoke callout [14], search key [13], music information retrieval [11], search engine [11], note interval [9], pitch weight [9], rhythm weight [8], music search engine [6], real world [6], user query [6], vantage point tree [6], correct target [5], back end [4], correct song [4], edit distance [4], flash based web interface [4], front end [4], humming system [4], matching algorithm [4], melodic similarity [4], northwestern university eec [4], online qbh web service [4], que sera sera [4], right rank [4], sheridan road evanston [4]
Paper type
unknown
DOI: 10.5281/zenodo.849745
Zenodo URL: https://zenodo.org/record/849745
2010.24
DANCE PATTERN RECOGNITION USING DYNAMIC TIME WARPING
Pohl, Henning Technische Universität Darmstadt (TU Darmstadt); Darmstadt, Germany
Hadjakos, Aristotelis Technische Universität Darmstadt (TU Darmstadt); Darmstadt, Germany
Abstract
In this paper we describe a method to detect patterns in dance movements. Such patterns can be used in the context of interactive dance systems to allow dancers to influence computational systems with their body movements. For the detection of motion patterns, dynamic time warping is used to compute the distance between two given movements. A custom threshold clustering algorithm is used for subsequent unsupervised classification of movements. For the evaluation of the presented method, a wearable sensor system was built. To quantify the accuracy of the classification, a custom label space mapping was designed to allow comparison of sequences with disparate label sets.
Keywords
Dynamic Time Warping, Interactive Dance, Pattern Recognition, Wearable Sensor System
Paper topics
Interactive performance systems
Easychair keyphrases
dance movement [11], error rate [11], interactive dance [10], arm movement [9], interface board [8], dynamic time warping [7], sensor node [7], inertial sensor node [6], motion data [5], sensor data [5], axis accelerometer [4], class label [4], cost matrix [4], dance club [4], gumstix embedded linux system [4], international computer music [4], non temporal feature classification [4], threshold value [4], wearable sensor system [4]
Paper type
unknown
DOI: 10.5281/zenodo.849749
Zenodo URL: https://zenodo.org/record/849749
2010.25
Dependent Vector Types for Multirate Faust
Jouvelot, Pierre MINES ParisTech; Paris, France
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
Faust is a functional programming language dedicated to the specification of executable monorate synchronous musical applications. To extend Faust capabilities to domains such as spectral processing, we introduce here a multirate extension of the core Faust language. The key idea is to link rate changes to data structure manipulation operations: creating a vector-valued output signal divides the rate of input signals by the vector size, while serializing vectors multiplies rates accordingly. This interplay between vectors and rates is made possible in the language static semantics by the introduction of dependent types. We present a typing semantics, a denotational semantics and a correctness theorem that show that this extension preserves the language synchonous characteristics. This new design is under current implementation in the Faust compiler.
Keywords
dependent types, functional programming language, multirate, vector signal processing
Paper topics
Computer environments for sound/music processing, Digital Audio Effects, Sound/music signal processing algorithms
Easychair keyphrases
signal processor [20], static semantic [10], dependent type [9], multirate extension [8], output signal [8], type correct [8], frequency correctness theorem [7], denotational semantic [6], faust expression [6], output impedance [6], rated type [6], signal processing [6], type correctness [6], vector size [6], core faust [5], faust primitive [5], type environment [5], type scheme [5], composition operator [4], dynamic semantic [4], faust program [4], faust static semantic [4], international computer music [4], predefined identifier [4], programming language [4], static domain [4], static typing semantic [4], type type [4]
Paper type
unknown
DOI: 10.5281/zenodo.849751
Zenodo URL: https://zenodo.org/record/849751
2010.26
Descriptor-Based Sound Texture Sampling
Schwarz, Diemo UMR STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Schnell, Norbert UMR STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Existing methods for sound texture synthesis are often concerned with the extension of a given recording, while keeping its overall properties and avoiding artefacts. However, they generally lack controllability of the resulting sound texture. After a review and classification of existing approaches, we propose two methods of statistical modeling of the audio descriptors of texture recordings using histograms and Gaussian mixture models. The models can be interpolated to steer the evolution of the sound texture between different target recordings (e.g. from light to heavy rain). Target descriptor values are stochastically drawn from the statistic models by inverse transform sampling to control corpus-based concatenative synthesis for the final sound generation, that can also be controlled interactively by navigation through the descriptor space. To better cover the target descriptor space, we expand the corpus by automatically generating variants of the source sounds with transformations applied, and storing only the resulting descriptors and the transformation parameters in the corpus.
Keywords
audio descriptors, corpus-based concatenative synthesis, Gaussian mixture models, sound textures, statistic modeling
Paper topics
Digital Audio Effects, Musical pattern recognition/modeling, Musical performance modeling, Music information retrieval
Easychair keyphrases
sound texture [31], corpus based concatenative synthesis [18], digital audio effect [9], sound texture synthesis [9], granular synthesis [8], audio descriptor [7], gaussian mixture model [7], synthesis method [7], texture synthesis [7], descriptor space [6], real time [5], statistical modeling [5], descriptor based sound texture [4], descriptor value [4], heavy rain [4], signal processing [4], spectral centroid [4], target descriptor [4], target descriptor value [4]
Paper type
unknown
DOI: 10.5281/zenodo.849753
Zenodo URL: https://zenodo.org/record/849753
2010.27
D-JOGGER: SYNCING MUSIC WITH WALKING
Moens, Bart Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Van Noorden, Leon Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Leman, Marc Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Abstract
We present D-Jogger, a music interface that makes use of body movement to dynamically select music and adapt its tempo to the user’s pace. D-Jogger consists of several independent modules, such as a step detection algorithm and tempo-aware playlists, to achieve this goal. The research done with D-Jogger has focused on entrainment: the synchronization of two rhythmical processes, in this case music and walking. We present several ways of visualizing entrainment data, including synchronization plots and phase histograms. A pilot experiment was performed using D-Jogger with 33 participants. Preliminary data suggest that, when the music’s tempo and the user’s pace are close enough to each other, most users synchronize their walking to the music - taking a step with each beat. A user survey indi-cated that participants experience this effect as stimulat-ing and motivating. Several other application domains for D-Jogger are possible: personal training devices for joggers, rehabilita-tion therapy for Parkinson patients or simply as a nice-to-have application for your mobile phone.
Keywords
Body movement, Entrainment, Step detection, Synchronization
Paper topics
Gesture controlled audio systems
Easychair keyphrases
synchronization plot [8], anti phase [7], phase plot [7], pilot experiment [7], step detection algorithm [6], phase histogram [5], alignment algorithm [4], mobile version [4], musicology ghent university [4]
Paper type
unknown
DOI: 10.5281/zenodo.849747
Zenodo URL: https://zenodo.org/record/849747
2010.28
Dynamic Cues for Network Music Interactions
Renaud, Alain Bournemouth University; Bournemouth, United Kingdom
Abstract
This paper provides an overview of a cueing system, the Master Cue Generator (MCG) used to trigger performers (humans or computers) over a network. The performers are scattered in several locations and receive cues to help them interact musically over the network. The paper proposes a classification of cues that dynamically evolve and reshape as the performance takes place. This begets the exploration of vari-ous issues such as how to represent and port a hierarchy of control over a networked music performance and also takes into account pa-rameters inherent to a network such as latency and distance. This approach is based on several years of practice led research in the field of network music performance (NMP), a discipline that is gaining grounds within the music technology community both as a practice and through the development of tools and strategies for interacting over disparate locations.
Keywords
Cueing, Improvisation, Music Networks, Network Performance
Paper topics
Interactive performance systems, Web 2.0 and music
Easychair keyphrases
network topology [7], structured improvisation [5], behavioural cue [4], computer music [4], process centered musical network [4]
Paper type
unknown
DOI: 10.5281/zenodo.849755
Zenodo URL: https://zenodo.org/record/849755
2010.29
EFFICIENT FINITE DIFFERENCE-BASED SOUND SYNTHESIS USING GPUS
Sosnick, Marc San Francisco State University; San Francisco, United States
Hsu, William San Francisco State University; San Francisco, United States
Abstract
Finite Difference (FD) methods can be the basis for physics-based music instrument models that generate realistic audio output. However, such methods are compute-intensive; large simulations cannot run in real time on current CPUs. Many current systems now include powerful Graphics Processing Units (GPUs), which are a good fit for FD methods. We describe an implementation of an FD-based simulation of a two-dimensional membrane that runs efficiently on mid-range GPUs; this will form a framework for constructing a variety of realistic software percussion instruments. For selected problem sizes, realtime sound generation was demonstrated on a mid-range test system, with speedups of up to 2.9 over pure CPU execution.
Keywords
GPU, Physical Modeling, Realtime, Sound, Synthesis
Paper topics
Physical modeling for sound generation
Easychair keyphrases
grid size [23], buffer size [22], finite difference [19], output buffer [18], real time [14], output buffer size [12], audio output buffer [11], pinned memory [11], parallel implementation [8], memory transfer [7], sound synthesis [7], thread block [7], boundary gain [6], col u row [6], finite difference membrane simulation [6], finite difference method [6], serial implementation [6], synthesis algorithm [6], audio output [4], cuda core running [4], difference based sound synthesis [4], general purpose computing [4], powerful graphic processing unit [4], real time sound synthesis [4], simulation grid size [4], test system [4], total execution time [4], varying grid size [4]
Paper type
unknown
DOI: 10.5281/zenodo.849757
Zenodo URL: https://zenodo.org/record/849757
2010.30
Emotions in the Voice: Humanising a Robotic Voice
Bowles, Tristan University of York; York, United Kingdom
Pauletto, Sandra University of York; York, United Kingdom
Abstract
The focus of this project is the manipulation of a robotic voice signal for the purpose of adding emotional expression. In particular, the main aim was to design the emotion expressed by a robotic voice by manipulating specific acoustic parameters such as pitch, amplitude and tempo of the speech. The three basic emotions considered were: anger, happiness and sadness. Knowledge based on the analysis of emotional sentences recorded by actors was used to develop a program in Max/MSP to ‘emotionally’ manipulate neutral sentences produced by a Text-To-Speech (TTS) synthesizer. A listening test was created to verify the program success in simulating different emotions. We found that test subjects could separate the sad sentences from the others, while the discrimination between angry and happy sentences was not as clear.
Keywords
emotion, voice
Paper topics
Digital Audio Effects, Sound/music perception and cognition
Easychair keyphrases
speech rate [17], happy phrase [12], angry phrase [10], sad phrase [10], emotional state [9], basic emotion [8], pitch contour [8], robotic voice [8], fundamental frequency [7], human voice [7], neutral phrase [7], actor performance [6], downward directed pitch contour [6], happiness neutral sadness [6], human speech [5], listening test [5], actor voice [4], chi square [4], emotional expression [4], emotion anger happiness [4], function graph [4], highest intensity score [4], intended emotion [4], maximum amplitude peak [4], speech sound [4], vocal fold [4], voice signal [4]
Paper type
unknown
DOI: 10.5281/zenodo.849759
Zenodo URL: https://zenodo.org/record/849759
2010.31
Examining the role of context in the recognition of walking sounds
Serafin, Stefania Aalborg University; Aalborg, Denmark
Turchet, Luca Aalborg University; Aalborg, Denmark
Nordahl, Rolf Aalborg University; Aalborg, Denmark
Abstract
In this paper, we present an experiment whose goal was to recognize the role of contextual information in the recognition of environmental sounds. 43 subjects participated to a between-subjects experiment where they were asked to walk on a limited area in a laboratory, while the illusion of walking on different surfaces was simulated, with and without an accompaining soundscape. Results show that, in some conditions, adding a soundscape significantly improves surfaces' recognition.
Keywords
soundscapes, walking sounds
Paper topics
Interactive performance systems, Sonic interaction design
Easychair keyphrases
beach sand [18], footstep sound [13], forest underbrush [13], correct answer [9], incoherent soundscape [9], coherent soundscape [7], frozen snow high grass [6], ski slope [6], confusion matrix [5], aalborg university copenhagen [4], beach sand dry [4], creaking wood [4], dry leave [4], gravel concrete carpet ub [4], interactive system [4], know metal dirt [4], medialogy department aalborg [4], snow beach sand [4], snow forest underbrush [4], subject experiment [4], virtual environment [4], virtual reality [4], wood frozen snow [4]
Paper type
unknown
DOI: 10.5281/zenodo.849761
Zenodo URL: https://zenodo.org/record/849761
2010.32
EXPLORING COMMON VARIATIONS IN STATE OF THE ART CHORD RECOGNITION SYSTEMS
Cho, Taemin New York University (NYU); New York, United States
Weiss, Ron New York University (NYU); New York, United States
Bello, Juan Pablo New York University (NYU); New York, United States
Abstract
Most automatic chord recognition systems follow a standard approach combining chroma feature extraction, filtering and pattern matching. However, despite much research, there is little understanding about the interaction between these different components, and the optimal parameterization of their variables. In this paper we perform a systematic evaluation including the most common variations in the literature. The goal is to gain insight into the potential and limitations of the standard approach, thus contributing to the identification of areas for future development in automatic chord recognition. In our study we find that filtering has a significant impact on performance, with self-transition penalties being the most important parameter; and that the benefits of using complex models are mostly, but not entirely, offset by an appropriate choice of filtering strategies.
Keywords
Chord Estimation, Chord Recognition, Hidden Markov Model, HMM, MIR
Paper topics
Automatic music transcription, Musical pattern recognition/modeling, Music information retrieval
Easychair keyphrases
chord model [41], chord recognition [20], post filtering [17], pattern matching [15], automatic chord recognition [14], pre filtering [12], transition matrix [12], transition probability [10], full covariance matrix [9], self transition probability [9], binary chord template [7], chord recognition system [7], covariance matrix [7], gmm chord model [7], pitch class [7], transition probability matrix [7], chroma feature [6], chroma feature extraction [6], hidden markov model [6], mixture component [6], probabilistic chord model [6], training data [6], binary template [5], chord template [5], feature extraction [5], frame rate [5], gaussian model [5], major triad [5], minor triad [5], transition penalty [5]
Paper type
unknown
DOI: 10.5281/zenodo.849763
Zenodo URL: https://zenodo.org/record/849763
2010.33
Exploring Timbre Spaces With Two Multiparametric Controllers
Kiefer, Chris University of Sussex; Brighton, United Kingdom
Abstract
This paper describes the development so far of a system that uses multiparametric controllers along with an interactive high-level search process to navigate timbre spaces. Either of two previously developed interfaces are used as input devices; a hand tracking system and a malleable foam controller. Both interfaces share the property of streaming continuous multiparametric codependent data. When these data streams are mapped to synthesis parameters, the controllers can be used to explore the parameter space in an embodied manner; with the hand tracker, moving or changing the shape of the hand changes the sound, and with the foam, deforming its shape changes the sound. The controllers become too sensitive with larger parameter spaces, so a navigation system was developed to enable high level control over the subset of the parameter space in which the controllers are working. By moving and refining the working range, a timbre space can be progressively explored to find a desired sound. The search process was developed by focusing on three scenarios, the control of four, ten and forty dimensional timbre spaces. Using the system is an interactive process, while one hand is used for detailed search with one of the input devices, the other hand controls high level search parameters with MIDI and the computer keyboard. Initial reactions from two musicians indicate the development so far to be successful, the next stage in this project is to carry out formal user studies.
Keywords
control, mapping, synthesis
Paper topics
Gesture controlled audio systems, Interfaces for music creation and fruition, Sonic interaction design
Easychair keyphrases
timbre space [24], timbre space navigation [12], parameter space [8], echo state network [7], computer vision based hand [6], multiparametric controller [6], vision based hand tracking [6], control stream [5], hand tracker [5], search process [5], synthesis parameter [5], dimensional timbre space [4], forty dimensional timbre space [4], hand geometry data [4], hand tracking system [4], high level search [4], malleable foam controller [4], musical control [4], working range [4]
Paper type
unknown
DOI: 10.5281/zenodo.849765
Zenodo URL: https://zenodo.org/record/849765
2010.34
First Steps in Relaxed Real-time Typo-morphological Audio Analysis/Synthesis
Schnell, Norbert Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Suarez Cifuentes, Marco Antonio Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Lambert, Jean-Philippe Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This paper describes a real-time audio analysis/resynthesis system that we developed for a music piece for ensemble and electronics. The system combines real-time audio analysis and concatenative synthesis based on the segmentation of sound streams into constituting segments and the description of segments by an efficient set of descriptors adapted to the given musical context. The system has been implemented in Max/MSP using the FTM & Co and MuBu libraries and successfully employed in the production and performance of the piece. As more and more research in the domain of music information retrieval, we use the term of typo-morhpology to designate the description of sounds by morphologic criteria including the temporal evolution of sound features that also can provide pertinent means for the classification of sounds. Although, the article mainly insists on the technical aspects of the work, it occasionally contextualizes the different technical choices regarding particular musical aspects.
Keywords
audio descriptors, audio musaicing, music information retrieval, real-time analysis/resynthesis, typo-morhpology
Paper topics
Automatic music generation/accompaniment systems, Interactive performance systems, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
real time [20], sound material [10], pitch content [9], pitch distribution table [9], standard deviation [9], data base [8], sound segment [8], analysis sub system [7], pitch distribution [7], loudness envelope [6], music information retrieval [6], real time analysis [6], real time audio analysis [6], description data [5], descriptor value [5], musical writing [5], audio processing [4], audio stream [4], effective duration [4], envelope skewness [4], harmonicity coefficient [4], onset detection function [4], onset time [4], real time audio processing [4], relaxed real time [4], resynthesis system [4], segment description [4], sound description [4], sound feature [4], sub system [4]
Paper type
unknown
DOI: 10.5281/zenodo.849767
Zenodo URL: https://zenodo.org/record/849767
2010.35
Head in Space: A Head-tracking based Binaural Spatialization System
Ludovico, Luca Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Mauro, Davide Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Pizzamiglio, Dario Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Abstract
This paper discusses a system capable of detecting the position of the listener through a head-tracking system and rendering a 3D audio environment by binaural spatialization. Head tracking is performed through face recognition algorithms which use a standard webcam, and the result is presented over headphones, like in other typical binaural applications. With this system users can choose an audio file to play, provide a virtual position for the source in an euclidean space, and then listen to the sound as if it is coming from that position. If they move their head, the signal provided by the system changes accordingly in real-time, thus providing a realistic effect.
Keywords
3d audio, binaural spatialization, headtracking, real-time
Paper topics
3D sound/music, Sonic interaction design, Sound/music signal processing algorithms
Easychair keyphrases
binaural spatialization [10], head tracking system [9], real time [9], impulse response [7], head tracker [6], sound source [6], virtual reality [6], cipic database [4], head tracking [4], immersive experience [4]
Paper type
unknown
DOI: 10.5281/zenodo.849769
Zenodo URL: https://zenodo.org/record/849769
2010.36
HUBS AND ORPHANS - AN EXPLORATIVE APPROACH
Gasser, Martin Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Flexer, Arthur Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Schnitzer, Dominik Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Abstract
In audio based music similarity, a well known effect is the existence of hubs, i.e. songs which appear similar to many other songs without showing any meaningful per- ceptual similarity. We show that this effect depends on the homogeneity of the samples under consideration. We compare three small sound collections (consisting of poly- phonic music, environmental sounds, and samples of indi- vidual musical instruments) with regard to their hubness. We find that the collection consisting of cleanly recorded musical instruments produces the smallest hubs, wheres hubness increases with inhomogeneity of the audio sig- nals. We also conjecture that hubness may have an impact on the performance of dimensionality reduction algorithms like Multidimensional Scaling.
Keywords
Content-Based, Hubs, Interaction, Music Similarity, Visualization
Paper topics
Music information retrieval, Visualization of sound/music data
Easychair keyphrases
data base [9], kullback leibler divergence [9], music information retrieval [9], musical instrument [8], frequency cepstral coefficient [7], multidimensional scaling [7], music collection [7], sound sample [7], audio similarity [6], environmental sound [5], hub problem [5], mel frequency [5], austrian research institute [4], data set [4], sound texture [4]
Paper type
unknown
DOI: 10.5281/zenodo.849771
Zenodo URL: https://zenodo.org/record/849771
2010.37
In a concrete space. Reconstructing the spatialization of Iannis Xenakis' Concret PH on a multichannel setup
Valle, Andrea Interdipartimental Center for Research on Multimedia and Audiovideo (CIRMA), Dipartimento di Studi Umanistici, Università di Torino; Torino, Italy
Tazelaar, Kees Institute of Sonology, Royal Conservatory of The Hague; The Hague, Netherlands
Lombardo, Vincenzo Interdipartimental Center for Research on Multimedia and Audiovideo (CIRMA), Dipartimento di Studi Umanistici, Università di Torino; Torino, Italy
Abstract
Even if lasting less than three minutes, Iannis Xenakis' Concret PH is one of the most influential works in the electroacoustic domain. It was originally created to be diffused in the Philips Pavilion, designed by the same Xenakis for the 1958 World Fair in Brussels. As the Pavilion was dismantled in 1959, the original spatialization design devised from the Pavilion has been lost. The paper presents new findings about the spatialization of Concret PH. It discusses them in the light of Xenakis' aesthetics, and consequently proposes a plausible reconstruction of the spatialization design. Finally, it proposes a real-time, interactive implementation of the reconstructed spatialization, rendered on a 8-channel setup using a VBAP technique.
Keywords
Concret PH, Electroacoustic music, Poème électronique, Spatialization, Xenakis
Paper topics
3D sound/music, access and modelling of musical heritage, Interactive performance systems, Technologies for the preservation
Easychair keyphrases
philips pavilion [14], computer music [9], control engine [8], audio engine [6], iannis xenaki [6], interlude sonore [6], sound route [6], sound source [6], virtual space [6], electronic music [5], real time [5], vep project [5], internal buss [4], philips technical review [4], sound material [4], third dimension [4], vbap algorithm [4], virtual reality [4], world fair [4]
Paper type
unknown
DOI: 10.5281/zenodo.849773
Zenodo URL: https://zenodo.org/record/849773
2010.38
INTERLUDE - A FRAMEWORK FOR AUGMENTED MUSIC SCORES
Fober, Dominique GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Daudin, Christophe GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
An Augmented Music Score is a graphic space providing the representation, composition and manipulation of heterogeneous music objects (music scores but also images, text, signals...), both in the graphic and time domains. In addition, it supports the representation of the music performance, considered as a specific sound or gestural instance of the score. This paper presents the theoretical foundation of the augmented music score as well as an application - an augmented score viewer - that implements the proposed solutions.
Keywords
graphic signal, music score, segmentation, synchronization
Paper topics
Visualization of sound/music data
Easychair keyphrases
graphic signal [22], music score [20], graphic segment [12], augmented music score [11], constant color signal [9], fundamental frequency [9], performance representation [9], graphic space [7], time space [7], music notation [6], augmented score [5], color signal [5], computer music [5], graphic representation [5], message string [5], music representation [5], osc address [5], score component [5], time position [5], time segment [5], augmented music score viewer [4], augmented score viewer [4], constant color signal figure [4], constant thickness signal kc [4], first order music score [4], international computer music [4], music time [4], osc message [4], time graphic [4], time mapping [4]
Paper type
unknown
DOI: 10.5281/zenodo.849775
Zenodo URL: https://zenodo.org/record/849775
2010.39
Interpretation and Computer Assistance in John Cage's Concert for Piano and Orchestra (1957-58)
Sluchin, Benny EIC, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Malt, Mikhail Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Conceptual musical works that lead to a multitude of realizations are of special interest. One can’t talk about a performance without taking into account the rules that lead to the existence of that particular presentation. After dealing with similar works of open form by Iannis Xenakis and Karlheinz Stockhausen, the interest in John Cage’s music is evident. His works are “so free” that one can play any part of the material; even a void set is welcomed. The freedom is maximal and still there are decisions to consider in order to perform the piece. The present article focus on the Concert for Piano and Orchestra of 1957–58, and it is part of the Cagener project, intended to develop a set of conceptual and software tools, which generates a representation of the pieces, intended to assist the performers in their task. The computer serves as a partner in making choices of multiple possibilities, mix together sounds of different sources and of various kinds and following compositional ideas clearly stated.
Keywords
Computer Aided Performance, Musical Analysis, Musical Modelling
Paper topics
Automatic music generation/accompaniment systems, Computational musicology, Interfaces for music creation and fruition
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.849777
Zenodo URL: https://zenodo.org/record/849777
2010.40
ISSUES AND TECHNIQUES FOR COLLABORATIVE MUSIC MAKING ON MULTI-TOUCH SURFACES
Laney, Robin Charles The Open University; Milton Keynes, United Kingdom
Dobbyn, Chris The Open University; Milton Keynes, United Kingdom
Xambó, Anna The Open University; Milton Keynes, United Kingdom
Schirosa, Mattia Pompeu Fabra University (UPF); Barcelona, Spain
Miell, Dorothy The University of Edinburgh; Edinburgh, United Kingdom
Littleton, Karen The Open University; Milton Keynes, United Kingdom
Dalton, Sheep The Open University; Milton Keynes, United Kingdom
Abstract
A range of systems exist for collaborative music making on multi-touch surfaces. Some of them have been highly successful, but currently there is no systematic way of designing them, to maximize collaboration for a particular user group. We are particularly interested in systems that will engage novices and experts. We designed a simple application in an initial attempt to clearly analyze some of the issues. Our application allows groups of users to express themselves in collaborative music making using pre-composed materials. User studies were video recorded and analyzed using two techniques derived from Grounded Theory and Content Analysis. A questionnaire was also conducted and evaluated. Findings suggest that the application affords engaging interaction. Enhancements for collaborative music making on multi-touch surfaces are discussed. Finally, future work on the prototype is proposed to maximize engagement.
Keywords
collaborative music, engagement, evaluation, multi-touch surfaces, musical interface
Paper topics
Interactive performance systems, Interfaces for music creation and fruition
Easychair keyphrases
multi touch [20], multi touch system [15], collaborative music making [14], multi user instrument [14], see quote [11], open coding [8], tangible and embedded interaction [8], content analysis [7], exploratory multi case study [6], multi touch surface [6], music making [6], social interaction [6], collaborative interaction [5], creative engagement [5], structured task [5], visual feedback [5], continuous action [4], grounded theory [4], local control [4], musical expression [4], musical task [4], music collaboration [4], music making task [4], public space [4], structured coding [4], user study [4]
Paper type
unknown
DOI: 10.5281/zenodo.849779
Zenodo URL: https://zenodo.org/record/849779
2010.41
Kettle: A Real-Time model for Orchestral Timpani
Papiotis, Panagiotis Music Technology Group (MTG), Department of Information and Communication Technologies, Pompeu Fabra University (UPF); Barcelona, Spain
Papaioannou, Georgios Department of Informatics, Athens University of Economics and Business; Athens, Greece
Abstract
The orchestral timpani are a key component in western classical music, although their weight, size, and fragility make their transportation very difficult. Current commercial software synthesizers for the Orchestral Timpani are primarily sample-based and work with a MIDI keyboard, giving the user control over the note amplitude and pitch. This approach implements a virtual five-piece set of orchestral timpani, which is controlled using a pressure-sensitive graphics tablet. A brief analysis of the mechanics and playing techniques of the Timpani is presented, followed by their approximation by this model’s control scheme and sound engine. Thereon, the details of the model’s implementation are explained, and finally the results of the model are presented along with conclusions on the subject.
Keywords
Graphics tablet, Real-time Interaction, Sample-based synthesis, Timpani
Paper topics
Gesture controlled audio systems, Interactive performance systems, Interfaces for music creation and fruition, Physical modeling for sound generation, Sonic interaction design, Sound/music signal processing algorithms
Easychair keyphrases
orchestral timpani [8], percussion instrument [8], physical modeling [7], real time [7], control scheme [6], dynamic value [5], sound synthesis [5], tonal range [5], crossfading algorithm [4], digital waveguide mesh [4], digitizer tablet [4], high note [4], hit coordinate [4], hit position [4], low note [4], mallet type [4], physical model [4], sample based synthesis [4]
Paper type
unknown
DOI: 10.5281/zenodo.849781
Zenodo URL: https://zenodo.org/record/849781
2010.42
Legato and Glissando identification in Classical Guitar
Özaslan, Tan Artificial Intelligence Research Institute (IIIA), Spanish National Research Council (CSIC); Madrid, Spain
Arcos, Josep Lluís Artificial Intelligence Research Institute (IIIA), Spanish National Research Council (CSIC); Madrid, Spain
Abstract
Understanding the gap between a musical score and a real performance of that score is still a challenging problem. To tackle this broad problem, researchers focus on specific instruments and/or musical styles. Hence, our research is focused on the study of classical guitar and aims at de- signing a system able to model the use of the expressive resources of that instrument. Thus, one of the first goals of our research is to provide a tool able to automatically identify expressive resources in the context of real record- ings. In this paper we present some preliminary results on the identification of two classical guitar articulations from a collection of chromatic exercises recorded by a profes- sional guitarist. Specifically, our system combines several state of the art analysis algorithms to distinguish among two similar guitarists’ left hand articulations such as legato and glissando. We report some experiments and analyze the results achieved with our approach.
Keywords
expressivity, feature extraction, guitar
Paper topics
Musical performance modeling
Easychair keyphrases
expressive articulation [18], sax representation [13], envelope approximation [12], classical guitar [7], left hand [7], high frequency content [6], step size [6], expressive resource [5], fundamental frequency [5], note onset [5], peak location [5], peak position [4], plucking onset [4], region extraction module [4], symbolic aggregate approximation [4], system able [4]
Paper type
unknown
DOI: 10.5281/zenodo.849783
Zenodo URL: https://zenodo.org/record/849783
2010.43
LIMITATIONS IN THE RECOGNITION OF SOUND TRAJECTORIES AS MUSICAL PATTERNS
Payri, Blas Universitat Politècnica de València; Valencia, Spain
Abstract
Spatial movement has been used by composers as a mu-sical parameter (intention), and this paper focus on the reception by the audience of spatial patterns. We present the results of a series of perception experiments where a total of N=118 listeners had to recognize simple rhythm patterns based on the left-right movements of 7 different sound types. The stimuli varied in harmonicity (HNR), temporal intensity variation, spectral distribution, move-ment continuity and tempo. Listening conditions included stereo loudspeaker open field listening and headphone listening. Results show that globally the recognition is low, considering the simplicity of the pattern recognition task. The factor that most perturbed recognition is the intensity variation, with completely unvarying sounds yielding better results, and this was more important than the listening condition. We conclude that spatial sound movement is not suitable as a composition element for normally complex music, but it can be recognized by untrained listeners using stable sounds and simple pat-terns.
Keywords
electroacoustic music, sound movement, sound synthesis, spatial perception
Paper topics
3D sound/music, Data sonification, Sound/music perception and cognition
Easychair keyphrases
listening condition [21], rhythm pattern [15], intensity variation [11], rhythmic pattern [9], recognition score [7], sound stimulus [7], spatial movement [7], discontinuous evolution [6], basic sound [5], loudspeaker listening [5], movement continuity [5], recognition rate [5], regression analysis [5], left right movement [4], mean recognition score [4], most experiment [4], noise ratio [4], pattern complexity [4], pattern recognition score [4], right channel [4], sound spatial perception [4], spatial movement pattern [4], spatial sound [4], spatial trajectory [4], square signal sound [4], synthetic sound [4], temporal intensity variation [4]
Paper type
unknown
DOI: 10.5281/zenodo.849785
Zenodo URL: https://zenodo.org/record/849785
2010.44
LYRICS-TO-AUDIO ALIGNMENT AND PHRASE-LEVEL SEGMENTATION USING INCOMPLETE INTERNET-STYLE CHORD ANNOTATIONS
Mauch, Matthias National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Fujihara, Hiromasa National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
We propose two novel lyrics-to-audio alignment methods which make use of additional chord information. In the first method we extend an existing hidden Markov model (HMM) for lyrics alignment by adding a chord model based on the chroma features often used in automatic audio chord detection. However, the textual transcriptions found on the Internet usually provide chords only for the first among all verses (or choruses, etc.). The second method we propose is therefore designed to work on these incomplete transcriptions by finding a phrase-level segmentation of the song using the partial chord information available. This segmentation is then used to constrain the lyrics alignment. Both methods are tested against hand-labelled ground truth annotations of word beginnings. We use our first method to show that chords and lyrics complement each other, boosting accuracy from 59.1% (only chroma feature) and 46.0% (only phoneme feature) to 88.0% (0.51 seconds mean absolute displacement). Alignment performance decreases with incomplete chord annotations, but we show that our second method compensates for this information loss and achieves an accuracy of 72.7%.
Keywords
alignment, chords, hidden Markov models, lyrics, structural segmentation
Paper topics
Automatic music transcription, Multimodality in sound and music computing, Musical pattern recognition/modeling, Sound/music signal processing algorithms
Easychair keyphrases
chord information [36], song segment [17], complete chord information [11], phoneme feature [11], phrase level segmentation [11], vocal activity detection [11], audio alignment [10], baseline method [10], lyric alignment [10], lyric line [8], absolute displacement [7], chroma feature [7], complete chord [7], music information retrieval [7], phrase level [7], chord information recovery [6], chord model [6], hidden markov model [6], large scale alignment [6], missing chord [5], music computing [5], chord progression model [4], existing hidden markov model [4], ground truth [4], information recovery method [4], mean absolute displacement [4], partial chord information [4], real world [4], short pause state [4], song segment type [4]
Paper type
unknown
DOI: 10.5281/zenodo.849787
Zenodo URL: https://zenodo.org/record/849787
2010.45
Melodic Memory and its Dependence on Familiarity and Difficulty
Benassi-Werke, Mariana E. Federal University of São Paulo (UNIFESP); São Paulo, Brazil
Queiroz, Marcelo University of São Paulo (USP); São Paulo, Brazil
Germano, Nayana G. Federal University of São Paulo (UNIFESP); São Paulo, Brazil
Oliveira, Maria Gabriela M. Federal University of São Paulo (UNIFESP); São Paulo, Brazil
Abstract
This paper addresses one aspect of human music cognition, which is the recollection of melodic sequences stored in short-term memory, and the manipulation of such items in working memory, by measuring spans of successfully recalled melodic sequences. In order to avoid long-term memory collaboration in this task, short-term memory measurements are made using randomly-generated melodic sequences, which in turn may sound difficult and unfamiliar to many experimental subjects. We investigate the dependence of melodic span measures on such aspects as familiarity and difficulty, both in direct-order recalling (as it relates to short-term memory capacity) and in inverse-order recalling (as it relates to working memory capacity). We also discuss the relation of these measurements to cognitive models of short-term and working memory for verbal and melodic material.
Keywords
Automatic voice transcription, Cognitive memory models, Musical memory
Paper topics
Automatic music transcription, Computational musicology, Sound/music and Neuroscience, Sound/music perception and cognition
Easychair keyphrases
span measure [29], working memory [26], melodic span [20], melodic sequence [16], melodic span measure [14], short term memory [12], numerical sequence [10], term memory [9], working memory model [9], digit span [8], numerical span [8], direct order [7], forward melodic span [7], long term memory [7], numerical span measure [7], phonological loop [7], span test [7], backward melodic span [6], backward span measure [6], distinct tone [6], inverse order [6], short term [6], span indices [6], statistical analysis [6], chromatic scale [5], forward span [5], significance level [5], underlying mechanism [5], human music cognition [4], quarter tone scale [4]
Paper type
unknown
DOI: 10.5281/zenodo.849789
Zenodo URL: https://zenodo.org/record/849789
2010.46
Mimicry of tone production: results from a pilot experiment
Bianco, Tommaso UMR STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In this paper we present the description and the first results of a pilot experiment in which participants were requested to mimic the production of sonic elements trough different control modalities. Results show different degrees of dependence of the control temporal profiles with the dynamic level and temporal ordering of the stimuli. The protocol and methodology here advanced may turn useful for ameliorating existing mapping strategies for gesture based interactive media, with particular emphasis to adaptive control of physics-based models for sound synthesis.
Keywords
control, gesture, movement
Paper topics
Interfaces for music creation and fruition, Music and robotics, Sonic interaction design, Sound/music perception and cognition
Easychair keyphrases
control modality [13], arm movement [6], control profile [6], velocity profile [6], loudness profile [5], standard deviation [5], isolated note [4], motor control [4], musical domain [4], peak velocity [4], pilot experiment [4], position control [4], temporal profile [4]
Paper type
unknown
DOI: 10.5281/zenodo.849791
Zenodo URL: https://zenodo.org/record/849791
2010.47
Mixtract: An Environment for Designing Musical Phrase Expression
Hashida, Mitsuyo Research Center for Human & Media, Kwansei Gakuin University; Osaka, Japan
Tanaka, Shunji Research Center for Human & Media, Kwansei Gakuin University; Osaka, Japan
Baba, Takashi Research Center for Human & Media, Kwansei Gakuin University; Osaka, Japan
Katayose, Haruhiro Research Center for Human & Media, Kwansei Gakuin University; Osaka, Japan
Abstract
Music performance is processing to embody musical ideas in concrete sound, giving expression to tempo and dynamics and articulation to each note. Human compe-tence in music performance rendering is enhanced and fostered by supplementing a lack of performance skill and musical knowledge using computers. This paper in-troduces a performance design environment called Mix-tract, which assists users in designing “phrasing,” and a performance design guideline called the Hoshina-Mixtract method executable on Mixtract. Mixtract provides its users with a function for assisting in the ana-lysis of phrase structure and a function to show the de-gree of importance of each note in a phrase group. We verified that the proposed system and method help seven children to externalize their musical thought and help them transform their subjective musical thoughts into objective ones.
Keywords
application to music education, design supporting system, musical phrase expression, performance rendering
Paper topics
Interfaces for music creation and fruition, Musical performance modeling, Sonic interaction design, Visualization of sound/music data
Easychair keyphrases
expression curve [19], phrase structure [17], performance design [12], phrase expression [12], primary phrase line [11], hierarchical phrase structure analysis [8], phrase boundary [8], apex note [7], junior high school student [6], expression design [5], musical performance [5], musical thought [5], performance rendering [5], real time [5], apex probability viewer [4], beat tapping or conducting [4], expression mark [4], hoshina theory [4], musical competence [4], musical expression [4], music performance [4], onset time [4], phrase structure analysis [4], piano roll [4], score time [4], tacit knowledge [4], tempo curve [4]
Paper type
unknown
DOI: 10.5281/zenodo.849793
Zenodo URL: https://zenodo.org/record/849793
2010.48
MusicGalaxy - an Adaptive User-interface for Exploratory Music Retrieval
Stober, Sebastian Otto von Guericke University Magdeburg; Magdeburg, Germany
Nuernberger, Andreas Otto von Guericke University Magdeburg; Magdeburg, Germany
Abstract
Sometimes users of a music retrieval system are not able to explicitly state what they are looking for. They rather want to browse a collection in order to get an overview and to discover interesting content. A common approach for browsing a collection relies on a similarity-preserving projection of objects (tracks, albums or artists) onto the (typically two-dimensional) display space. Inevitably, this implicates the use of dimension reduction techniques that cannot always preserve neighborhood and thus introduce distortions of the similarity space. This paper describes ongoing work on MusicGalaxy -- an interactive user-interface based on an adaptive non-linear multi-focus zoom lens that alleviates the impact of projection distortions. Furthermore, the interface allows manipulation of the neighborhoods as well as the projection by weighting different facets of music similarity. This way the visualization can be adapted to the user's way of exploring the collection. Apart from the current interface prototype, findings from early evaluations are presented.
Keywords
adaptivity, exploration, neighborhood-preserving projection, user-interface
Paper topics
Music information retrieval, Visualization of sound/music data
Easychair keyphrases
primary focus [11], secondary focus [11], fish eye lens [9], facet distance [8], user interface [7], aggregated distance metric [6], music collection [6], springlen mesh overlay [6], distance metric [5], feature space [5], multidimensional scaling [5], nearest neighbor [5], album cover [4], facet distance cuboid [4], high dimensional feature space [4], music information retrieval [4], neighborhood preserving projection [4], overview window [4], right mouse button [4]
Paper type
unknown
DOI: 10.5281/zenodo.849795
Zenodo URL: https://zenodo.org/record/849795
2010.49
MusicJSON: A Representation for the Computer Music Cloud
Alvaro, Jesus L. University of Málaga (UMA); Málaga, Spain
Barros, Beatriz University of Málaga (UMA); Málaga, Spain
Abstract
New cloud computing ways open a new paradigm for music composition. Our music composing system is now distributed on the Web shaping what we call as Computer Music Cloud (CMC). This approach benefits from the technological advantages involved in distributed computing and the possibility of implementing specialized and independent music services which may in turn be part of multiple CMCs. The music representation used in a CMC plays a key role in successful integration. This paper analyses the requirements for efficient music representation for CMC composition: high music representativity, database storage, and textual form. Finally, it focuses on its textual shape, presenting MusicJSON, a format for music information interchange among the different services composing a CMC. MusicJSON and database-shaped representation, both based on an experienced sound and complete music representation, offer an innovative proposal for music cloud representation.
Keywords
cloud computing, music composition, music interchage format, music representation, music web services
Paper topics
Computational musicology, Computer environments for sound/music processing, Web 2.0 and music
Easychair keyphrases
music object [15], music representation [12], music composition [9], extended reference [8], storage service [8], web application [8], computer music cloud [7], music service [7], cloud computing [6], evmusic representation [6], tree structure [6], music element [5], textual form [5], composition environment [4], database content [4], external object [4], musicjson format [4], shared music [4], textual representation [4], traditional notation [4], user interface [4], user library [4], valuable feature [4]
Paper type
unknown
DOI: 10.5281/zenodo.849801
Zenodo URL: https://zenodo.org/record/849801
2010.50
Õdaiko: A Real Time Score Generator Based on Rhythm
Lopes, Filipe Cunha Monteiro School of Music and Performing Arts (ESMAE), P.Porto (Instituto Politécnico do Porto); Porto, Portugal
Abstract
The interaction between composers and performers has recently acquired new challenges with the advent of scores in real time. Such systems potentiate new approaches to composition and performance by imposing new possibilities and constraints. Õdaiko is a real-time graphical score generator and features a composer playing live electronic music, an assistant to the composer generating the scores and finally the performer(s). In this paper, I present Õdaiko, focusing on its implementations and the related composer-assistant-performer interactions as a basis for development.
Keywords
Interaction, Real-Time Score Generation, Rhythm
Paper topics
Interactive performance systems, Musical performance modeling
Easychair keyphrases
real time [25], electronic music [12], live electronic music [6], real time score [6], musical event [5], solo panel [5], pre composed guidance score [4], real time graphical score [4], real time score generation [4], real time score generator [4], sectional area [4], sieve panel [4], vertical barline [4]
Paper type
unknown
DOI: 10.5281/zenodo.849807
Zenodo URL: https://zenodo.org/record/849807
2010.51
On architecture and formalisms for Computer-Assisted Improvisation
Maniatakos, Vassilios-Fivos A. Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Assayag, Gérard Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bevilacqua, Frédéric Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Agon, Carlos Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Modeling of musical style and stylistic re-injection strategies based on the recombination of learned material have already been elaborated in music machine improvisation systems. Case studies have shown that content-dependant regeneration strategies have great potential for a broad and innovative sound rendering. We are interested in the study of the principles under which stylistic reinjection could be sufficiently controlled, in other words, a framework that would permit the person behind the computer to guide the machine improvisation process under a certain logic. In this paper we analyze this three party interaction scheme among the isntrument player, the computer and the computer user. We propose a modular architecture for Computer Assisted Improvisation (CAO). We express stylistic reinjection and music sequence scheduling concepts under a formalism based on graph theory. With the help of these formalisms we then study a number problems concerning temporal and qualitative control of pattern generation by stylistic re-injection. Finally we discuss the integration of these concepts into a real-time environment for computer improvisation, under the name GrAIPE.
Keywords
graph theory, improvisation, interaction, sequence scheduling, stylistic modeling
Paper topics
Automatic music generation/accompaniment systems, Interactive performance systems, Musical performance modeling
Easychair keyphrases
computer assisted improvisation [17], computer user [17], real time [17], music sequence [12], music sequence scheduling [12], interaction scheme [11], machine improvisation [10], stylistic reinjection [10], improvisation system [9], party interaction [9], computer music [8], graph theory [8], real time system [7], sequence scheduling [7], instrument player [6], musical event [6], party interaction scheme [6], shortest path problem [6], computer improvisation [5], high level [5], shortest path [5], stylistic learning [5], countably infinite set [4], define music sequence [4], instrument player computer [4], international computer music [4], music sequence matching [4], sequence scheduling problem [4], short term memory [4], short time memory [4]
Paper type
unknown
DOI: 10.5281/zenodo.849803
Zenodo URL: https://zenodo.org/record/849803
2010.52
On the Traceability of the Compositional Process
Rutz, Hanns Holger Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Eckel, Gerhard Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
Composition is viewed as a process that has its own temporal dimension. This process can sometimes be highly non-linear, sometimes is carried out in real- time during a performance. A model is proposed that unifies the creational and the performance time and that traces the history of the creation of a piece. This model is based on a transformation that enhances data structures to become persistent. Confluent persistence allows navigation to any previous version of a piece, to create version branches at any point, and to com- bine different versions with each other. This concept is tuned to integrate two important aspects, retroactiv- ity and multiplicities. Three representative problems are posed: How to define dependancies on entities that change over time, how to introduce changes ex-post that affect future versions, and how to continue work- ing on parallel versions of a piece. Solutions based on our test implementation in the Scala language are presented. Our approach opens new possibilities in the area of music analysis and can conflate disparate notions of composition such as tape composition, in- teractive sound installation, and live improvisation. They can be represented by the same data structure and both offline and realtime manipulations happen within the same transactional model.
Keywords
Data Structures, Musical Composition, Temporality, Versioning
Paper topics
Computer environments for sound/music processing
Easychair keyphrases
data structure [17], compressed path [5], confluent persistence [5], pre order [5], access path [4], compositional process [4], ephemeral data structure [4], fat node [4], neutral vertex v2 [4], pointer field [4], post order [4], retroactive data structure [4], version graph [4]
Paper type
unknown
DOI: 10.5281/zenodo.849805
Zenodo URL: https://zenodo.org/record/849805
2010.53
Performance rendering for polyphonic piano music with a combination of probabilistic models for melody and harmony
Kim, Tae Hun The University of Tokyo; Tokyo, Japan
Fukayama, Satoru The University of Tokyo; Tokyo, Japan
Nishimoto, Takuya The University of Tokyo; Tokyo, Japan
Sagayama, Shigeki The University of Tokyo; Tokyo, Japan
Abstract
We present a method to generate human-like performance expression for polyphonic piano music. Probabilistic models and machine learning techniques have been successfully applied to solve the problem of generating human-like expressive performance, given a music score. In case of polyphonic music, however, it was difficult to make models tractable and a huge amount of training data was necessary, because performance contexts and relationships of performance expressions are very complex. To overcome these problems, we propose amethod with a combination of probabilistic models for melody and harmony. The experimental results show that the proposed method was able to generate fluctuations of performance expression parameters for polyphonic piano music such like human performers do. The results of the subjective evaluations are also reportedwhich indicate that their sounds were human-like and had certain degree of musicality.
Keywords
Machine learning, Music performance, Polyphonic music
Paper topics
Automatic music generation/accompaniment systems, Musical performance modeling
Easychair keyphrases
performance expression [93], polyphonic piano music [31], performance expression parameter [28], human performance expression [25], performed note duration [23], upper and lower outer voice [16], onset time [12], outer voice [12], harmony model [10], piano sonata [10], polyphonic piano [10], probabilistic model [10], score feature [10], music performance [9], training data [8], generate performance [7], human likeness [7], performance context [7], global expression [6], human music performance [6], instantaneous tempo [6], local expression [6], machine learning [6], melody model [6], mozarts piano sonata [6], performed duration [6], piano sonata kv331 [6], subjective evaluation [6], expression mark [5], music score [5]
Paper type
unknown
DOI: 10.5281/zenodo.849809
Zenodo URL: https://zenodo.org/record/849809
2010.54
Phaseshaping oscillator algorithms for musical sound synthesis
Kleimola, Jari School of Electrical Engineering, Department of Signal Processing and Acoustics, Aalto University; Finland
Lazzarini, Victor Sound and Digital Music Technology Group, National University of Ireland Maynooth; Maynooth, Ireland
Timoney, Joseph Sound and Digital Music Technology Group, National University of Ireland Maynooth; Maynooth, Ireland
Välimäki, Vesa School of Electrical Engineering, Department of Signal Processing and Acoustics, Aalto University; Finland
Abstract
This paper focuses on phaseshaping techniques and their relation to classical abstract synthesis methods. Elementary polynomial and geometric phaseshapers, such as those based on the modulo operation and linear transformations, are investigated. They are then applied to the generation of classic and novel oscillator effects by using nested phaseshaping compositions. New oscillator algorithms introduced in this paper include single-oscillator hard sync, triangle modulation, efficient supersaw simulation, and sinusoidal waveshape modulation effects. The digital waveforms produced with phaseshaping techniques are generally discontinuous, which leads to aliasing artifacts. Aliasing can be effectively reduced by modifying samples around each discontinuity using the previously proposed polynomial bandlimited step function (polyBLEP) method.
Keywords
acoustic signal processing, audio oscillators, music, phaseshaping, signal synthesis
Paper topics
Digital Audio Effects, Sound/music signal processing algorithms
Easychair keyphrases
phase signal [28], audio engineering society [11], phaseshaper entity [8], triangle modulation [8], variable slope phase signal [8], modulo operation [7], variable slope [7], duty width [6], sinusoidal waveshaper [6], unipolar modulo counter signal [6], elementary phaseshaper [5], nested phaseshaping [5], phase cycle [5], computer music [4], fractional period phase [4], fractional period phase signal [4], fractional phase period [4], linear transformation [4], oscillator algorithm [4], rectangular signal [4], sinusoidal waveshape modulation effect [4], slave oscillator [4], supersaw simulation [4], thick line [4], thin line [4], triangular fractional period phase [4], trivial single oscillator softsync [4], variable slope triangular phase signal [4], variable width pulse signal [4], virtual analog [4]
Paper type
unknown
DOI: 10.5281/zenodo.849811
Zenodo URL: https://zenodo.org/record/849811
2010.55
PHOXES - Modular Electronic Music Instruments Based on Physical Modeling Sound Synthesis
Gelineck, Steven Department of Architecture, Design and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Serafin, Stefania Department of Architecture, Design and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
This paper describes the development of a set of electronic music instruments (PHOXES), which are based on physical modeling sound synthesis. The instruments are modular, meaning that they can be combined with each other in various ways in order to create richer systems, challenging both the control and perception, and thereby also the sonic potential of the models. A method for evaluating the PHOXES has been explored in the form of a pre-test where a test subject borrowed the instrument for a period of 10 days. The longer test period makes way for a more nuanced qualitative evaluation of how such instruments might be integrated into workflows of real world users.
Keywords
Control Structures, Electronic Music Instruments, Exploration, Mapping, Physical Modeling
Paper topics
Computer environments for sound/music processing, Physical modeling for sound generation, Sonic interaction design
Easychair keyphrases
physical model [26], excitation controller [12], test subject [12], physical modeling [9], turbulence model [9], particle phox [8], physical modeling sound synthesis [8], friction phox [7], tube phox [7], computer music [6], drum phox [6], phox excitation control [6], test period [6], flute controller [5], phoxe system [5], pre test [5], amplified low pressure sensor [4], commercial electronic music instrument [4], electronic musician [4], excitation gesture [4], input device [4], international computer music association [4], musical expression [4], pragmatic quality [4], sonic potential [4]
Paper type
unknown
DOI: 10.5281/zenodo.849813
Zenodo URL: https://zenodo.org/record/849813
2010.56
Quantifying Masking In Multi-Track Recordings
Vega, Sebastian Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Janer, Jordi Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
It is known that one of the most important tasks in music post-production is equalization. Equalization can be applied in several ways, but one of the main purposes it serves is masking minimization. This is done so that the listener can appreciate the timbral qualities of all instruments within a musical mix. However, the study of masking between the different instruments of a multi-track mix has not received a lot of attention, and a quantitative measure based on perceptual studies has not yet been proposed. This paper presents such a measure, along with a study of masking between several common instruments. The measure proposed (cross-adaptive signal-to-masker ratio) is intended to serve as an analysis tool to be used by audio engineers when trying to combat masking using their preferred equalization techniques.
Keywords
Auditory Masking, Content-based Processing, Music post-production
Paper topics
Digital Audio Effects, Sound/music perception and cognition, Sound/music signal processing algorithms
Easychair keyphrases
auditory filter [19], electric guitar [19], audio engineer [11], multi track recording [11], audio engineering society [9], excitation pattern [9], masker ratio [9], lower band [7], masking coefficient [7], sustained trumpet note [7], th convention paper [6], guitar strum [5], masking minimization [5], adaptive digital audio effect [4], analysis stage [4], analysis tool [4], auditory filter bandwidth [4], cross adaptive [4], cross adaptive smr [4], higher band [4], multi track [4], relative level [4], rhythm electric guitar [4], several common instrument [4]
Paper type
unknown
DOI: 10.5281/zenodo.849815
Zenodo URL: https://zenodo.org/record/849815
2010.57
REAL-TIME ESTIMATION OF THE VOCAL TRACT SHAPE FOR MUSICAL CONTROL
Kestian, Adam Simon Fraser University; Vancouver, Canada
Smyth, Tamara Simon Fraser University; Vancouver, Canada
Abstract
Voiced vowel production in human speech depends both on oscillation of the vocal folds and on the vocal tract shape, the latter contributing to the appearance of formants in the spectrum of the speech signal. Many speech synthesis models use a feed-forward source-filter model, where the magnitude frequency response of the vocal tract is approximated with sufficient accuracy by the spectral envelope of the speech signal. In this research, a method is presented for real-time estimation of the vocal tract area function from the recorded voice by matching spectral formants to those in the output spectra of a piecewise cylindrical waveguide model having various configurations of cross-sectional area. When a match is found, the formants are placed into streams so their movement may be tracked over time and unintended action such as dropped formants or the wavering of an untrained voice may be accounted for. A parameter is made available to adjust the algorithm’s sensitivity to change in the produced sound: sensitivity can be reduced for novice users and later increased for estimation of more subtle nuances.
Keywords
Musical Controller, Pure Data Object, Vocal Tract Extraction
Paper topics
Gesture controlled audio systems, Interactive performance systems, Sound/music signal processing algorithms
Easychair keyphrases
vocal tract [39], vocal tract shape [33], vocal tract area function [16], cross sectional area [15], formant peak [13], formant stream [10], tract shape [10], spectral envelope [8], real time [7], vocal tract model [7], vowel sound [7], vocal tract shape estimation [6], dropped formant [5], reflection coefficient [5], speech signal [5], amplitude envelope [4], area function [4], detected formant [4], feed forward source filter [4], formant frequency [4], forward source filter model [4], minimum action [4], musical control [4], piecewise cylindrical waveguide model [4], real time musical control [4], sample frame [4], second derivative [4], untrained voice [4], vocal tract transfer function [4]
Paper type
unknown
DOI: 10.5281/zenodo.849817
Zenodo URL: https://zenodo.org/record/849817
2010.58
Restoration of audio documents with low SNR: a NMF parameter estimation and perceptually motivated Bayesian suppression rule
Cabras, Giuseppe Università di Udine; Udine, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Montessoro, Pier Luca Università di Udine; Udine, Italy
Rinaldo, Roberto Università di Udine; Udine, Italy
Abstract
In the field of audio restoration, the most popular method is the Short Time Spectral Attenuation (STSA). Although this method reduces the noise and improves the SNR, it mostly tends to introduce signal distortion and a residual noise called musical noise (a tonal, random, isolated, time-varying noise). This work presents a new audio restoration algorithm based on Non-negative Matrix Factorization (NMF) with a noise suppression rule that introduce the masking phenomenon of the human hearing to calculate a noise masking threshold from the estimated target source. Extensive test with PESQ measure at low SNR (i.e. < 10dB) shows that the method dont introduce musical noise and permits to control the trade-off between undesired component suppression and source attenuation. In particular, we show that NMF is a suitable technique to extract the clean audio signal from undesired non stationary noise in a monaural recording of ethnic music. Moreover, we carry out a listening test in order to compare NMF with the state of the art audio restoration framework using the EBU MUSHRA test method. The encouraging results obtained with this methodology in the presented case study support their applicability in several fields of audio restoration.
Keywords
Audio restoration, Cultural Heritage, Music signal processing algorithms, Non-negative Matrix Factorization
Paper topics
Digital Audio Effects, Sound/music signal processing algorithms
Easychair keyphrases
masking threshold [14], target source [13], audio restoration [10], non negative matrix factorization [10], speech enhancement [10], undesired component [10], minimum mean square error [8], musical noise [8], sparse code [8], suppression rule [8], cost function [7], art audio restoration framework [6], audio restoration algorithm [6], audio signal [6], ebu mushra test [6], estimated target source [6], ethnic music [6], motivated bayesian suppression rule [6], mushra test method [6], noise masking threshold [6], noise suppression rule [6], undesired non stationary noise [6], hidden reference [5], listening test [5], monaural recording [5], spectral valley [5], clean audio signal [4], mmse stsa estimator [4], spectral amplitude estimator [4], target present frame [4]
Paper type
unknown
DOI: 10.5281/zenodo.849819
Zenodo URL: https://zenodo.org/record/849819
2010.59
Short Term Pitch Memory in Western vs. Other Equal Temperament Tuning Systems
Andreopoulou, Areti New York University (NYU); New York, United States
Farbood, Morwaread New York University (NYU); New York, United States
Abstract
This study investigates the use of short-term memory for pitch recognition in a Western (12-tone) vs. a 10-tone equal temperament context. 10 subjects with at least one year of formal music and theory training participated in an experiment that consisted of two identical music listening tests (one per tuning system) in which they were trained to recall a reference tone and count the number of times it recurred in various short monophonic melodies. In the parts of the experiment where subjects used their short-term memory to execute one-to-one comparisons between the given reference tone and the melody tones, the results were equivalent for both tuning modes. On the other hand, when subjects tried to recall the reference tone directly from long-term memory, the results were noticeably better for the Western tuning context.
Keywords
equal temperament tuning systems, pitch memory, short term memory
Paper topics
Sound/music perception and cognition
Easychair keyphrases
reference tone [18], tone equal temperament test [14], pitch memory [13], tone equal temperament [12], absolute pitch [11], cross session performance [9], equal temperament [9], testing phase [9], tone session [7], correct answer [6], long term memory [6], short term memory [6], target tone [6], perfect score [5], training part [5], tuning system [5], western tuning [5], correct response [4], equal temperament tuning system [4], short term pitch memory [4], term memory [4]
Paper type
unknown
DOI: 10.5281/zenodo.849821
Zenodo URL: https://zenodo.org/record/849821
2010.60
Simple Tempo Models for Real-time Music Tracking
Arzt, Andreas Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Johannes Kepler University Linz; Linz, Austria
Abstract
The paper describes a simple but effective method for incorporating automatically learned tempo models into real-time music tracking systems. In particular, instead of training our system with `rehearsal data' by a particular performer, we provide it with many different interpretations of a given piece, possibly by many different performers. During the tracking process the system continuously recombines this information to come up with an accurate tempo hypothesis. We present this approach in the context of a real-time tracking system that is robust to almost arbitrary deviations from the score (e.g. omissions, forward and backward jumps, unexpected repetitions or re-starts) by the live performer.
Keywords
audio alignment, score following, tempo model
Paper topics
Automatic music generation/accompaniment systems, Musical performance modeling
Easychair keyphrases
real time [23], real time tracking system [16], tempo model [14], live performance [12], score representation [12], note onset [11], tracking system [9], forward path [8], tempo change [8], tempo curve [8], backward path [6], off line alignment [6], real time music tracking [6], tempo information [6], relative tempo [5], tracking process [5], alignment path [4], artificial intelligence [4], computational perception johanne kepler [4], correct position [4], dynamic time warping [4], learned tempo model [4], many different [4], mozart mozart mozart [4], music tracking system [4], piano piano piano [4], real time audio tracking system [4], sonata kv279 mov [4], time real time [4]
Paper type
unknown
DOI: 10.5281/zenodo.849823
Zenodo URL: https://zenodo.org/record/849823
2010.61
Sound texture synthesis with hidden markov tree models in the wavelet domain
Kersten, Stefan Pompeu Fabra University (UPF); Barcelona, Spain
Purwins, Hendrik Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this paper we describe a new parametric model for synthesis of environmental sound textures, like running water, rain and fire. Sound texture analysis is cast in the framework of wavelet decomposition and hierarchical statistical, generative models, that have previously found application in image texture analysis and synthesis. By stochastic sampling from the model and reconstructing the sampled wavelet coefficients to a time-domain signal, we can synthesize distinct versions of a sound, that bear perceptually convincing similarity to the source sound. The resulting model is shown to perform favorably in comparison to previous approaches to sound texture synthesis while the resulting models provide a parametric description of sound textures.
Keywords
hidden markov models, hierarchical generative models, sound texture synthesis, wavelet analysis
Paper topics
Sound/music perception and cognition, Sound/music signal processing algorithms
Easychair keyphrases
wavelet coefficient [24], sound texture [23], hidden markov tree model [12], hidden markov model [11], sound texture synthesis [11], wavelet tree [10], hidden markov [9], hidden markov tree [9], signal processing [8], wavelet decomposition [8], wavelet transform [7], conditional state probability [6], discrete wavelet transform [6], hidden state [6], running water [6], wavelet decomposition tree [6], detail coefficient [5], model parameter [5], see section [5], state variable [5], texture modeling [5], texture synthesis [5], binary tree [4], hidden state variable [4], log likelihood [4], non gaussian [4], scale coefficient dependency [4], state gaussian mixture model [4], temporal fine structure [4], textural sound [4]
Paper type
unknown
DOI: 10.5281/zenodo.849825
Zenodo URL: https://zenodo.org/record/849825
2010.62
Sparse Regression in Time-Frequency Representations of Complex Audio
Dörfler, Monika Numerical Harmonic Analysis Group (NuHAG), University of Vienna; Vienna, Austria
Flexer, Arthur Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Velasco, Gino Numerical Harmonic Analysis Group (NuHAG), University of Vienna; Vienna, Austria
Klien, Volkmar Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Abstract
Time-frequency representations are commonly used tools for the representation of audio and in particular music signals. From a theoretical point of view, these representations are linked to Gabor frames. Frame theory yields a convenient reconstruction method making post-processing unnecessary. Furthermore, using dual or tight frames in the reconstruction, we may resynthesize localized components from so-called sparse representation coefficients. Sparsity of coefficients is directly reinforced by the application of a $\ell^1$-penalization term on the coefficients. We introduce an iterative algorithm leading to sparse coefficients and demonstrate the effect of using these coefficients in several examples. In particular, we are interested in the ability of a sparsity promoting approach to the task of separating components with overlapping analysis coefficients in the time-frequency domain. We also apply our approach to the problem of auditory scene description, i.e. source identification in a complex audio mixture.
Keywords
auditory scene description, Frames, source identification, Sparsity, Time-frequency representation
Paper topics
Automatic music transcription, Musical pattern recognition/modeling, Musical sound source separation and recognition, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
sparse coefficient [17], time frequency [16], sparse representation [13], tight frame [12], frame operator [11], gabor coefficient [10], gabor frame [7], time frequency coefficient [7], time frequency representation [7], auditory scene description [6], canonical gabor coefficient [6], signal processing [6], tight window [6], time frequency domain [6], signal component [5], audio signal processing [4], dual frame [4], music signal [4], music transcription [4], number source number [4], second source [4], short time fourier transform [4], source number source [4], time frequency shift [4], time slice [4]
Paper type
unknown
DOI: 10.5281/zenodo.849827
Zenodo URL: https://zenodo.org/record/849827
2010.63
Strategies towards the Automatic Annotation of Classical Piano Music
Niedermayer, Bernhard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Abstract
Analysis and description of musical expression is a large field within musicology. However, the manual annotation of large corpora of music, which is a prerequisite in order to describe and compare different artists' styles, is very labor intensive. Therefore, computer systems are needed, which can annotate recordings of different performances automatically, requiring only minimal corrections by the user. In this paper, we apply Dynamic Time Warping for audio-to-score alignment in order to extract the onset times of all individual notes within an audio recording and compare two strategies for improving the accuracy. The first strategy is based on increasing the temporal resolution of the features used. To cope with arising constraints in terms of computational costs, we apply a divide and conquer pattern. The second strategy is the introduction of a post-processing step, in which the onset time of each individual note is revised. The advantage of this method is, that in contrast to default algorithms, arpeggios and asynchronies can be resolved as well.
Keywords
audio alignment, dynamic time warping, nmf, tone model
Paper topics
Computational musicology, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
anchor note [21], dynamic time warping [15], onset time [13], post processing [13], audio signal [11], temporal resolution [10], anchor selection [9], time frame [8], chroma vector [7], high resolution dtw [7], music information retrieval [7], score alignment [7], search window [7], alignment path [6], audio recording [6], computational cost [6], individual note [6], non anchor note [6], pitch activation feature [6], onset detection [5], onset estimate [5], optimal alignment [5], overall accuracy [5], pitch class [5], gaussian window [4], onset candidate [4], pitch activation [4], post processing method [4], tone model [4], whole system [4]
Paper type
unknown
DOI: 10.5281/zenodo.849831
Zenodo URL: https://zenodo.org/record/849831
2010.64
Structural Modeling of Pinna-Related Transfer Functions
Spagnol, Simone Università di Padova; Padova, Italy
Geronazzo, Michele Università di Padova; Padova, Italy
Avanzini, Federico Università di Padova; Padova, Italy
Abstract
This paper faces the general problem of modeling pinna-related transfer functions (PRTFs) for 3-D sound rendering. Following a structural modus operandi, we exploit an algorithm for the decomposition of PRTFs into ear resonances and frequency notches due to reflections over pinna cavities in order to deliver a method to extract the frequencies of the most important spectral notches. Ray-tracing analysis reveals a convincing correspondence between extracted frequencies and pinna cavities of a bunch of subjects. We then propose a model for PRTF synthesis which allows to control separately the evolution of resonances and spectral notches through the design of two distinct filter blocks. The resulting model is suitable for future integration into a structural head-related transfer function model, and for parametrization over anthropometrical measurements of a wide range of subjects.
Keywords
3d Audio, Pinna, PRTF, Spatial Sound
Paper topics
3D sound/music
Easychair keyphrases
spectral notch [10], head related impulse response [8], frequency range [6], head related transfer function [6], notch tracking algorithm [6], pinna related transfer function [6], reflection coefficient [6], signal processing [6], frequency notch [5], notch frequency [5], reflection point [5], second order [5], measured head related impulse [4], multi notch filter [4], pinna cavity [4], related transfer function [4], right prtf elevation [4], time delay [4]
Paper type
unknown
DOI: 10.5281/zenodo.849833
Zenodo URL: https://zenodo.org/record/849833
2010.65
STYLE EMULATION OF DRUM PATTERNS BY MEANS OF EVOLUTIONARY METHODS AND STATISTICAL ANALYSIS
Bernardes, Gilberto Faculdade de Engenharia da Universidade do Porto (FEUP), Universidade do Porto; Porto, Portugal
Guedes, Carlos INESC TEC; Porto, Portugal
Pennycook, Bruce The University of Texas at Austin; Austin, United States
Abstract
In this paper we present an evolutionary algorithm for real–time generation of polyphonic rhythmic patterns in a certain style implemented as a Pure Data patch. Population of rhythms is derived from analysis of MIDI loops, which profile each style for subsequent automatic generation of rhythmic patterns that evolve over time through genetic algorithm operators and user input data.
Keywords
genetic algorithm, metric indispensability, rhythm generation
Paper topics
Automatic music generation/accompaniment systems, Interactive performance systems
Easychair keyphrases
th note level [9], fitness function [6], metrical level [6], midi drum loop [6], non real time [6], real time [6], genetic algorithm [5], mutation operator [5], offspring population [5], pulse comprising [5], metrical coherence [4], rhythmic cell [4]
Paper type
unknown
DOI: 10.5281/zenodo.849835
Zenodo URL: https://zenodo.org/record/849835
2010.66
THE INFLUENCE OF REED MAKING ON THE PERFORMANCE AND SOUND QUALITY OF THE OBOE
Blasco-Yepes, Carolina Universitat Politècnica de València; Valencia, Spain
Payri, Blas Universitat Politècnica de València; Valencia, Spain
Abstract
An essential part of the oboe technique is the reed-making process, where the raw material is carved and shaped. Different oboe schools define different types of shapes, and argue about their adequacy for a better sound and performance. This paper focuses on the perceptual influence of 3 reed-making types. We chose 6 reeds representing 3 pairs of each style (French, German, American) and recorded 116 sound samples with two oboists in controlled conditions. N=63 sound stimuli were selected: 9 diminuendo long tones, 18 eight-note phrases from which 18 low-pitched and 18 high-pitched tones were extracted. Tones were normal-ized in pitch and intensity to help listeners to focus on timbre. 40 participants (20 non-oboist musicians and 20 professional oboists) completed a free-categorization task on each of the 4 stimuli sets, grouping sounds by global similarity. Results show that the most salient production parame-ters are the attack type and the oboist-oboe. The reed-making shows no significant influence on isolated tones and a marginal influence on complex phrases, and inter-reed differences are more important than inter-reed-making differences. Reed-making is important in per-formance technique but has no influence on the perceived timbre. Future research will deal with performer proprio-ception of the reed making
Keywords
music performance, oboe, reed-making, sound perception, timbre
Paper topics
Sound/music perception and cognition
Easychair keyphrases
reed making [38], reed making style [19], oboist non oboist oboist [18], non oboist oboist [9], non oboist [8], isolated tone [7], attack type [6], highpitched long phrase non oboist [6], high pitched note [6], lowpitched highpitched long phrase [6], low pitched note [6], phrase non oboist oboist [6], sound perception [6], tongue attack [6], multidimensional scaling [5], note phrase [5], pitched note [5], significant difference [5], breath attack [4], diminuendo long tone [4], free grouping task [4], high pitched [4], low pitched [4], participant df diminuendi [4], pearson test [4], pearson test comparing [4], professional oboist [4], short tone high pitched note [4], sound production [4], sound sample [4]
Paper type
unknown
DOI: 10.5281/zenodo.849837
Zenodo URL: https://zenodo.org/record/849837
2010.67
The 'Stanza Logo-motoria': An Interactive Environment for Learning and Communication
Camurri, Antonio Università di Genova; Genova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Canepa, Corrado Università di Genova; Genova, Italy
Rodà, Antonio Università di Udine; Udine, Italy
Volpe, Gualtiero Università di Genova; Genova, Italy
Zanolla, Serena Università di Udine; Udine, Italy
Foresti, Gian Luca Università di Udine; Udine, Italy
Abstract
The Stanza Logo-Motoria is a multimodal interactive system for learning and communication developed by means of the EyesWeb XMI platform. It is permanently installed in a Primary School where it is used as an alternative or/and additional tool to traditional ways of teaching. The Stanza Logo-Motoria is used by all school children, from first to fifth class, including children with disabilities. This paper describes the system and a first assessment of the teaching activities carried out with it.
Keywords
Expressive gestures, Interactive system for learning, Multimodal interactive system
Paper topics
Gesture controlled audio systems, Interactive performance systems, Multimodality in sound and music computing, Music and emotions
Easychair keyphrases
stanza logo motoria [50], low level feature [9], primary school [6], grade class [5], system architecture [5], audiovisual content [4], body movement [4], contraction index [4], feature extraction component [4], level feature [4], multimodal interactive system [4], peripheral zone [4], real time [4], resonant memory [4], resonant memory application [4], sound space [4], special need education [4], video camera [4]
Paper type
unknown
DOI: 10.5281/zenodo.849839
Zenodo URL: https://zenodo.org/record/849839
2010.68
Tidal - Pattern Language for Live Coding of Music
McLean, Alex Intelligent Sound and Music Systems (ISMS), Department of Computing, Goldsmiths, University of London; London, United Kingdom
Wiggins, Geraint Intelligent Sound and Music Systems (ISMS), Department of Computing, Goldsmiths, University of London; London, United Kingdom
Abstract
Computer language for the description of pattern has been employed for both analysis and composition of music. In this paper we investigate the latter, with particular interest in pattern language for use in live coding performance. Towards this end we introduce Tidal, a pattern language designed for music improvisation, and embedded in the Haskell programming language. Tidal represents polyphonic patterns as a time varying function, providing an extensible range of pattern generators and combinators for composing patterns out of hierarchies of sub-patterns. Open Sound Control (OSC) messages are used to trigger sound events, where each OSC parameter may be expressed as a pattern. Tidal is designed to allow patterns to be created and modified during a live coded performance, aided by terse, expressive syntax and integration with an emerging time synchronisation standard.
Keywords
computer language, haskell, live coding, pattern
Paper topics
Interactive performance systems, Interfaces for music creation and fruition, Musical pattern recognition/modeling
Easychair keyphrases
pattern language [17], live coding [10], musical pattern [8], computer music [6], live coding performance [6], open sound control [6], pattern transformation [6], computer language [4], haskell programming language [4], music improvisation [4], pattern generator [4], rotr black grey red [4], sub pattern [4]
Paper type
unknown
DOI: 10.5281/zenodo.849841
Zenodo URL: https://zenodo.org/record/849841
2010.69
Timbre remapping through a regression-tree technique
Stowell, Dan Queen Mary University of London; London, United Kingdom
Plumbley, Mark D. Queen Mary University of London; London, United Kingdom
Abstract
We consider the task of inferring associations between two differently-distributed and unlabelled sets of timbre data. This arises in applications such as concatenative synthesis/ audio mosaicing in which one audio recording is used to control sound synthesis through concatenating fragments of an unrelated source recording. Timbre is a multidimensional attribute with interactions between dimensions, so it is non-trivial to design a search process which makes best use of the timbral variety available in the source recording. We must be able to map from control signals whose timbre features have different distributions from the source material, yet labelling large collections of timbral sounds is often impractical, so we seek an unsupervised technique which can infer relationships between distributions. We present a regression tree technique which learns associations between two unlabelled multidimensional distributions, and apply the technique to a simple timbral concatenative synthesis system. We demonstrate numerically that the mapping makes better use of the source material than a nearest-neighbour search.
Keywords
concatenative synthesis, regression trees, timbre, unsupervised learning
Paper topics
Musical pattern recognition/modeling, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
concatenative synthesis [13], regression tree [12], concatenative synthesiser [8], sound source [8], audio excerpt [7], timbre feature [7], principal component [6], response variable [6], computer music [5], data distribution [5], independent variable [5], associative multivariate regression tree [4], concatenative sound synthesis [4], data point [4], full concatenative synthesis framework [4], full concatenative synthesis system [4], multivariate split [4], nearest neighbour search [4], source material [4], splitting plane [4], timbral concatenative synthesis system [4], timbre remapping [4], timbre trajectory [4]
Paper type
unknown
DOI: 10.5281/zenodo.849843
Zenodo URL: https://zenodo.org/record/849843
2010.70
Tonal Signatures
Nouno, Gilbert Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Mezzadri, Malik Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
We present in this paper an original approach of the use of tonality for composition and improvisation, developed by the composer, improviser and musician [hidden for blind reviewing]. The main concept is to consider a minimal group of notes which acts as a signature of a given scale in the major-minor tonal system. We define first within the tonal system context the notion of tonal signature and expose its principle. Among the possible way to solve this problem and find all the tonal signatures, we define some constraints and we use a constraint solver implemented in the composition aided computer music environment Open Music. We provide some examples of compositions written by the composer with improvisation playing based on the tonal signature concept. [hidden for blind reviewing]'s music counts already a rich discography with players from the international jazz scene. We will provide excerpts of the recorded and published music.
Keywords
composition, constraints, improvisation, tonal signature
Paper topics
Computational musicology, Computer environments for sound/music processing
Easychair keyphrases
tonal signature [69], tonal system [20], major minor tonal system [12], tonal signature concept [7], boe oe boe [6], c major mode [6], musical material [5], common note [4], constraint solver [4], limited transposition mode [4], open music [4], reference scale [4]
Paper type
unknown
DOI: 10.5281/zenodo.849845
Zenodo URL: https://zenodo.org/record/849845
2010.71
TOWARDS ADAPTIVE MUSIC GENERATION BY REINFORCEMENT LEARNING OF MUSICAL TENSION
Le Groux, Sylvain Synthetic Perceptive, Emotive and Cognitive Systems (SPECS), Pompeu Fabra University (UPF); Barcelona, Spain
Verschure, Paul Synthetic Perceptive, Emotive and Cognitive Systems (SPECS), Catalan Institution for Research and Advanced Studies (ICREA), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Although music is often defined as the “language of emo- tion”, the exact nature of the relationship between musical parameters and the emotional response of the listener re- mains an open question. Whereas traditional psycholog- ical research usually focuses on an analytical approach, involving the rating of static sounds or preexisting musi- cal pieces, we propose a synthetic approach based on a novel adaptive interactive music system controlled by an autonomous reinforcement learning agent. Preliminary re- sults suggest an autonomous mapping from musical pa- rameters (such as rhythmic density, articulation and sound level) to the perception of tension is possible. This paves the way for interesting applications in music therapy, inter- active gaming, and physiologically-based musical instru- ments.
Keywords
adaptive music, interactive music system, reinforcement learning
Paper topics
Automatic music generation/accompaniment systems, Interactive performance systems, Sonic interaction design
Easychair keyphrases
musical parameter [15], musical tension [15], reinforcement learning [12], rhythmic density [8], interactive music system [7], sound level [7], musical performance [6], music generation [6], real time [6], reinforcement learning agent [6], musical agent [5], first monophonic voice [4], international computer music [4], low tension [4], polyphonic voice [4], reward function [4]
Paper type
unknown
DOI: 10.5281/zenodo.849849
Zenodo URL: https://zenodo.org/record/849849
2010.72
Towards a practical approach to Music Theory on the Reactable
Franceschini, Andrea Università di Padova; Padova, Italy
Abstract
This paper builds upon the existing Reactable musical platform and aims at extending and improving its approach to music theory. Sections 1 and 2.2 explain the motivations that led to the development of this proposal from a musical point of view while also giving a music education perspective. In section 2 we'll see a brief survey on tabletop and tangible multi-user systems for audiovisual performance and we'll also briefly introduce the process of implicit learning, we'll formulate a hypothesis about music as a natural language, and describe how the work hereafter presented can help music education. In section 3 we'll describe the current state of the art about music theory on the Reactable, followed by an original proposal about a way to extend and improve it. Finally we'll see how people who had a chance to test the system found it interesting and playful, while also giving important feedback that can be used to improve many practical aspects of the implementation.
Keywords
harmony, music, reactable, theory, tonal
Paper topics
Automatic music generation/accompaniment systems, Gesture controlled audio systems, Interactive performance systems, Interfaces for music creation and fruition, Visualization of sound/music data
Easychair keyphrases
music theory [11], music education [8], natural language [7], musical instrument [6], implicit learning [5], tangible interface [5], chord preset [4], future development [4], harmony system [4], piano roll [4], western tonal music [4]
Paper type
unknown
DOI: 10.5281/zenodo.849847
Zenodo URL: https://zenodo.org/record/849847
2010.73
UNSUPERVISED GENERATION OF PERCUSSION SOUND SEQUENCES FROM A SOUND EXAMPLE
Marchini, Marco Pompeu Fabra University (UPF); Barcelona, Spain
Purwins, Hendrik Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this paper we present a system that learns rhythmic patterns from drum audio recording and synthesizes music variations from the learnt sequence. The procedure described is completely unsupervised and embodies the transcription of a percussion sequence into a fuzzy multilevel representation. Moreover, a tempo estimation procedure identifying the most regular subsequence is used to guarantee that the metrical structure is preserved in the generated sequence. The final synthesis is performed, recombining the audio material derived from the sample itself. Some examples of generations along with a descriptive evaluation are provided.
Keywords
beat boxing, machine listening, music analysis, music generation
Paper topics
Automatic music generation/accompaniment systems, Automatic music transcription, Musical pattern recognition/modeling
Easychair keyphrases
metrical structure [8], audio signal [6], colored triangle [6], skeleton grid [6], skeleton subsequence [6], cluster configuration [5], musical sequence [5], appropriate symbol [4], cluster distance [4], cluster distance threshold [4], continuation indices [4], descriptive evaluation [4], grid position [4], tempo detection [4], variable length markov chain [4]
Paper type
unknown
DOI: 10.5281/zenodo.849851
Zenodo URL: https://zenodo.org/record/849851
2010.74
Voice Conversion: a Critical Survey
Machado, Anderson Fraiha University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo University of São Paulo (USP); São Paulo, Brazil
Abstract
Voice conversion is an emergent problem in voice and speech processing with increasing commercial interest due to applications such as Speech-to-Speech Translation (SST) and personalized Text-To-Speech (TTS) systems. A Voice Conversion system should allow the mapping of acoustical features of sentences pronounced by a source speaker to values corresponding to the voice of a target speaker, in such a way that the processed output is perceived as a sentence uttered by the target. In the last two decades the number of scientific contributions to the voice conversion problem has grown considerably, and a solid overview of the historical process as well as of the proposed techniques is indispensable for those willing to contribute to the field. The goal of this text is to provide a critical survey that combines historical presentation to technical discussion while pointing out advantages and drawbacks of each technique, and to bring a discussion of future directions, specially referring to the development of a perceptual benchmarking process in voice conversion systems.
Keywords
acoustical features, speech-to-speech translation, voice conversion
Paper topics
Digital Audio Effects, Musical pattern recognition/modeling, Physical modeling for sound generation, Sound/music perception and cognition, Sound/music signal processing algorithms
Easychair keyphrases
voice conversion [80], voice conversion system [37], target speaker [14], source speaker [9], vocal tract [8], voice signal [8], acoustic feature [6], artificial neural network [6], speech recognition [6], transformation technique [6], typical voice conversion system [6], voice conversion technique [6], acoustical feature [5], representation model [5], training phase [5], vector quantization [5], bilingual subject [4], crosslingual voice conversion [4], crosslingual voice conversion system [4], gaussian mixture model [4], glottal pulse [4], line spectral frequency [4], several voice conversion system [4], speaker transformation algorithm [4], text independent [4], text independent training [4], text independent voice conversion [4], vocal tract length normalization [4], voice conversion problem [4], voice transformation [4]
Paper type
unknown
DOI: 10.5281/zenodo.849853
Zenodo URL: https://zenodo.org/record/849853
Sound and Music Computing Conference 2011 (ed. 8)
Dates: from July 06 to July 09, 2011
Place: Padova, Italy
Proceedings info: Proceedings of the SMC 2011 - 8th Sound and Music Computing Conference, 06-09 July 2011, Padova - Italy, ISBN 978-88-97385-03-5
2011.1
A Bayesian Approach to Drum Tracking
Robertson, Andrew Queen Mary University of London; London, United Kingdom
Abstract
This paper describes a real-time Bayesian formulation of the problem of drum tracking. We describe how drum events can be interpreted to update distributions for both tempo and phase, and how these distributions can combine together to give a real-time drum tracking system. The proposed system is intended for the purposes of synchronisation of pre-recorded audio or video with live drums. We evaluate the algorithm of a new set of drum files from real recordings and compare it to other state-of-the-art algorithms. Our proposed method performs very well, often improving on the results of other real-time beat trackers. We discuss the merits of such a formulation and how it makes explicit the assumptions that underlie approaches to beat tracking. We conclude by considering how such an approach might be used for other tasks, such as score following or audio alignment. The proposed algorithm is implemented in C++ and runs in real-time.
Keywords
drum tracking, interactive, probabilistic, real-time
Paper topics
Interactive performance systems, Sound/music signal processing algorithms
Easychair keyphrases
beat period [23], drum event [19], likelihood function [15], beat location [11], beat tracking [11], real time [9], beat period estimate [6], eighth note [6], international computer music [6], phase estimate [6], relative phase [6], tempo distribution [6], beat tracker [5], ground truth [5], beat time [4], beat tracking system [4], comb filter matrix [4], computer system time [4], drum tracker [4], gaussian shaped likelihood function [4], music information retrieval [4], music research [4], posterior distribution [4], prior distribution [4], real time drum tracking [4], tempo estimate [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849855
Zenodo URL: https://zenodo.org/record/849855
2011.2
A COMPARISON OF PERCEPTUAL RATINGS AND COMPUTED AUDIO FEATURES
Friberg, Anders KTH Royal Institute of Technology; Stockholm, Sweden
Hedblad, Anton KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
The backbone of most music information retrieval sys-tems is the features extracted from audio. There is an abundance of features suggested in previous studies rang-ing from low-level spectral properties to high-level se-mantic descriptions. These features often attempt to model different perceptual aspects. However, few studies have verified if the extracted features correspond to the assumed perceptual concepts. To investigate this we se-lected a set of features (or musical factors) from previous psychology studies. Subjects rated nine features and two emotion scales using a set of ringtone examples. Related audio features were extracted using existing toolboxes and compared with the perceptual ratings. The results indicate that there was a high agreement among the judges for most of the perceptual scales. The emotion ratings energy and valence could be well estimated by the perceptual features using multiple regression with adj. R2 = 0.93 and 0.87, respectively. The corresponding audio features could only to a certain degree predict the corre-sponding perceptual features indicating a need for further development.
Keywords
audio features, Music information retrieval, perceptual ratings
Paper topics
Automatic separation, classification of sound and music, Computational musicology, Content processing of music audio signals, Models for sound analysis and synthesis, Music information retrieval, Perception and cognition of sound and music, recognition
Easychair keyphrases
audio feature [16], perceptual rating [16], perceptual feature [15], pulse clarity [8], rhythmic clarity [7], harmonic complexity [6], pulse clarity model [6], rhythmic complexity [6], multiple regression [5], spectral flux [5], articulation dynamic modality [4], computed audio feature [4], computed feature [4], cronbach alpha [4], listening experiment [4], low level feature [4], mid level feature [4], music theory [4], rhythmic clarity articulation dynamic [4], separate multiple regression analysis [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849857
Zenodo URL: https://zenodo.org/record/849857
2011.3
Active Preservation of Electrophone Musical Instruments. The Case of the "Liettizzatore" of "Studio Di Fonologia Musicale" (Rai, Milano)
Canazza, Sergio Università di Padova; Padova, Italy
Rodà, Antonio Università di Udine; Udine, Italy
Novati, Maddalena Archivio di Fonologia - RAI; Milano, Italy
Avanzini, Federico Università di Padova; Padova, Italy
Abstract
This paper presents first results of an ongoing project devoted to the analysis and virtualization of the analog electronic devices of the “Studio di Fonologia Musicale”, one of the European centres of reference for the production of electroacoustic music in the 1950’s and 1960’s. After a brief summary of the history of the Studio, the paper discusses a particularly representative musical work produced at the Studio, "Scambi" by Henri Pousseur, and it presents initial results on the analysis and simulation of the electronic device used by Pousser in this composition, and the ongoing work finalized at developing an installation that re-creates such electronic lutherie.
Keywords
Electroacoustic music, Musical cultural heritage preservation, Restoration
Paper topics
access and modelling of musical heritage, Technologies for the preservation
Easychair keyphrases
red dotted line [14], blue solid line [12], electroacoustic music [8], musical instrument [8], electronic lutherie [7], time constant [7], twin diode [7], electrophone instrument [6], fonologia musicale [6], output signal [6], spice simulation [6], active preservation [4], connecting rule [4], electronic component [4], electronic device [4], electronic instrument [4], front panel [4], music bar [4], open form [4], project scheme [4], stochastic signal [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849867
Zenodo URL: https://zenodo.org/record/849867
2011.4
A Learning Interface for Novice Guitar Players using Vibrotactile Stimulation
Giordano, Marcello McGill University; Montreal, Canada
Wanderley, Marcelo M. McGill University; Montreal, Canada
Abstract
This paper presents a full-body vibrotactile display that can be used as a tool to help learning music performance. The system is composed of 10 vibrotactile actuators placed on different positions of the body as well as an extended and modified version of a software tool for generating tactile events, the Fast Afferent/Slow Afferent (FA/SA) application. We carried out initial tests of the system in the context of enhancing the learning process of novice guitar players. In these tests we asked the performers to play the guitar part over a drum and bass-line base track, either heard or felt by the performers through headphones and the tactile display they were wearing. Results show that it is possible to accurately render the representation of the audio track in the tactile channel only, therefore reducing the cognitive load in the auditory channel.
Keywords
immersive, learning interface, tactile perception, vibrotactile stimulation
Paper topics
Interactive performance systems, Multimodality in sound and music computing, Perception and cognition of sound and music
Easychair keyphrases
vibrotactile feedback [10], digital musical instrument [7], tactile sense [6], vibrotactile event [6], vibrotactile stimulation [6], base track [5], glabrous skin [5], hairy skin [5], tactile channel [5], tactile display [5], tactile sensation [5], tactile stimulation [5], auditory system [4], equal sensation magnitude curve [4], frequency range [4], guitar player [4], international computer music [4], model human cochlea [4], sensory substitution [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849859
Zenodo URL: https://zenodo.org/record/849859
2011.5
An Adaptive Classification Algorithm For Semiotic Musical Gestures
Gillian, Nicholas Sonic Arts Research Centre (SARC), Queen's University Belfast; Belfast, United Kingdom
Knapp, R. Benjamin Sonic Arts Research Centre (SARC), Queen's University Belfast; Belfast, United Kingdom
O'Modhrain, Sile Sonic Arts Research Centre (SARC), Queen's University Belfast; Belfast, United Kingdom
Abstract
This paper presents a novel machine learning algorithm that has been specifically developed for the classification of semiotic musical gestures. We demonstrate how our algorithm, called the Adaptive Naive Bayes Classifier, can be quickly trained with a small number of training examples and then classify a set of musical gestures in a continuous stream of data that also contains non-gestural data. The algorithm also features an adaptive function that enables a trained model to slowly adapt itself as a performer refines and modifies their own gestures over, for example, the course of a rehearsal period. The paper is concluded with a study that shows a significant overall improvement in the classification abilities of the algorithm when the adaptive function is used.
Keywords
Adaptive Naive Bayes Classifier, Gesture Recognition, Musician computer interaction
Paper topics
Automatic separation, classification of sound and music, Interactive performance systems, recognition
Easychair keyphrases
target panel [25], anbc algorithm [24], ve baye classifier [19], semiotic musical gesture [14], training data [14], adaptive online training phase [12], practice phase [12], weighting coefficient [12], adaptive online training [11], baye classifier [8], musical gesture [8], real time [8], air makoto [7], naive baye classifier [7], target zone [7], adaptive online training mode [6], air makoto game [6], continuous stream [6], data collection phase [6], game phase [6], machine learning [6], machine learning algorithm [6], main game [6], maximum training buffer size [6], rejection threshold [6], target area [6], visual feedback [6], adaptive function [5], classification threshold [5], online training [5]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849869
Zenodo URL: https://zenodo.org/record/849869
2011.6
Analysis of Social Interaction in Music Performance with Score-Independent Audio Features
Volpe, Gualtiero Università di Genova; Genova, Italy
Varni, Giovanna Università di Genova; Genova, Italy
Mazzarino, Barbara Università di Genova; Genova, Italy
Pisano, Silvia Università di Genova; Genova, Italy
Camurri, Antonio Università di Genova; Genova, Italy
Abstract
Research on analysis of expressive music performance is recently moving its focus from a single player to small music ensembles, extending the analysis to the social interaction among the members of the ensemble. A step in this direction is the definition and the validation of a set of score-independent audio features that enable to characterize the social interaction in the ensemble, based on the analysis of the music performance. This paper focuses on the analysis of four different performances of a same music piece performed by a string quartet. The performances differ with respect to factors affecting the social interaction within the ensemble. The analysis aims at evaluating whether and to what extent a set of consolidated score-independent audio features, already employed for analysis of expressive music content and particularly suitable for string instruments, enable to distinguish among such different performances.
Keywords
analysis of music performance, score-independent audio features, social interaction
Paper topics
Social interaction in sound and music computing
Easychair keyphrases
social interaction [20], independent audio feature [15], score independent [10], performance condition performance [9], expressive content [8], audio feature [7], music performance [7], string quartet [6], expressive music performance [4], lower panel [4], music ensemble [4], residual energy [4], upper panel [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849879
Zenodo URL: https://zenodo.org/record/849879
2011.7
An analog I/O interface board for Audio Arduino open sound card system
Dimitrov, Smilen Aalborg University; Aalborg, Denmark
Serafin, Stefania Aalborg University; Aalborg, Denmark
Abstract
AudioArduino [1] is a system consisting of an ALSA (Advanced Linux Sound Architecture) audio driver and corresponding microcontroller code; that can demonstrate full-duplex, mono, 8-bit, 44.1 kHz soundcard behavior on an FTDI based Arduino. While the basic operation as a soundcard can be demonstrated with nothing more than a pair of headphones and a couple of capacitors - modern PC soundcards typically make use of multiple signal standards; and correspondingly, multiple connectors. The usual distinction that typical off-the-shelf stereo soundcards make, is between line-level signals (line-in/line-out) - and those not conforming to this standard (such as microphone input/speaker output). To provide a physical illustration of these issues in soundcard design, this project outlines an open design for a simple single-sided PCB, intended for experimentation (via interconnection of basic circuits on board). The contribution of this project is in providing a basic introductory overview of some of the problems (PWM output in particular) in analog I/O design and implementation for soundcards through a real world example, which - while incapable of delivering professional grade quality - could still be useful, primarily in an educational scope.
Keywords
Arduino, audio, driver, PCB, PCM, PWM, Sound card
Paper topics
Interfaces for sound and music, Sound/music signal processing algorithms
Easychair keyphrases
audioa rduino [15], line level [14], duty cycle [13], analog signal [11], analog switch [6], sampled value [5], sample value [5], advanced linux sound architecture [4], analog sample [4], audio engineering society convention [4], dashed line [4], dead time [4], digital audio [4], digital audio hardware [4], fast pwm mode [4], integrated signal [4], linear ramp [4], line level signal [4], low pass filter [4], next pwm period [4], power supply [4], voltage signal [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849871
Zenodo URL: https://zenodo.org/record/849871
2011.8
AN EXPLORATION ON THE INFLUENCE OF VIBROTACTILE CUES DURING DIGITAL PIANO PLAYING
Fontana, Federico Università di Udine; Udine, Italy
Papetti, Stefano Università di Verona; Verona, Italy
Del Bello, Valentina Università di Verona; Verona, Italy
Civolani, Marco Università di Udine; Udine, Italy
Bank, Balázs Budapest University of Technology and Economics; Budapest, Hungary
Abstract
An exploratory experiment was carried out in which subjects with different musical skills were asked to play a digital piano keyboard, first by following a specific key sequence and style of execution, and then performing freely. Judgments of perceived sound quality were recorded in three different settings, including standard use of the digital piano with its own internal loudspeakers, and conversely use of the same keyboard for controlling a physics-based piano sound synthesis model running on a laptop in real time. Through its audio card, the laptop drove a couple of external loudspeakers, and occasionally a couple of shakers screwed to the bottom of the keyboard. The experiment showed that subjects prefer the combination of sonic and vibrotactile feedback provided by the synthesis model when playing the key sequences, whereas they promote the quality of the original instrument when performing free. However springing out of a preliminary evaluation, these results were in good accordance with the development stage of the synthesis software at the time of the experiment. They suggest that vibrotactile feedback modifies, and potentially improves the performer's experience when playing on a digital piano keyboard.
Keywords
digital piano keyboard, physical modeling, tactile augmentation, vibrotactile perception
Paper topics
Multimodality in sound and music computing, Perception and cognition of sound and music
Easychair keyphrases
vibrotactile feedback [17], digital piano [11], sound quality [7], digital piano keyboard [6], musical instrument [6], mean value [5], piano sound [5], non musician [4], real time [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849873
Zenodo URL: https://zenodo.org/record/849873
2011.9
AN INTERACTIVE MUSIC COMPOSITION SYSTEM BASED ON AUTONOMOUS MAINTENANCE OF MUSICAL CONSISTENCY
Kitahara, Tetsuro Nihon University; Tokyo, Japan
Fukayama, Satoru The University of Tokyo; Tokyo, Japan
Sagayama, Shigeki The University of Tokyo; Tokyo, Japan
Katayose, Haruhiro Kwansei Gakuin University; Osaka, Japan
Nagata, Noriko Kwansei Gakuin University; Osaka, Japan
Abstract
Various attempts at automatic music composition systems have been made but they have not dealt with the issue of how to edit the composed piece by the user. In this paper, we propose a human-in-the-loop music composition system, where the manual editing stage is integrated into the composition process. This system first generates a musical piece based on the lyrics input by the user. After that, the user can edit the melody and/or chord progression. The feature of this system is to regenerate, once the user edits the melody or chord progression of the generated piece, the remaining part so that it musically matches the edited part. With this feature, users can try various melodies and arrangements without taking into account the musical inconsistency between the melody and chord progression. We confirmed that this feature facilitated the user's trial and error in elaborating music.
Keywords
Automatic music composition, Bayesian network, Human-in-the-loop
Paper topics
Automatic music generation/accompaniment systems
Easychair keyphrases
chord progression [30], musical piece [12], musical consistency [10], autonomous maintenance [9], chord name [7], remaining part [7], chord voicing [6], light gray chord [6], manual editing stage [6], music composition [6], amc system [5], pitch motion [5], automatic music composition [4], bass line [4], bayesian network [4], dynamic bayesian network [4], melody node [4], music composition system [4], passing note [4], second measure [4], user editing [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849875
Zenodo URL: https://zenodo.org/record/849875
2011.10
An Interactive Surface Realisation of Henri Pousseur's 'Scambi'
Fencott, Robin Queen Mary University of London; London, United Kingdom
Dack, John Middlesex University London; London, United Kingdom
Abstract
This paper discusses the design and implementation of an interactive touch surface exhibit which re-appropriates a historic electroacoustc work for the digital age. The electroacoustic work in question is Henri Pousseur's seminal `Scambi' composition, originally created in 1957 at the RAI Studios, Milan. The status of Scambi as a key example of an electroacoustic `open' form makes it ideal for re-appropriation as an interactive public exhibit, while an existing musicological analysis of Pousseur's compositional instructions for Scambi provide insight for the user interface design and translation of written textual composition process into interactive software. The project is on-going, and this paper presents our current work-in progress. We address the musicological, practical and aesthetic implications of this work, discuss informal observation of users engaging with our tabletop system, and comment on the nature of touchscreen interfaces for musical interaction. This work is therefore relevant to the electroacoustic community, fields of human computer interaction, and researchers developing new interfaces for musical expression. This work contributes to the European Commission funded DREAM project.
Keywords
Design, Electroacoustic, Fiducial, Heritage, Interaction, Multi-touch, Music, Pousseur, Re-appropriation, Scambi, Tangible
Paper topics
access and modelling of musical heritage, Interactive performance systems, Interfaces for sound and music, Multimodality in sound and music computing, Social interaction in sound and music computing, Sonic interaction design, Technologies for the preservation
Easychair keyphrases
interactive surface [13], sound segment [9], scambi sequencer [8], electroacoustic work [7], open form [7], fiducial marker [6], touch surface [6], henri pousseur [5], musical expression [5], surface interface [5], tangible object [5], computer vision [4], direct touch [4], dream project [4], middlesex university [4], multi touch [4], public exhibition [4], rai studio [4], scambi section [4], table surface [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849877
Zenodo URL: https://zenodo.org/record/849877
2011.11
Applications of Synchronization in Sound Synthesis
Neukom, Martin Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
The synchronization of natural and technical periodic processes can be simulated with self-sustained oscillators. Under certain conditions, these oscillators adjust their frequency and their phase to a master oscillator or to other self-sustained oscillators. These processes can be used in sound synthesis for the tuning of non-linear oscillators, for the adjustment of the pitches of other oscillators, for the synchronization of periodic changes of any sound parameters and for the synchronization of rhythms. This paper gives a short introduction to the theory of synchronization, shows how to implement the differential equations which describe the self-sustained oscillators and gives some examples of musical applications. The examples are programmed as mxj~ externals for MaxMSP. The Java code samples are taken from the perform routine of these externals. The externals and Max patches can be downloaded from http://www.icst.net/.
Keywords
Self-Sustained Oscillators, Sound Synthesis, Synchronization
Paper topics
Automatic music generation/accompaniment systems, Digital audio effects, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
van der pol [26], der pol oscillator [25], self sustained oscillator [17], limit cycle [7], max patch smc [7], phase difference [7], differential equation [6], natural frequency [6], non linear [6], phase diagram [6], chaotic oscillator [5], coupled oscillator [5], exciting force [5], rossler oscillator [5], sound synthesis [5], chaotic behavior [4], linear oscillator [4], max patch [4], non linear oscillator [4], phase space [4], quasi linear oscillator [4], rossler system [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849881
Zenodo URL: https://zenodo.org/record/849881
2011.12
A Rule-Based Generative Music System Controlled by Desired Valence and Arousal
Wallis, Isaac Arizona State University; Tempe, United States
Ingalls, Todd Arizona State University; Tempe, United States
Campana, Ellen Arizona State University; Tempe, United States
Goodman, Janel Arizona State University; Tempe, United States
Abstract
This paper details an emotional music synthesis (EMS) system which is designed around music theory parameters and previous research on music and emotion. This system uses a rule-based algorithm to generate the music from scratch. Results of a user study on this system show that listener ratings of emotional valence and arousal correlate with intended production of musical valence and arousal.
Keywords
Algorithmic Composition, Emotion, Music
Paper topics
Interactive performance systems, Interfaces for sound and music, Models for sound analysis and synthesis, Perception and cognition of sound and music
Easychair keyphrases
musical feature [10], intended valence [9], musical parameter [9], harmonic mode [8], intended arousal [8], musical emotion [8], rhythmic roughness [7], upper extension [7], arousal setting [6], emotional music synthesis [6], perceived valence [6], pitch register [6], voice spacing [6], voice leading [5], voicing size [5], international affective picture system [4], mean clicked valence [4], note generation [4], perceived arousal [4], real time [4], user study [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849861
Zenodo URL: https://zenodo.org/record/849861
2011.13
A Survey of Raaga Recognition Techniques and Improvements to the State-of-the-Art
Koduri, Gopala Krishna Cognitive Science Lab, International Institute of Information Technology (IIITH); Hyderabad, India
Gulati, Sankalp Digital Audio Processing Lab (DAP Lab), Indian Institute of Technology Bombay (IITB); Mumbai, India
Rao, Preeti Digital Audio Processing Lab (DAP Lab), Indian Institute of Technology Bombay (IITB); Mumbai, India
Abstract
Raaga is the spine of Indian classical music. It is the single most crucial element of the melodic framework on which the music of the subcontinent thrives. Naturally, automatic raaga recognition is an important step in computational musicology as far as Indian music is considered. It has several applications like indexing Indian music, automatic note transcription, comparing, classifying and recommending tunes, and teaching to mention a few. Simply put, it is the first logical step in the process of creating computational methods for Indian classical music. In this work, we investigate the properties of a raaga and the natural process by which people identify the raaga. We survey the past raaga recognition techniques correlating them with human techniques, in both north Indian (Hindustani) and south Indian (Carnatic) music systems. We identify the main drawbacks and propose minor, but multiple improvements to the state-of-the-art raaga recognition technique, and discuss and compare it with the previous work.
Keywords
carnatic, hindustani, indian classical music, raaga properties, raaga recognition, survey
Paper topics
access and modelling of musical heritage, Automatic separation, classification of sound and music, Computational musicology, Music information retrieval, recognition, Technologies for the preservation
Easychair keyphrases
pitch class profile [31], pitch class [17], raaga recognition [17], indian classical music [14], pitch class distribution [12], indian music [10], classical music [9], carnatic music [8], distance measure [7], raaga recognition system [7], raaga recognition technique [7], stable note region [7], pitch contour [6], pitch value [6], raaga identification [6], stable note [6], note segmentation [5], bhupali total test sample [4], continuous pitch contour [4], detected stable note region [4], hindustani classical music [4], melodic atom [4], music information retrieval [4], pakad matching [4], pitch detection [4], pitch extraction [4], south indian classical music [4], swara intonation [4], test dataset [4], trained musician [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849863
Zenodo URL: https://zenodo.org/record/849863
2011.14
A toolbox for storing and streaming music-related data
Nymoen, Kristian University of Oslo; Oslo, Norway
Jensenius, Alexander Refsum University of Oslo; Oslo, Norway
Abstract
Simultaneous handling and synchronisation of data related to music, such as score annotations, MIDI, video, motion descriptors, sensor data, etc. requires special tools due to the diversity of this data. We present a toolbox for recording and playback of complex music-related data. Using the Sound Description Interchange Format as a storage format and the Open Sound Control protocol as a streaming protocol simplifies exchange of data between composers and researchers.
Keywords
Gesture Description Interchange Format, Open Sound Control, Sound Description Interchange Format, Synchronization of music-related data streams
Paper topics
Computer environments for sound/music processing, Multimodality in sound and music computing, Sonic interaction design
Easychair keyphrases
data type [7], motion capture data [7], music related data [7], international computer music [6], music related body motion [6], interchange format [5], music related [5], playback module [5], type tag [5], description interchange format [4], dimensional position stream [4], file name [4], frame type [4], gdif data [4], gdif data type [4], matrix type [4], open sound control protocol [4], real time [4], sdif file [4], sound description interchange [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849865
Zenodo URL: https://zenodo.org/record/849865
2011.15
Audio Physical Computing
Valle, Andrea Interdipartimental Center for Research on Multimedia and Audiovideo (CIRMA), Dipartimento di Studi Umanistici, Università di Torino; Torino, Italy
Abstract
The paper describes an approach to the control of electromechanical devices for musical purposes (mainly, DC motors and solenoids) using audio signals. The proposed approach can be named audio physical computing, i.e. physical computing oriented towards sound generation by means of audio signals. The approach has its origin in a previous physical computing project dedicated to music generation, the Rumentarium Project, that used microcontrollers as the main computing hardware interface. First, some general aspect of physical computing are discussed and the Rumentarium project is introduced. Then, a reconsideration of the technical setup of the Rumentarium is developed, and the audio physical computing approach is considered as a possible replacement for microcontrollers. Finally, a music work is described, in order to provide a real life example of audio physical computing.
Keywords
audio control signal, interaction, physical computing
Paper topics
Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
sound card [34], physical computing [23], audio physical computing [20], audio signal [17], sound body [13], dc coupled sound card [10], cifre del colpo [7], physical object [7], audio physical computing scenario [6], rumentarium project [6], control signal [5], direct current [5], electromechanical device [5], onset detection [5], pulse train [5], software layer [5], digital control [4], electronic music [4], operating system [4], real time [4], rotation direction [4], rotation speed [4], sound generation [4], square wave [4], unit sound body [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849883
Zenodo URL: https://zenodo.org/record/849883
2011.16
Auditory Feedback in a Multimodal Balancing Task: Walking on a Virtual Plank
Serafin, Stefania Aalborg University; Aalborg, Denmark
Turchet, Luca Aalborg University; Aalborg, Denmark
Nordahl, Rolf Aalborg University; Aalborg, Denmark
Abstract
We describe a multimodal system which exploits the use of footwear-based interaction in virtual environments. We developed a pair of shoes enhanced with pressure sensors, actuators, and markers. Such shoes control a multichannel surround sound system and drive a physically based sound synthesis engine which simulates the act of walking on different surfaces. We present the system in all its components, and explain its ability to simulate natural interactive walking in virtual environments. The system was used in an experiment whose goal was to assess the ability of subjects to walk blindfolded on a virtual plank. Results show that subjects perform the task slightly better when they are exposed to haptic feedback as opposed to auditory feedback, although no significant differences are measured. The combination of auditory and haptic feedback does not significantly enhances the task performance.
Keywords
auditory feedback, balancing task, haptic feedback, multimodal experience
Paper topics
Multimodality in sound and music computing
Easychair keyphrases
haptic feedback [19], auditory feedback [11], motion capture system [9], natural interactive walking [9], virtual environment [8], virtual plank [8], audio haptic [7], pressure sensor [7], creaking wood [5], haptic shoe [5], aalborg university copenhagen [4], footstep sound [4], medium technology aalborg [4], synthesis engine [4], technology aalborg university [4], virtual reality haptic shoe [4], visual feedback [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849885
Zenodo URL: https://zenodo.org/record/849885
2011.17
Automatically detecting key modulations in J.S. Bach chorale recordings
Mearns, Lesley Queen Mary University of London; London, United Kingdom
Benetos, Emmanouil Queen Mary University of London; London, United Kingdom
Dixon, Simon Queen Mary University of London; London, United Kingdom
Abstract
This paper describes experiments to automatically detect key and modulation in J.S. Bach chorale recordings. Transcribed audio is processed into vertical notegroups, and the groups are automatically assigned chord labels in accordance with Schonberg's definition of diatonic triads and sevenths for the 24 major and minor modes. For comparison, MIDI representations of the chorales are also processed. Hidden Markov Models (HMMs) are used to detect key and key change in the chord sequences, based upon two approaches to chord and key transition representations. Our initial hypothesis is that key and chord values which are systematically derived from pre-eminent music theory will produce the most accurate models of key and modulation. The music theory models are therefore tested against models embodying Krumhansl's data resulting from perceptual experiments about chords and harmonic relations. We conclude that the music theory models produce better results than the perceptual data but that all of the models produce good results. The use of transcribed audio produces encouraging results, with the key detection outputs ranging from 79% to 97% of the MIDI ground truth results.
Keywords
Harmony, Hidden Markov models, Key detection, Perception, Polyphonic music transcription, Systematic musicology
Paper topics
Automatic separation, classification of sound and music, Computational musicology, Content processing of music audio signals, Perception and cognition of sound and music, recognition
Easychair keyphrases
observation matrix [16], key transition matrix [15], music theory [14], ground truth [13], diatonic chord [8], key change [8], transcribed audio [8], truth midi [8], chord sequence [7], error rate [7], ground truth midi [7], music theory model [7], perceptual data [7], pitch class set [7], transcribed data [7], chord value [6], complex chord [6], dist conc mod [6], hand annotated sequence [6], hidden markov model [6], key context [6], key modulation detection [6], midi data [6], pitch class [6], chord rating [5], err dist [5], home key [5], major chord [5], midi pitch [5], minor key [5]
Paper type
Full paper
DOI: 10.5281/zenodo.849893
Zenodo URL: https://zenodo.org/record/849893
2011.18
Automatic Creation of Mood Playlists in the Thayer Plane: A Methodology and a Comparative Study
Panda, Renato University of Coimbra; Coimbra, Portugal
Paiva, Rui Pedro University of Coimbra; Coimbra, Portugal
Abstract
We propose an approach for the automatic creation of mood playlists in the Thayer plane (TP). Music emotion recognition is tackled as a regression and classification problem, aiming to predict the arousal and valence (AV) values of each song in the TP, based on Yang’s dataset. To this end, a high number of audio features are extracted using three frameworks: PsySound, MIR Toolbox and Marsyas. The extracted features and Yang’s annotated AV values are used to train several Support Vector Re- gressors, each employing different feature sets. The best performance, in terms of R2 statistics, was attained after forward feature selection, reaching 63% for arousal and 35.6% for valence. Based on the predicted location of each song in the TP, mood playlists can be created by specifying a point in the plane, from which the closest songs are retrieved. Using one seed song, the accuracy of the created playlists was 62.3% for 20-song playlists, 24.8% for 5-song playlists and 6.2% for the top song.
Keywords
classification, mood, playlist, regression
Paper topics
Automatic separation, classification of sound and music, Music information retrieval, Perception and cognition of sound and music, recognition
Easychair keyphrases
music information retrieval [11], mir toolbox [9], thayer plane [9], feature set [7], music emotion recognition [7], seed song [7], automatic playlist generation [6], mood detection [6], music mood [6], playlist generation [6], audio signal [5], dimensional model [5], feature selection [5], audio feature [4], av mood modeling [4], best result [4], desired mood trajectory [4], emotional state [4], feature extraction [4], feature selection algorithm [4], ground truth [4], high number [4], language processing [4], mood playlist [4], song playlist [4], thayer model [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849887
Zenodo URL: https://zenodo.org/record/849887
2011.19
Automatic Multi-track Mixing Using Linear Dynamical Systems
Scott, Jeffrey Drexel University; Philadelphia, United States
Prockup, Matthew Drexel University; Philadelphia, United States
Schmidt, Erik Drexel University; Philadelphia, United States
Kim, Youngmoo Drexel University; Philadelphia, United States
Abstract
Over the past several decades music production has evolved from something that was only possible with multi- room, multi-million dollar studios into the province of the average person’s living room. New tools for digital pro- duction have revolutionized the way we consume and in- teract with music on a daily basis. We propose a system based on a structured audio framework that can generate a basic mix-down of a set of multi-track audio files using parameters learned through supervised machine learning. Given the new surge of mobile content consumption, we extend this system to operate on a mobile device as an ini- tial measure towards an integrated interactive mixing plat- form for multi-track music.
Keywords
automatic mixing, machine learning, mobile devices, music production
Paper topics
Automatic music generation/accompaniment systems, Computer environments for sound/music processing, Content processing of music audio signals, Interfaces for sound and music, Multimodality in sound and music computing, Music information retrieval
Easychair keyphrases
mixing coefficient [17], linear dynamical system [9], mobile device [8], final mix [7], structured audio [7], weighting coefficient [7], automatic mixing system [6], least square [6], multi track [6], supervised machine learning [6], amplitude amplitude [5], real time [5], acoustic feature [4], fader value [4], game console [4], ground truth weight [4], hardware accelerated linear algebra [4], individual track [4], kalman filtering [4], multi track session [4], source audio [4], time varying mixing [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849889
Zenodo URL: https://zenodo.org/record/849889
2011.20
BeatLED - The Social Gaming Partyshirt
De Nies, Tom Multimedia Lab (MMLab), Interdisciplinary Institute for BroadBand Technology (IBBT), Ghent University; Ghent, Belgium
Vervust, Thomas Center for Microsystems Technology (CMST), Ghent University; Ghent, Belgium
Demey, Michiel Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Van De Walle, Rik Multimedia Lab (MMLab), Interdisciplinary Institute for BroadBand Technology (IBBT), Ghent University; Ghent, Belgium
Vanfleteren, Jan Center for Microsystems Technology (CMST), Ghent University; Ghent, Belgium
Leman, Marc Institute for Psychoacoustics and Electronic Music (IPEM), Ghent University; Ghent, Belgium
Abstract
This paper describes the development of a social game, BeatLED, using music, movement and luminescent textile.The game is based on a tool used in research on synchronization of movement and music, and social entrainment at the Institute of Psychoacoustics and Electronic Music (IPEM) at Ghent University. Players, divided into several teams, synchronize to music and receive a score in realtime, depending on how well they synchronize with the music and each other. While this paper concentrates on the game design and dynamics, an appropriate and original means of providing output to the end users was needed. To accommodate this output, a flexible, stretchable LED-display was developed at CMST (Ghent University), and embedded into textile. In this paper we analyze the characteristics a musical social game should have, as well as the overall merit of such a game. We discuss the various technologies involved, the game design and dynamics, a proof-of-concept implementation and the most prominent test results. We conclude that a real-world implementation of this game not only is feasible, but would also have several applications in multiple sectors, such as musicology research, team-building and health care.
Keywords
multimodal interaction, musical game, social entrainment
Paper topics
Music information retrieval, Perception and cognition of sound and music, Social interaction in sound and music computing, Sound and music for VR and games
Easychair keyphrases
social game [14], team score [9], ghent university [7], test session [7], audio track [6], concept implementation [6], led display [6], wii remote [6], acceleration data [5], game dynamic [5], individual score [5], peak detection [5], score array [5], synchronizing algorithm [5], highest scoring team [4], lowest scoring team [4], peak detection algorithm [4], sampling rate [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849895
Zenodo URL: https://zenodo.org/record/849895
2011.21
C. Elegans Meets Data Sonification: Can We Hear its Elegant Movement?
Terasawa, Hiroko University of Tsukuba; Tsukuba, Japan
Takahashi, Yuta University of Tsukuba; Tsukuba, Japan
Hirota, Keiko University of Tsukuba; Tsukuba, Japan
Hamano, Takayuki Exploratory Research for Advanced Technology (ERATO), Okanoya Emotional Information Project, Japan Science and Technology Agency (JST); Kawaguchi, Japan
Yamada, Takeshi University of Tsukuba; Tsukuba, Japan
Fukamizu, Akiyoshi University of Tsukuba; Tsukuba, Japan
Makino, Shoji University of Tsukuba; Tsukuba, Japan
Abstract
We introduce our video-data sonification of Caenorhabditis elegans (C. elegans), a small nematode worm that has been extensively used as a model organism in molecular biology. C. elegans exhibits various kinds of movements, which may be altered by genetic manipulations. In pursuit of potential applications of data sonification in molecular biology, we converted video data of this worm into sounds, aiming to distinguish the movements by hearing. The video data of C. elegans wild type and transgenic types were sonified using a simple motion-detection algorithm and granular synthesis. The movement of the worm in the video was transformed into the sound cluster of very-short sine-tone wavelets. In the evaluation test, the group of ten participants (from both molecular biology and audio engineering) were able to distinguish sonifications of the different worm types with an almost 100% correct response rate. In the post-experiment interview, the participants reported more detailed and accurate comprehension on the timing of the worm's motion in sonification than in video.
Keywords
C. Elegans, Data sonification, Molecular biology, Research communication, Video
Paper topics
Auditory display and data sonification
Easychair keyphrases
video data [15], audio engineer [11], granular synthesis [10], data sonification [8], evaluation test [7], identification task [7], molecular biologist [7], molecular biology [7], auditory display [6], wild type [6], caenorhabditis elegan [5], model organism [5], sound cluster [5], correct response rate [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849897
Zenodo URL: https://zenodo.org/record/849897
2011.22
Comparing Inertial and Optical MoCap Technologies for Synthesis Control
Skogstad, Ståle A. University of Oslo; Oslo, Norway
Nymoen, Kristian University of Oslo; Oslo, Norway
Høvin, Mats University of Oslo; Oslo, Norway
Abstract
This paper compares the use of two different technologies for controlling sound synthesis in real time: the infrared marker-based motion capture system OptiTrack and Xsens MVN, an inertial sensor-based motion capture suit. We present various quantitative comparisons between the data from the two systems and results from an experiment where a musician performed simple musical tasks with the two systems. Both systems are found to have their strengths and weaknesses, which we will present and discuss.
Keywords
Motion capture, OptiTrack, Synthesis Control, Xsens
Paper topics
Interfaces for sound and music, Multimodality in sound and music computing, Sonic interaction design
Easychair keyphrases
motion capture [30], motion capture system [15], mocap system [10], real time [10], motion capture technology [7], optitrack system [7], xsen mvn suit [7], continuous onset task [6], global coordinate system [6], infrared marker based motion [6], marker based motion capture system [6], xsen mvn system [6], position data [5], acceleration data [4], control data [4], hand clap [4], inertial sensor [4], irmocap system [4], left foot [4], marker based motion capture [4], motion capture data [4], optical marker based motion [4], pitch following task [4], positional drift [4], rigid body [4], standard deviation [4], xsen suit [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849899
Zenodo URL: https://zenodo.org/record/849899
2011.23
DANCEREPRODUCER: AN AUTOMATIC MASHUP MUSIC VIDEO GENERATION SYSTEM BY REUSING DANCE VIDEO CLIPS ON THE WEB
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Murofushi, Sora Waseda University; Tokyo, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Morishima, Shigeo Waseda University; Tokyo, Japan
Abstract
We propose a dance video authoring system, DanceReProducer, that can automatically generate a dance video clip appropriate to a given piece of music by segmenting and concatenating existing dance video clips. In this paper, we focus on the reuse of ever-increasing user-generated dance video clips on a video sharing web service. In a video clip consisting of music (audio signals) and image sequences (video frames), the image sequences are often synchronized with or related to the music. Such relationships are diverse in different video clips, but were not dealt with by previous methods for automatic music video generation. Our system employs machine learning and beat tracking techniques to model these relationships. To generate new music video clips, short image sequences that have been previously extracted from other music clips are stretched and concatenated so that the emerging image sequence matches the rhythmic structure of the target song. Besides automatically generating music videos, DanceReProducer offers a user interface in which a user can interactively change image sequences just by choosing different candidates. This way people with little knowledge or experience in MAD movie generation can interactively create personalized video clips.
Keywords
Mashup, Music Signal Processing, Music Video Generation
Paper topics
Content processing of music audio signals, Multimodality in sound and music computing
Easychair keyphrases
image sequence [45], video clip [42], bar level feature [15], dance video [15], music video [13], dance video clip [12], music structure [12], bar level [11], music video clip [9], visual unit [9], mad movie [8], video sharing web service [8], view count [8], audio signal [7], linear regression model [7], mashup video clip [7], video generation [7], visual feature [7], automatic music video generation [6], chorus section [6], context relationship [6], existing dance video clip [6], musical section [6], segmenting and concatenating [6], accumulated cost [5], dance motion [5], frame feature [5], temporal continuity [5], dance video authoring [4], mad movie generation [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849903
Zenodo URL: https://zenodo.org/record/849903
2011.24
Demetrio Stratos Rethinks Voice Techniques: A Historical Investigation at ISTC in Padova
Ceolin, Elena Dipartimento di Storia delle Arti Visive e della Musica, Università di Padova; Padova, Italy
Tisato, Graziano Istituto di Scienze e Tecnologie della Cognizione (ISTC); Padova, Italy
Zattra, Laura Dipartimento di Storia delle Arti Visive e della Musica, Università di Padova; Padova, Italy
Abstract
Demetrio Stratos (1945-1979) was a singer known for his creative use of vocal techniques such as diplophony, bitonality and diphony (overtone singing). His need to know the scientific explanation for such vocal behaviors, drove him to visit the ISTC in Padova (Institute of Cognitive Sciences and Technologies) in the late Seventies. ISTC technical resources and the collaboration with Franco Ferrero and Lucio Croatto (phonetics and phoniatric experts), allowed him to analyze his own phono-articulatory system and the effects he was able to produce. This paper presents the results of a broad historical survey of Stratos’ research at the ISTC. The historic investigation is made possible by textual criticism and interpretation based on different sources, digital and audio sources, sketches, various bibliographical references (published or unpublished) and oral communications. Sonograms of Stratos’ exercises (made at the time and recently redone) show that various abilities existed side by side in the same performer, which is rare to find. This marks his uniqueness in the avant-gard and popular music scene of the time. The ultimate aim of this study was to produce a digital archive for the preservation and conservation of the sources related to this period.
Keywords
analysis, historical investigation, philology and sources, preservation
Paper topics
access and modelling of musical heritage, Technologies for the preservation
Easychair keyphrases
istc archive [30], demetrio strato [24], conservative copy [12], magnetic tape [12], compact cassette [11], di demetrio strato [9], elena ceolin [8], overtone singing [7], academic year [6], di alcuni tipi [6], graduation thesis [6], lo strumento voce [6], tecnologie della cognizione [6], vocal cord [6], vocal technique [6], ferrero franco [5], analogue audio document [4], arti visive e della [4], basf chromdioxid [4], conservative copy cif0008 [4], conservative copy cif0009 [4], digital archive [4], harmonic partial [4], il fondo demetrio strato [4], sergio canazza targon [4], visive e della musica [4], vocal effect [4], vocalizzo di demetrio [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849907
Zenodo URL: https://zenodo.org/record/849907
2011.25
Design and Applications of a Multi-Touch Musical Keyboard
McPherson, Andrew P. Drexel University; Philadelphia, United States
Kim, Youngmoo Drexel University; Philadelphia, United States
Abstract
This paper presents a hardware and software system for adding multiple touch sensitivity to the piano-style keyboard. The traditional keyboard is a discrete interface, defining notes by onset and release. By contrast, our system allows continuous gestural control over multiple dimensions of each note by sensing the position and size of up to three touches per key. Sensors are constructed using system-on-chip capacitive touch sensing controllers on circuit boards shaped to each key. The boards are laminated with thin plastic sheets to provide a traditional feel to the performer. The sensors, which are less than 3mm thick, mount atop an existing acoustic or electronic piano keyboard. The hardware connects by USB, and software on a host computer generates OSC messages reflecting a broad array of low- and high-level gestures, including motion of single points, two- and three-finger pinch and slide gestures, and continuous glissando tracking across multiple keys. This paper describes the sensor design and presents selected musical mappings.
Keywords
Gesture recognition, Keyboard, Music interfaces, Touch sensing
Paper topics
Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
white key [13], horizontal position [7], host controller [7], black key [6], higher level gestural feature [6], acoustic piano [5], circuit board [5], osc message [5], capacitive sensing [4], computer music [4], contact area [4], continuous key position sensing [4], existing touch [4], expressive plucked string synthesis [4], key touch [4], multiple touch sensitivity [4], multi touch [4], octave controller [4], open sound control [4], touch location [4], touch position [4], touch sensitivity [4], touch size [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849909
Zenodo URL: https://zenodo.org/record/849909
2011.26
Designing an Expressive Virtual Percussive Instrument
Dolhansky, Brian Drexel University; Philadelphia, United States
McPherson, Andrew P. Drexel University; Philadelphia, United States
Kim, Youngmoo Drexel University; Philadelphia, United States
Abstract
One advantage of modern smart phones is their ability to run complex applications such as instrument simulators. Most available percussion applications use a trigger-type implementation to detect when a user has made a gesture corresponding to a drum hit, which limits the expressive- ness of the instrument. This paper presents an alterna- tive method for detecting drum gestures and producing a latency-reduced output sound. Multiple features related to the shape of the percussive stroke are also extracted. These features are used in a variety of physically-inspired and novel sound mappings. The combination of these com- ponents provides an expressive percussion experience for the user.
Keywords
expression, mobile platform, percussion
Paper topics
Interactive performance systems, Interfaces for sound and music, Multimodality in sound and music computing, Sound and music for VR and games
Easychair keyphrases
mobile device [16], output sound [14], percussion instrument [9], accelerometer profile [7], bass drum [7], drum stick [7], forward swing [7], hit prediction [7], acceleration magnitude [6], accelerometer sample [6], velocity estimate [6], back swing [5], hit detection [5], musical expression [5], percussive stroke [5], playing style [5], accelerometer magnitude [4], actual peak [4], expressive virtual percussion instrument [4], feature extraction [4], onset detection [4], physical instrument [4], robust peak picking algorithm [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849911
Zenodo URL: https://zenodo.org/record/849911
2011.27
Distance Mapping for Corpus-Based Concatenative Synthesis
Schwarz, Diemo UMR STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In the most common approach to corpus-based concatenative synthesis, the unit selection takes places as a content-based similarity match based on a weighted Euclidean distance between the audio descriptors of the database units, and the synthesis target. While the simplicity of this method explains the relative success of CBCS for interactive descriptor-based granular synthesis--especially when combined with a graphical interface--and audio mosaicing, and still allows to express categorical matches, certain desirable constraints can not be expressed, such as disallowing repetition of units, matching a disjunction of descriptor ranges, or asymmetric distances. We therefore map the individual descriptor distances by a warping function that can express these criteria, while still being amenable to efficient multi-dimensional search indices like the kD-tree, for which we define the preconditions and cases of applicability.
Keywords
audio descriptors, audio mosaicing, concatenative synthesis, constraints, content-based retrieval, corpus-based synthesis, databases, search algorithms, similarity, unit selection
Paper topics
Content processing of music audio signals, Models for sound analysis and synthesis
Easychair keyphrases
distance mapping function [31], distance mapping [22], corpus based concatenative synthesis [16], unit selection [10], real time [7], selection criterion [5], time interactive [5], asymmetric distance mapping function [4], asymmetric duration distance mapping [4], audio mosaicing [4], binary distance mapping function [4], descriptor space [4], distance calculation [4], elimination rule [4], individual signed descriptor distance [4], kd tree search [4], mapped distance [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849913
Zenodo URL: https://zenodo.org/record/849913
2011.28
DYNAMIC INTERMEDIATE MODELS FOR AUDIOGRAPHIC SYNTHESIS
Goudard, Vincent Lutheries - Acoustique - Musique (LAM), Institut Jean Le Rond d'Alembert; Paris, France
Genevois, Hugues Lutheries - Acoustique - Musique (LAM), Institut Jean Le Rond d'Alembert; Paris, France
Doval, Boris Lutheries - Acoustique - Musique (LAM), Institut Jean Le Rond d'Alembert; Paris, France
Ghomi, Émilien Laboratoire de Recherche en Informatique (LRI), Université Paris-Sud XI; Paris, France
Abstract
When developing and setting software instruments, the way data from the gesture interfaces are correlated with the parameters required to control the synthesis, i.e. the mapping, has a decisive role in ergonomics, playability and expressiveness of a device. The authors propose an approach based on a modular software design. In order to improve and enrich the interaction between the musician and his/her instrument, the authors propose to introduce the notion of "Dynamic Intermediate Models" (DIM) designed in a modular software architecture to complete and extend the notion of mapping functions. In such a scheme, these modules are inserted between those dedicated to the formatting of data from interfaces and those in charge of audio-graphic synthesis and rendering. In this paper, the general framework of the software architecture and the concept of "Dynamic Intermediate Models" will be presented and developed, based on a theoretical program to implement the DIMs based on a multidisciplinary approach taking into account the different aspects of evaluation.
Keywords
audio synthesis, data mapping, Human-Computer Interaction (HCI), instrumentality, musical gesture
Paper topics
Computer environments for sound/music processing, Digital audio effects, Interactive performance systems, Interfaces for sound and music, Models for sound analysis and synthesis, Multimodality in sound and music computing, Sonic interaction design
Easychair keyphrases
meta mallette [8], dynamic intermediate model [7], musical instrument [7], computer music [6], puce muse [6], interaction device [4], lam institut jean [4], les nouveaux geste [4], modular software architecture [4], musical gesture [4], non linear [4], orjo project [4], real time [4], roulette model [4], synthesis algorithm [4], synthesis parameter [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849915
Zenodo URL: https://zenodo.org/record/849915
2011.29
Emotional response to major mode musical pieces: score-dependent perceptual and acoustic analysis
Canazza, Sergio Università di Padova; Padova, Italy
De Poli, Giovanni Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Abstract
In the Expressive Information Processing field, some studies investigated the relation between music and emotions, proving that is possible to correlate the listeners main appraisal categories and the acoustic parameters which better characterize expressive intentions, defining score-independent models of expressiveness. Other researches take in account that part of the emotional response to music results from the cognitive processing of musical structures (key, modalities, rhythm), which are known to be expressive in the context of the Western musical system. Almost all these studies investigate emotional responses to music by us- ing linguistic labels, that is potentially problematic since it can encourage participants to simplify what they actually experience. Recently, some authors proposed an experimental method that makes no use of linguistic labels. By means of the multidimensional scaling method (MDS), a two-dimensional space was found to provide a good fit of the data, with arousal and emotional valence as the primary dimensions. In order to emphasize other latent di- mensions, a perceptual experiment and a comprehensive acoustic analysis was carried out by using a set of musical pieces all in major mode. Results show that participants tend to organize the stimuli according to three clusters, related to musical tempo and to timbric aspects such as the spectral energy distribution.
Keywords
Audio analysis, Expressive information processing, Musical and physical gestures, Perceptual analysis
Paper topics
Music performance analysis and rendering
Easychair keyphrases
major mode [13], emotional response [8], high arousal [8], major major [8], minor minor [8], bigand experiment [7], expressive intention [7], mean value [7], musical piece [7], acoustic feature [6], audio feature [6], listener main appraisal category [6], low arousal [6], minimum error rate [6], acoustical society [5], high valence [5], low valence [5], musical expression [5], musical structure [5], music performance [5], verbal label [5], acoustic analysis [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849917
Zenodo URL: https://zenodo.org/record/849917
2011.30
ENSEMBLE: IMPLEMENTING A MUSICAL MULTIAGENT SYSTEM FRAMEWORK
Thomaz, Leandro Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Abstract
Multiagent systems can be used in a myriad of musical applications, including electro-acoustic composition, automatic musical accompaniment and the study of emergent musical societies. Previous works in this field were usually concerned with solving very specific musical problems and focused on symbolic processing, which limited their widespread use, specially when audio exchange and spatial information were needed. To address this shortcoming, Ensemble, a generic framework for building musical multiagent systems was implemented, based on a previously defined taxonomy and architecture. The present paper discusses some implementation details and framework features, including event exchange between agents, agent motion in a virtual world, realistic 3D sound propagation simulation, and interfacing with other systems, such as Pd and audio processing libraries. A musical application based on Steve Reich’s Clapping Music was conceived and implemented using the framework as a case study to validate the aforementioned features. Finally, we discuss some performance results and corresponding implementation challenges, and the solutions we adopted to address these issues.
Keywords
computer music, multiagent system, software framework
Paper topics
3D sound/music, Computer environments for sound/music processing, Interactive performance systems, Social interaction in sound and music computing, Sound/music signal processing algorithms
Easychair keyphrases
virtual environment [14], sound propagation [13], musical agent [11], sound propagation simulation [9], sound sensor [9], agent position [7], audio frame [7], musical application [7], musical multiagent [7], sound actuator [7], virtual world [7], event exchange [6], musical multiagent application [6], musical multiagent system [6], periodic event exchange [6], audio interface [5], frame size [5], memory access [5], audio processing [4], graphical user interface [4], international computer music [4], newton raphson method [4], open sound control [4], operating system [4], realistic sound propagation simulation [4], real time [4], sound processing [4], sound propagation processing time [4], starting point [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849919
Zenodo URL: https://zenodo.org/record/849919
2011.31
Evaluating of sensor technologies for The Rulers, a kalimba-like Digital Musical Instrument
Brum Medeiros, Carolina Input Devices and Music Interaction Laboratory (IDMIL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Wanderley, Marcelo M. Input Devices and Music Interaction Laboratory (IDMIL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Abstract
Selecting a sensor technology for a Digital Musical Instrument (DMI) is not obvious specially because it involves a performance context. For this reason, when designing a new DMI, one should be aware of the advantages and drawback of each sensor technology and methodology. In this article, we present a discussion about the Rulers, a DMI based on seven cantilever beams fixed at one end which can be bent, vibrated, or plucked. The instrument has already two sensing versions: one based on IR sensor, another on Hall sensor. We introduce strain gages as a third option for the Rulers, sensor that are widely used in industry for measuring loads and vibration. Our goal was to compare the three sensor technologies according to their measurement function, linearity, resolution, sensitivity and hysteresis and also according to real-time application indicators as: mechanical robustness, stage light sensitivity and temperature sensitivity. Results indicate that while strain gages offer more robust and medium sensitivity solution, the requirements for their use can be an obstacle for novice designers.
Keywords
DMI, sensor, strain gages
Paper topics
Interfaces for sound and music
Easychair keyphrases
hall sensor [34], strain gage [33], sensor output [8], digital musical instrument [7], fixed end [7], measurement range [6], power source voltage [6], sensor technology [6], conditioning circuit [5], free end [5], measurement function [5], mechanical robustness [5], output response [5], sensor type [5], last measurement point [4], magnetic field [4], thermal expansion coefficient [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849921
Zenodo URL: https://zenodo.org/record/849921
2011.32
Explaining musical expression as a mixture of basis functions
Grachten, Maarten Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Johannes Kepler University Linz; Linz, Austria
Abstract
The quest for understanding how pianists interpret notated music to turn it into a lively musical experience, has led to numerous models of musical expression. One of the major dimensions of musical expression is loudness. Several models exist that explain loudness variations over the course of a performance, in terms of for example phrase structure, or musical accent. Often however, especially in piano music from the romantic period, performance directives are written explicitly in the score to guide performers. It is to be expected that such directives can explain a large part of the loudness variations. In this paper, we present a method to model the influence of notated loudness directives on loudness in piano performances, based on least squares fitting of a set of basis functions. We demonstrate that the linear basis model approach is general enough to allow for incorporating arbitrary musical features. In particular, we show that by including notated pitch in addition to loudness directives, the model also accounts for loudness effects in relation to voice-leading.
Keywords
basis functions, dynamics, expression, linear regression, music performance
Paper topics
Music performance analysis and rendering
Easychair keyphrases
basis function [49], dynamic marking [16], dyn pit [15], linear basis model [15], dynamic annotation [13], dyn pit dyn [12], pit dyn pit [12], dyn pit gr [11], dyn pit ir [11], musical expression [11], loudness variation [9], gr dyn pit [6], ir dyn pit [6], pit gr dyn [6], pit ir dyn [6], loudness variance [5], melody note [5], musical piece [5], music performance [5], predictive accuracy [5], weight vector [5], computational perception johanne kepler [4], grace note [4], onset time [4], piano performance [4], predicted loudness [4], third order polynomial pitch model [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849923
Zenodo URL: https://zenodo.org/record/849923
2011.33
Exploring the Design Space: Prototyping "The Throat V3" for the Elephant Man Opera
Elblaus, Ludvig KTH Royal Institute of Technology; Stockholm, Sweden
Hansen, Kjetil Falkenberg KTH Royal Institute of Technology; Stockholm, Sweden
Unander-Scharin, Carl The University College of Opera; Stockholm, Sweden
Abstract
Developing new technology for artistic practice requires other methods than classical problem solving. Some of the challenges involved in the development of new musical instruments have affinities to the realm of wicked problems. Wicked problems are hard to define and have many different solutions that are good or bad (not true or false). The body of possible solutions to a wicked problem can be called a design space and exploring that space must be the objective of a design process. In this paper we present effective methods of iterative design and participatory design that we have used in a project developed in collaboration between the Royal Institute of Technology (KTH) and the University College of Opera, both in Stockholm. The methods are outlined, and examples are given of how they have been applied in specific situations. Focus lies on prototyping and evaluation with user participation. By creating and acting out scenarios with the user, and thus asking the questions through a prototype and receiving the answers through practice and exploration, we removed the bottleneck represented by language and allowed communication beyond verbalizing. Doing this, even so-called silent knowledge could be activated and brought into the development process.
Keywords
interactive systems, opera, Participatory design, prototyping, singing, supercollider
Paper topics
Digital audio effects, Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
design space [16], development process [12], design process [9], participatory design [9], wicked problem [9], musical instrument [8], music computing [8], signal processing [8], padova italy [7], elephant man [6], iterative design [6], problem solving [6], user participation [5], black box [4], called tacit knowledge [4], interaction design [4], tacit knowledge [4], unander scharin [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849925
Zenodo URL: https://zenodo.org/record/849925
2011.34
Extraction of sound localization cue utilizing pitch cue for modelling auditory system
Okuno, Takatoshi University of Ulster; Coleraine, United Kingdom
Mcginnity, Thomas M. University of Ulster; Coleraine, United Kingdom
Maguire, Liam P. University of Ulster; Coleraine, United Kingdom
Abstract
This paper presents a simple model for the extraction of a sound localization cue utilizing pitch cues in the auditory system. In particular, the extraction of the interaural time difference (ITD) as the azimuth localization cue, rather than the interaural intensity difference (IID), is constructed using a conventional signal processing scheme. The new configuration in this model is motivated by psychoacoustical and physiological findings, suggesting that the ITD can be controlled by the pitch cue in the simultaneous grouping of auditory cues. The localization cues are extracted at the superior olivary complex (SOC) while the pitch cue may be extracted at a higher stage of the auditory pathway. To explore this idea in the extraction of ITD, a system is introduced to feed back information on the pitch cue to control and/or modify the ITD for each frequency channel.
Keywords
Auditory system, Pitch, Sound localization
Paper topics
3D sound/music, Models for sound analysis and synthesis, Perception and cognition of sound and music, Sound/music and the neurosciences, Sound/music signal processing algorithms
Easychair keyphrases
ear signal [17], estimated angle [16], better ear [13], directional white noise [12], pitch extraction [10], frequency channel [9], pitch extraction algorithm [9], right ear signal [9], sound localization cue [9], harmonic stream [8], auditory cue [7], gammatone filter bank [7], dummy head [6], sound localization [6], auditory system [5], binaural signal [5], decision process [5], female speech [5], localization cue [5], pitch cue [5], sound source [5], white noise [5], auditory pathway [4], auditory scene analysis [4], auto correlation function [4], frame size [4], frequency range [4], left ear signal [4], right ear [4], sound localization cue utilizing [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849927
Zenodo URL: https://zenodo.org/record/849927
2011.35
Foley sounds vs real sounds
Trento, Stefano Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
De Götzen, Amalia Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Abstract
This paper is an initial attempt to study the world of sound effects for motion pictures, also known as Foley sounds. Throughout several audio and audio-video tests we have compared both Foley and real sounds originated by an identical action. The main purpose was to evaluate if sound effects are always better than real sounds [1]. Once this aspect is cleared up, the next step will be to understand how Foley effects exaggerate important acoustic features. These are the basis for being able to create a database of expressive sounds, such as audio caricatures, that will be used in different applications of sound design such as advertisement or soundtracks for movies.
Keywords
foley sounds, perception, sound effects
Paper topics
Perception and cognition of sound and music
Easychair keyphrases
real sound [26], foley sound [23], audio video test [20], foley effect [14], audio test [13], foley artist [8], foley stage [8], anchor sound [7], sliding door [6], sound effect [6], summertime grass [5], audio file [4], direct comparison [4], passionate kisses [4], screen action walking [4], twentieth centuryfox film corporation [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849929
Zenodo URL: https://zenodo.org/record/849929
2011.36
from snow [to space to movement] to sound
Kontogeorgakopoulos, Alexandros Cardiff Metropolitan University (UWIC); Cardiff, United Kingdom
Kotsifa, Olivia Cardiff Metropolitan University (UWIC); Cardiff, United Kingdom
Erichsen, Matthias Cardiff Metropolitan University (UWIC); Cardiff, United Kingdom
Abstract
The current paper concerns a work in progress research and design project regarding a forth-coming mixed media interactive performance, which integrates space design, sound, visuals and snowboarding. The aim is to create a play-ful and even provocative experience to the users- performers and to the spectators of the final event by mixing and blending music, sound design, architecture, visual projections and freestyle snowboarding. It is a collaborative effort between a French freestyle snowpark de-velopment and snowboarding events company named H05, and three researchers and practitio-ners in computer music, architectural design and electronic engineering. Computer motion tracking techniques, a variety of spatial and body sensors and sonic transformations of pre-composed material have been and are currently explored for the realization of the musical part of the piece. The fundamental and key concept is to associate sound features and interactively composed sound objects to snowboarding full body gestures. Architectural design plays a critical role in the project, since the composed space shapes the snowboarding movements, which accordingly form the musical and visual elements of our work. The current paper de-scribes our initial designs and working proto-types used during a test period in the HO5 snowparks in the Alps.
Keywords
Architecture, Interactive Composition, Mixed Media Performance, Music Interaction, Snowboarding
Paper topics
Interactive performance systems, Interfaces for sound and music, Multimodality in sound and music computing, Sonic interaction design
Easychair keyphrases
interactive performance [6], interactive dance [5], motion tracking [5], computer vision algorithm [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849931
Zenodo URL: https://zenodo.org/record/849931
2011.37
Functional Signal Processing with Pure and Faust using the LLVM Toolkit
Gräf, Albert Johannes Gutenberg University Mainz; Mainz, Germany
Abstract
Pure and Faust are two functional programming languages useful for programming computer music and other multimedia applications. Faust is a domain-specific language specifically designed for synchronous signal processing, while Pure is a general-purpose language which aims to facilitate symbolic processing of complicated data structures in a variety of application areas. Pure is based on the LLVM compiler framework which supports both static and dynamic compilation and linking. This paper discusses a new LLVM bitcode interface between Faust and Pure which allows direct linkage of Pure code with Faust programs, as well as inlining of Faust code in Pure scripts. The interface makes it much easier to integrate signal processing components written in Faust with the symbolic processing and metaprogramming capabilities provided by the Pure language. It also opens new possibilities to leverage Pure and its JIT (just-in-time) compiler as an interactive frontend for Faust programming.
Keywords
Faust, functional programming, LLVM, Pure, signal processing
Paper topics
Computer environments for sound/music processing
Easychair keyphrases
faust module [17], extern extern extern [15], pure interpreter [9], signal processing [9], control variable [7], faust code [7], block size [5], faust compiler [5], faust program [5], pure code [5], bitcode module [4], computer music [4], data structure [4], pure script [4], put control gate [4], signal processing component [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849933
Zenodo URL: https://zenodo.org/record/849933
2011.38
Generating Musical Accompaniment through Functional Scaffolding
Hoover, Amy K. University of Central Florida; Orlando, United States
Szerlip, Paul A. University of Central Florida; Orlando, United States
Stanley, Kenneth O. University of Central Florida; Orlando, United States
Abstract
A popular approach to music generation in recent years is to extract rules and statistical relationships by analyzing a large corpus of musical data. The aim of this paper is to present an alternative to such data-intensive techniques. The main idea, called functional scaffolding for musical composition (FSMC), exploits a simple yet powerful property of multipart compositions: The pattern of notes and timing in different instrumental parts of the same song are functionally related. That is, in principle, one part can be expressed as a function of another. The utility of this insight is validated by an application that assists the user in exploring the space of possible accompaniments to preexisting parts through a process called interactive evolutionary computation. In effect, without the need for musical expertise, the user explores transforming functions that yield plausible accompaniments derived from preexisting parts. In fact, a survey of listeners shows that participants cannot distinguish songs with computer-generated parts from those that are entirely human composed. Thus this one simple mathematical relationship yields surprisingly convincing results even without any real musical knowledge programmed into the system. With future refinement, FSMC might lead to practical aids for novices aiming to fulfill incomplete visions.
Keywords
Accompaniment, Compositional Pattern Producing Networks (CPPNs), Computer-Generated Music, Functional Scaolding for Musical Composition (FSMC)
Paper topics
Automatic music generation/accompaniment systems, Computational musicology
Easychair keyphrases
nancy whiskey [16], bad girl lament [14], functional relationship [12], steel guitar [12], bad girl lament accompaniment [8], neat drummer [8], functional scaffolding [7], musical composition [7], chief dougla daughter [6], interactive evolutionary computation [6], kilgary mountain [6], listener study [6], music generation [6], rhythm network [6], girl lament [5], musical knowledge [5], musical part [5], plausible accompaniment [5], called functional scaffolding [4], central florida orlando [4], compositional pattern producing network [4], computer generated accompaniment [4], hidden node [4], instrumental part [4], musical relationship [4], nancy whiskey accompaniment [4], nancy whiskey rhythm [4], transforming function [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849935
Zenodo URL: https://zenodo.org/record/849935
2011.39
Gestural Control of Real-time Speech Synthesis in Luna Park
Beller, Grégory Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This paper presented the researches and the developments realized for an artistic project called Luna Park. This work is widely connected, at various levels, in the paradigm of the concatenative synthesis, both to its shape and in the processes which it employs. Thanks to a real-time pro- gramming environment, synthesis engines and prosodic trans- formations are manipulated, controlled and activated by the gesture, via accelerometers realized for the piece. This paper explains the sensors, the real time audio engines and the mapping that connects this two parts. The world pre- miere of Luna Park takes place in Paris, in the space of projection of the IRCAM, on June 10th, 2011, during the festival AGORA.
Keywords
concatenative synthesis, Gesture, mapping, prosody, real time, TTS
Paper topics
Interactive performance systems, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
real time [34], audio engine [12], concatenative synthesis [12], speech synthesis [12], speech rate [10], luna park [8], gesture capture [6], hit energy estimation [6], real time speech synthesis [6], batch mode [5], absolute position [4], gestural control [4], prosodic transformation [4], real time programming environment [4], real time prosodic transformation [4], real time target [4], speech synthesizer [4], tactile ribbon [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849937
Zenodo URL: https://zenodo.org/record/849937
2011.40
Humanities, Art and Science in the Context of Interactive Sonic Systems - Some Considerations on a Cumbersome Relationship
Polotti, Pietro Conservatorio di musica "Giuseppe Tartini" di Trieste; Padova, Italy
Abstract
The theme of this conference, “creativity rethinks science” involves a radical epistemological challenge with respect to a classical view of science and it is an extremely hot topic of speculation within the scientific community, at least for what concerns computer sciences. In this paper, we propose some considerations about the role that artistic research could have within science, where science is meant in the wide sense of knowledge, including, thus, humanities as a one of the partners together with natural sciences. After a more general discussion focused mainly on the field of Information and Communication Technology (ICT), we will restrict the scope to the case of sound art involving new technologies and sound design for Human Computer Interaction (HCI), namely Sonic Interaction Design (SID). In our discussion, the concepts of design have a particular relevance, since they provide a connection between fields traditionally far away one from the other such as natural sciences, art, engineering and humanities. In the last part of the paper, we provide some examples about what we mean by doing artistic research guided by a design practice. We envisage this as one of the possible ways to make a dialogue between artistic research and scientific research more feasible at a methodological level.
Keywords
Acoustic paradigm, Artistic research, Interactive Arts, Interdisciplinarity, Rhetoric, Sonic Interaction Design
Paper topics
Auditory display and data sonification, Interactive performance systems, Sonic interaction design
Easychair keyphrases
human computer interaction [12], artistic research [10], interactive art [8], natural science [8], scientific research [7], computer science [6], human computer [6], human computer study [6], auditory display [5], public art [5], sound design [5], artistic practice [4], design methodology [4], epistemological revolution [4], interactive installation [4], next section [4], non verbal sound [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849939
Zenodo URL: https://zenodo.org/record/849939
2011.41
Improved Frequency Estimation in Sinusoidal Models through Iterative Linear Programming Schemes
Shiv, Vighnesh Leonardo Catlin Gabel School; Portland, United States
Abstract
Sinusoidal modeling systems are commonly employed in sound and music processing systems for their ability to decompose a signal to its fundamental spectral information. Sinusoidal modeling is a two-phase process: sinusoidal parameters are estimated in each analysis frame in the first phase, and these parameters are chained into sinusoidal trajectories in the second phase. This paper focuses on the first phase. Current methods for estimating parameters rely heavily on the resolution of the Fourier transform and are thus hindered by the Heisenberg uncertainty principle. A novel approach is proposed that can super-resolve frequencies and attain more accurate estimates of sinusoidal parameters than current methods. The proposed algorithm formulates parameter estimation as a linear programming problem, in which the L1 norm of the residual component of the sinusoidal decomposition is minimized. Shared information from iteration to iteration and from frame to frame allows for efficient parameter estimation at high sampling rates.
Keywords
Linear programming, Parameter estimation, Sinusoidal modeling, Sound analysis/synthesis
Paper topics
Digital audio effects, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
analysis frame [32], linear program [20], linear programming [17], sinusoidal modeling [10], frequency bin [9], frequency estimation [8], simplex algorithm [8], exponential decay rate [7], hypothesis set [7], linear programming problem [7], parameter estimation [7], sinusoidal frequency [7], super resolve frequency [7], padding factor [6], signal processing [6], sinusoidal amplitude [6], sinusoidal parameter [6], residual component [5], sinusoidal decomposition [5], average absolute error [4], fourier analysis based system [4], fourier based method [4], frequency estimation error [4], linear least square system [4], lth analysis frame [4], optimal basis [4], short time fourier transform [4], sinusoidal modeling system [4], sinusoidal parameter estimation [4], time varying amplitude [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849942
Zenodo URL: https://zenodo.org/record/849942
2011.42
IMPROVING PERFORMERS’ MUSICALITY THROUGH LIVE INTERACTION WITH HAPTIC FEEDBACK: A CASE STUDY
Michailidis, Tychonas Birmingham Conservatoire; Birmingham, United Kingdom
Bullock, Jamie Birmingham Conservatoire; Birmingham, United Kingdom
Abstract
Physical interaction with instruments allows performers to express and realise music based on the nature of the instrument. Through instrumental practice, the performer is able to learn and internalise sensory responses inherent in the mechanical production of sound. However, current electronic musical input devices and interfaces lack the ability to provide a satisfactory haptic feedback to the performer. The lack of feedback information from electronic controllers to the performer introduces aesthetic and practical problems in performances and compositions of live electronic music. In this paper, we present an initial study examining the perception and understanding of artificial haptic feed- back in live electronic performances. Two groups of trumpet players participated during the study, in which short musical examples were performed with and without artificial haptic feedback. The results suggest the effectiveness and possible exploitable approaches of haptic feedback, as well as the performers’ ease of recalibrating and adapting to new haptic feedback associations. In addition to the methods utilised, technical practicalities and aesthetic issues are discussed.
Keywords
controllers, haptics, live electronics
Paper topics
Interactive performance systems, Perception and cognition of sound and music
Easychair keyphrases
haptic feedback [38], live electronic [14], vibrating motor [8], electronic controller [6], pressure sensor [6], vibrating feedback [6], gestural control [4], instrumental performer [4], mapping strategy [4], musical input device [4], pressure sensor glove [4], trumpet player [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849946
Zenodo URL: https://zenodo.org/record/849946
2011.43
Improving tempo-sensitive and tempo-robust descriptors for rhythmic similarity
Holzapfel, André Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Flexer, Arthur Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Widmer, Gerhard Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Abstract
For the description of rhythmic content of music signals usually features are preferred that are invariant in presence of tempo changes. In this paper it is shown that the importance of tempo depends on the musical context. For popular music, a tempo-sensitive feature is optimized on multiple datasets using analysis of variance, and it is shown that also a tempo-robust description profits from the integration into the resulting processing framework. Important insights are given into optimal parameters for rhythm description, and limitations of current approaches are indicated.
Keywords
music information retrieval, music similarity, rhythm
Paper topics
Content processing of music audio signals, Music information retrieval, Perception and cognition of sound and music
Easychair keyphrases
tempo change [13], pulse tempo [11], mean accuracy [10], multi band processing [7], periodicity spectral magnitude [7], rhythmic similarity [7], turkish art music [7], factor interaction [6], similarity measure [6], data set [5], onset pattern [5], tempo information [5], window length [5], band processing scheme [4], classification accuracy [4], dashed line [4], nearest neighbor classification [4], plotted mean accuracy [4], processing parameter anova [4], scale transform [4], significantly different mean [4], system parameter [4], tukey hsd adjustment [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849948
Zenodo URL: https://zenodo.org/record/849948
2011.44
Improving the Efficiency of Open Sound Control with Compressed Address Strings
Kleimola, Jari School of Electrical Engineering, Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Mcglynn, Patrick J. Sound and Digital Music Technology Group, National University of Ireland Maynooth; Maynooth, Ireland
Abstract
This paper introduces a technique that improves the efficiency of the Open Sound Control (OSC) communication protocol. The improvement is achieved by decoupling the user interface and the transmission layers of the protocol, thereby reducing the size of the transmitted data while simultaneously simplifying the receiving end parsing algorithm. The proposed method is fully compatible with the current OSC v1.1 specification. Three widely used OSC toolkits are modified so that existing applications are able to benefit from the improvement with minimal reimplementation efforts, and the practical applicability of the method is demonstrated using a multitouch-controlled audiovisual application. It was found that the required adjustments for the existing OSC toolkits and applications are minor, and that the intuitiveness of the OSC user interface layer is retained while communicating in a more efficient manner.
Keywords
gestural controllers, interaction, networking, OSC
Paper topics
Computer environments for sound/music processing, Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
address string [22], integer token [17], open sound control [11], osc message [10], receiving end [8], address space [6], received osc message [6], standard osc [6], standard osc implementation [6], address part [5], address pattern [5], compressed message [5], data vector [5], osc toolkit [5], setup phase [5], user interface [5], end parsing algorithm [4], end point [4], established ip based technique [4], major osc specification update [4], mapping mechanism [4], next major osc specification [4], parameter update [4], practical applicability [4], receiving end parsing [4], shared dictionary mapping mechanism [4], streamliner class [4], supplied address string [4], transmitted data [4], url style address [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849950
Zenodo URL: https://zenodo.org/record/849950
2011.45
Investigation of the relationships between audio features and induced emotions in Contemporary Western music
Trochidis, Konstantinos Université de Bourgogne; France
Delbé, Charles Université de Bourgogne; France
Bigand, Emmanuel Université de Bourgogne; France
Abstract
This paper focuses on emotion recognition and understanding in Contemporary Western music. The study seeks to investigate the relationship between perceived emotion and musical features in the fore-mentioned musical genre. 27 Contemporary music excerpts are used as stimuli to gather responses from both musicians and non-musicians which are then mapped on an emotional plane in terms of arousal and valence dimensions. Audio signal analysis techniques are applied to the corpus and a base feature set is obtained. The feature set contains characteristics ranging from low-level spectral and temporal acoustic features to high-level contextual features. The feature extraction process is discussed with particular emphasis on the interaction between acoustical and structural parameters. Statistical relations between audio features and emotional ratings from psychological experiments are systematically investigated. Finally, a linear model is created using the best features and the mean ratings and its prediction efficiency is evaluated and discussed.
Keywords
audio features, emotion processing, multiple linear regression, music emotion recognition
Paper topics
Computational musicology, Music information retrieval, Perception and cognition of sound and music
Easychair keyphrases
contemporary western music [11], non musician [10], emotional response [7], acoustic feature [6], high level contextual feature [6], low level acoustical feature [6], multiple linear regression analysis [6], music information retrieval [6], pulse clarity [6], high level [5], musical excerpt [5], contemporary art music [4], contemporary music excerpt [4], low level feature [4], low level spectral [4], regression model [4], tonal centroid [4], universite de bourgogne [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849952
Zenodo URL: https://zenodo.org/record/849952
2011.46
Isomorphic Tessellations for Musical Keyboards
Maupin, Steven University of Regina; Regina, Canada
Gerhard, David University of Regina; Regina, Canada
Park, Brett University of Regina; Regina, Canada
Abstract
Many traditional and new musical instruments make use of an isomorphic note layout across a uniform planar tessellation. Recently, a number of hexagonal isomorphic keyboards have become available commercially. Each such keyboard or interface uses a single specific layout for notes, with specific justifications as to why this or that layout is better. This paper is an exploration of all possible note layouts on isomorphic tessellations. We begin with an investigation and proof of isomorphism in the two regular planar tessellations (Square and hexagonal), we describe the history and current practice of isomorphic note layouts from traditional stringed instruments to commercial hex keyboards and virtual keyboards available on tablet computers, and we investigate the complete space of such layouts, evaluating the existing popular layouts and proposing a set of new layouts which are optimized for specific musical tasks.
Keywords
isomorphic, jammer, keyboard layouts, wicki-hayden
Paper topics
Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
semi tone [26], diatonic scale [25], perfect fifth [21], chromatic scale [19], dominant seventh chord [15], wicki hayden layout [12], dominant seventh [11], harmonic table [11], square tessellation [10], harmonic combination [9], major third [9], harmonic layout [8], inversed layout [8], musical instrument [8], vertical direction [8], horizontal direction [7], semi tone axis [7], stringed instrument [7], hexagonal layout [6], major scale [6], minor third interval [6], minor triad [6], root note [6], square layout [6], vertical interval [6], chord shape [5], dominant triad [5], minor third [5], perfect fourth [5], table layout [5]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849954
Zenodo URL: https://zenodo.org/record/849954
2011.47
Leech: BitTorrent and Music Piracy Sonification
Mckinney, Curtis Bournemouth University; Bournemouth, United Kingdom
Renaud, Alain Bournemouth University; Bournemouth, United Kingdom
Abstract
This paper provides an overview of a multi-media composition, Leech, which aurally and visually renders BitTor- rent traffic. The nature and usage of BitTorrent networking is discussed, including the implications of widespread music piracy. The traditional usage of borrowed musical material as a compositional resource is discussed and expanded upon by including the actual procurement of the musical material as part of the performance of the piece. The technology and tools required to produce this work, and the roles that they serve, are presented. Eight distinct streams of data are targeted for visualization and sonification: Torrent progress, download/upload rate, file name/size, number of peers, peer download progress, peer location, packet transfer detection, and the music being pirated. An overview of the methods used for sonifying and and visualizing this data in an artistic manner is presented.
Keywords
BitTorrent, network music, piracy, sonification
Paper topics
Auditory display and data sonification, Automatic music generation/accompaniment systems, Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
packet transfer [9], client torrent client [7], multi medium composition [6], torrent client torrent [6], download progress [5], music piracy [5], packet capture [5], real time [5], borrowed musical material [4], delay line [4], geographic location [4], mined data torrent progress [4], peer location [4], torrent download [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849956
Zenodo URL: https://zenodo.org/record/849956
2011.48
Limits of Control
Rutz, Hanns Holger Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Abstract
We are analysing the implications of music composition through programming, in particular the possibilities and limitations of tracing the compositional process through computer artefacts. The analysis is attached to the case study of a sound installation. This work was realised using a new programming system which is briefly introduced. Through these observations we are probing and adjusting a model of the composition process which draws ideas from systems theory, the experimental system of differential reproduction, and deconstructionism.
Keywords
Composition Process, Music Programming, Systems Thinking
Paper topics
Computer environments for sound/music processing, Interfaces for sound and music
Easychair keyphrases
computer music [9], composition process [8], programming language [8], language oriented system [7], sound file [7], sound process [5], computer music composition [4], differential reproduction [4], hann holger rutz [4], solution space [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849958
Zenodo URL: https://zenodo.org/record/849958
2011.49
Ljudskrapan/The Soundscraper: Sound exploration for children with complex needs, accommodating hearing aids and cochlear implants
Hansen, Kjetil Falkenberg KTH Royal Institute of Technology; Stockholm, Sweden
Dravins, Christina Riga Stradiņš University; Riga, Latvia
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper describes a system for accommodating active listening for persons with hearing aids or cochlear implants, with a special focus on children with complex needs, for instance at an early stage of cognitive development and with additional physical disabilities. The system is called "Ljudskrapan" (or "the Soundscraper" in English) and consists of a software part in Pure data and a hardware part using an Arduino microcontroller with a combination of sensors. For both the software and hardware development, one of the most important aspects was to always ensure that the system was flexible enough to cater for the very different conditions that are characteristic of the intended user group. The Soundscraper has been tested with 25 children with good results. An increased attention span was reported, as well as surprising and positive reactions from children where the caregivers were unsure whether they could hear at all. The sound generating models, the sensors and the parameter mapping were simple, but provided a controllable and complex enough sound environment even with limited interaction.
Keywords
cochlear implants, cognitive impairments, interactive sound, new musical instruments, physical impairments, scratching, sound interaction
Paper topics
Interactive performance systems, Interfaces for sound and music, Perception and cognition of sound and music, Sonic interaction design
Easychair keyphrases
cochlear implant [14], active listening [6], hearing impairment [6], hearing aid [5], parameter mapping [5], pure data [5], sound model [5], early stage [4], electrode array [4], inner ear [4], musical instrument [4], music therapy [4], sensor data [4], sound manipulation [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849960
Zenodo URL: https://zenodo.org/record/849960
2011.50
Marco Stroppa's Compositional Process and Scientific Knowledge Between 1980-1991
Tiffon, Vincent (UDL3-CEAC), Université de Lille-Nord de France; France
Sprenger-Ohana, Noémie (UDL3-CEAC), Université de Lille-Nord de France; France
Abstract
The purpose of this paper is to show the creative relation-ship that can be established between scientific knowledge and musical innovation, through the example of Marco Stroppa’s work performed between 1980 and 1991 in four specific places: Padova CSC, the conservatory of Venice, Ircam (Paris) and MIT (USA). The following methodological tools allow to under-stand the links between Stroppa’s technico-scientific in-novation, and musical invention: an analysis of his train-ing years from 1980 to 1983 and of the main sources of cognitive models; a genetic study of the work Traiettoria (1982-1988), that is, the systematic study of traces, sketches, drafts, computer jotters and other genetic doc-uments; written work published by Stroppa between 1983 and 1991; multiple interviews with the composer and witnesses of the period; a partial reconstitution under OpenMusic (OMChroma workspace) of the portion of synthesis initially performed under Music V. In fact, Traiettoria constitutes what can be labelled a laboratory of Marco Stroppa’s “workshop of composi-tion”.
Keywords
Compositional process, CSC, Instrument and electronics, Marco Stroppa, Musicology, Music V, OMChroma
Paper topics
access and modelling of musical heritage, Computer environments for sound/music processing, Music information retrieval, Perception and cognition of sound and music, Technologies for the preservation
Easychair keyphrases
marco stroppa [19], sound synthesis [10], scientific knowledge [8], computer generated sound [6], computer music [6], noemie sprenger ohana [6], synthetic sound [6], computer jotter [5], contrast model [5], sound object [5], computer assisted composition [4], high level musical control [4], jean claude risset [4], miniature estrose [4], musical information organism [4], real time [4], similarity index [4], software program [4], sound family [4], stroppa work [4], structured programming [4], vincent tiffon [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849962
Zenodo URL: https://zenodo.org/record/849962
2011.51
Melody Harmonization in Evolutionary Music using Multiobjective Genetic Algorithms
Freitas, Alan Universidade Federal de Ouro Preto (UFOP); Belo Horizonte, Brazil
Guimarães, Frederico Gadelha Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Abstract
This paper describes a multiobjective approach for melody harmonization in evolutionary music. There are numerous methods and a myriad of results to a process of {harmonization of a given melody.} Some implicit rules can be extracted from musical theory, but some harmonic aspects can only be defined by preferences of a composer. Thus, a multiobjective approach may be useful to allow an evolutionary process to find a set of solutions that represent a trade-off between the rules in different objective functions. In this paper, a multiobjective evolutionary algorithm defines chord changes with differing degrees of simplicity and dissonance. While presenting such an algorithm, we discuss how to embed musical cognizance in Genetic Algorithms in a meta-level. Experiments were held and compared to human judgment of the results. The findings suggest that it is possible to devise a fitness function which reflects human intentions for harmonies.
Keywords
Evolutionary Music, Harmonization, Multiobjective Optimization
Paper topics
Computer environments for sound/music processing, Interfaces for sound and music, Social interaction in sound and music computing
Easychair keyphrases
fitness function [17], genetic algorithm [12], dissonance function [9], pareto front [9], genetic operator [8], representation scheme [7], simplicity function [7], average hypervolume [6], column total [6], evaluation function [6], dissonant note [5], evolutionary music [5], invalid note [5], root note [5], computer music [4], dissonant chord [4], final result [4], fitness value [4], large vertical interval [4], mutation phase [4], pitch mutation [4], random solution [4], western music [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849964
Zenodo URL: https://zenodo.org/record/849964
2011.52
Multiple-Instrument Polyphonic Music Transcription using a Convolutive Probabilistic Model
Benetos, Emmanouil Queen Mary University of London; London, United Kingdom
Dixon, Simon Queen Mary University of London; London, United Kingdom
Abstract
In this paper, a method for automatic transcription of music signals using a convolutive probabilistic model is proposed. The model extends the shift-invariant Probabilistic Latent Component Analysis method. Several note templates from multiple orchestral instruments are extracted from monophonic recordings and are used for training the transcription system. By incorporating shift-invariance into the model along with the constant-Q transform as a time-frequency representation, tuning changes and frequency modulations such as vibrato can be supported by the system. For postprocessing, Hidden Markov Models trained on MIDI data are employed, in order to favour temporal continuity. The system was tested on classical and jazz recordings from the RWC database, on recordings from a Disklavier piano, and a woodwind quintet recording. The proposed method, which can also be used for pitch content visualization, is shown to outperform several state-of-the-art approaches, using a variety of error metrics.
Keywords
Hidden Markov models, Polyphonic music transcription, Probabilistic latent component analysis, Shift-invariance
Paper topics
Automatic separation, classification of sound and music, Models for sound analysis and synthesis, recognition
Easychair keyphrases
pitch template [10], signal processing [10], transcription matrix [8], transcription system [8], hidden markov model [7], polyphonic music transcription [7], spectral template [7], time pitch representation [7], instrument template [6], invariant probabilistic latent component analysis [6], multiple f0 estimation [6], music transcription [6], shift invariant [6], transcription experiment [6], frequency modulation [5], multiple instrument [5], woodwind quintet [5], constant q transform [4], f0 woodwind quintet [4], instrument source [4], midi scale [4], music information retrieval [4], piano recording [4], piano roll transcription [4], piano template [4], pitch content visualization [4], relative pitch tracking [4], shift invariant plca [4], transcription error metric [4], woodwind quintet recording [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849966
Zenodo URL: https://zenodo.org/record/849966
2011.53
On Computing Morphological Similarity of Audio Signals
Gasser, Martin Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Flexer, Arthur Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Grill, Thomas Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Abstract
Most methods to compute content-based similarity between audio samples are based on descriptors representing the spectral envelope or the texture of the audio signal only. This paper describes an approach based on (i) the extraction of spectro--temporal profiles from audio and (ii) non-linear alignment of the profiles to calculate a distance measure.
Keywords
content-based, morphology, similarity
Paper topics
Automatic separation, classification of sound and music, Content processing of music audio signals, recognition, Sound/music signal processing algorithms
Easychair keyphrases
spectral centroid [11], time series [9], derivative dynamic time warping [6], spectral evolution [6], audio signal [5], distance matrix [5], magnitude spectra [5], acoustical society [4], audio sample [4], austrian research institute [4], calculate similarity [4], constant q magnitude spectra [4], cross correlation [4], cross correlation function [4], noisy signal [4], pitch envelope [4], reference profile [4], shift value [4], spectral evolution trajectory [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849968
Zenodo URL: https://zenodo.org/record/849968
2011.54
On the Creative use of Score Following and its Impact on Research
Cont, Arshia Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Score following research is one of the active disciplines of sound and music computing since almost $30$ years that have haunted both algorithmic and computational development in realtime music information retrieval, as well as artistic applications in interactive computer music. This paper explores the creative use of such technologies and brings attention to new scientific paradigms that emerge out of their artistic use. We show how scientific and artistic goals of score following systems might differ and how the second, continuously helps re-think the first. We focus mostly on the musical goals of score following technologies which brings us to an underestimated field of research, despite its obviousness in creative applications, which is that of synchronous reactive programming and its realization in Antescofo.
Keywords
Realtime Interactions, Score Following, Synchronous Programming
Paper topics
Automatic music generation/accompaniment systems, Computer environments for sound/music processing, Interactive performance systems
Easychair keyphrases
score following [52], computer music [27], score following system [17], electronic score [14], interactive music system [14], live performance [13], score follower [12], score following technology [12], electronic process [9], automatic accompaniment [8], virtual score [8], artistic goal [7], interactive computer music [7], interactive system [7], live electronic [7], live performer [7], musical goal [7], recognition system [7], synchronous language [7], electronic program [6], instrumental score [6], international computer music [6], music score [6], score following paradigm [6], programming environment [5], real time [5], research paradigm [5], computer music composition [4], contemporary music review [4], music information retrieval [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849970
Zenodo URL: https://zenodo.org/record/849970
2011.55
Parametric Trombone Synthesis by Coupling Dynamic Lip Valve and Instrument Models
Smyth, Tamara Simon Fraser University; Vancouver, Canada
Scott, Frederick Simon Fraser University; Vancouver, Canada
Abstract
In this work, a physics-based model of a trombone coupled to a lip reed is presented, with the parameter space explored for the purpose of real-time sound synthesis. A highly configurable dynamic lip valve model is reviewed and its parameters discussed within the context of a trombone model. The trombone model is represented as two separate parametric transfer functions, corresponding to tapping a waveguide model at both mouthpiece and bell positions, enabling coupling to the reed model as well as providing the instrument's produced sound. The trombone model comprises a number of waveguide filter elements---propagation loss, reflection at the mouthpiece, and reflection and transmission at the bell---which may be obtained through theory and measurement. As oscillation of a lip reed is strongly coupled to the bore, and playability strongly dependent on the bore and bell resonances, it is expected that a change in the parameters of one will require adapting the other. Synthesis results, emphasizing both interactivity and high-quality sound production are shown for the trombone in both extended and retracted positions, with several example configurations of the lip reed.
Keywords
acoustics, interaction, parametric, synthesis, trombone
Paper topics
Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
dynamic lip reed model [8], trombone model [8], reed model [7], lip reed [6], transfer function [6], lip valve [5], parameter value [5], propagation loss [5], bore base [4], bore pressure [4], convolutional synthesis [4], digital audio effect [4], dynamic lip valve model [4], extended trombone [4], high quality sound production [4], impulse response [4], mouthpiece model [4], mouth pressure [4], overall driving force acting [4], pressure controlled valve [4], real time sound synthesis [4], retracted trombone [4], trombone instrument model [4], valve model [4], waveguide model [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849972
Zenodo URL: https://zenodo.org/record/849972
2011.56
PERSONALITY AND COMPUTER MUSIC
Garrido, Sandra The University of New South Wales (UNSW); Sydney, Australia
Schubert, Emery The University of New South Wales (UNSW); Sydney, Australia
Kreutz, Gunter Carl von Ossietzky University Oldenburg; Oldenburg, Germany
Halpern, Andrea Bucknell University; Lewisburg, United States
Abstract
There is some evidence that both music preferences and an attraction to computers and technology are related to personality. This paper will argue that the specific measure of ‘music-systemizing’ may therefore be predictive of a preference for electronica, techno and computer-generated music. We report a preliminary study with 36 participants in which those who enjoy computer music based genres demonstrated a trend of a higher mean score on the music-systemizing scale than those who enjoy love songs.
Keywords
computer-music, electronica, personality
Paper topics
Perception and cognition of sound and music, Social interaction in sound and music computing
Easychair keyphrases
computer music [33], love song [20], music preference [13], music systemizing [9], music empathizing [8], love song fan [7], love song group [7], computer generated music [6], computer music composer [6], cognitive style [5], dance music [5], effect size [5], individual difference [5], personality trait [5], computer music group [4], computer music lover [4], computer music style [4], favourite piece [4], least favourite [4], mean age [4], music cognitive style [4], music systemizing scale [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849974
Zenodo URL: https://zenodo.org/record/849974
2011.57
PHYSICAL MODELING MEETS MACHINE LEARNING: TEACHING BOW CONTROL TO A VIRTUAL VIOLINIST
Percival, Graham Science and Music Research Group, University of Glasgow; Glasgow, United Kingdom
Bailey, Nicholas Science and Music Research Group, University of Glasgow; Glasgow, United Kingdom
Tzanetakis, George Department of Computer Science, University of Victoria; Victoria, Canada
Abstract
The control of musical instrument physical models is difficult; it takes many years for professional musicians to learn their craft. We perform intelligent control of a violin physical model by analyzing the audio output and adjusting the physical inputs to the system using trained Support Vector Machines (SVM). Vivi, the virtual violinist is a computer program which can perform music notation with the same skill as a beginning violin student. After only four hours of interactive training, Vivi can perform all of Suzuki violin volume 1 with quality that is comparable to a human student. Although physical constants are used to generate audio with the model, the control loop takes a ``black-box'' approach to the system. The controller generates the finger position, bow-bridge distance, bow velocity, and bow force without knowing those physical constants. This method can therefore be used with other bowed-string physical models and even musical robots.
Keywords
control, machine learning, physical modeling, synthesis, violin
Paper topics
Models for sound analysis and synthesis
Easychair keyphrases
bow force [16], sheet music [14], physical model [13], violin physical model [11], bowed string [10], audio file [9], sound quality [9], virtual violinist [8], basic training [7], machine learning [7], audio analysis [6], audio signal [6], bow bridge distance [6], control loop [6], note data [6], physical parameter [6], string played mf [6], bow velocity [5], musical instrument [5], open string [5], percival music [5], physical action [5], string dynamic [5], violin bowing [5], violin sound [5], bow control [4], feedback control [4], fold cross validation [4], music notation [4], professional musician [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849976
Zenodo URL: https://zenodo.org/record/849976
2011.58
Prioritized Contig Combining to Segregate Voices in Polyphonic Music
Ishigaki, Asako Keio University; Tokyo, Japan
Matsubara, Masaki Keio University; Tokyo, Japan
Saito, Hiroaki Keio University; Tokyo, Japan
Abstract
Polyphonic music is comprised of independent voices sounding synchronously. The task of voice segregation is to assign notes from symbolic representation of a music score to monophonic voices. Human auditory sence can distinguish these voices. Hence, many previous works utilize perceptual principles. Voice segregation can be applied to music information retrieval and automated music transcription of polyphonic music. In this paper, we propose to modify the voice segregation algorithm of contig mapping approach by Chew and Wu. This approach consists of 3 steps; segmentation, segregation, and combining. We present a modification of “combining” step on the assumption that the accuracy of voice segregation depends on whether the segregation manages to correctly identify which voice is resting. Our algorithm prioritize voice combining at segmentation boundaries with increasing voice counts. We tested our voice segregation algorithm on 78 pieces of polyphonic music by J.S.Bach. The results show that our algorithm attained 92.21% of average voice consistency.
Keywords
contig mapping approach, stream separation, voice segregation, voice separation
Paper topics
Automatic separation, classification of sound and music, recognition
Easychair keyphrases
voice segregation [28], polyphonic music [20], music piece [13], contig mapping [12], voice segregation algorithm [12], voice count [11], increasing voice count [9], music information retrieval [9], pitch proximity [8], success ratio [8], voice contig [8], full experiment [7], maximal voice contig [7], voice music [7], adjacent contig [6], decreasing voice count [6], third voice [6], bach sinfonia [5], first note [5], perceptual principle [5], second beat [5], sky blue [5], voice separation [5], automatic music transcription [4], bach fugue [4], contig combining [4], ground truth [4], increasing voice [4], second voice [4], voice connection [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849978
Zenodo URL: https://zenodo.org/record/849978
2011.59
RaPScoM - A Framework for Rapid Prototyping of Semantically Enhanced Score Music
Rubisch, Julian FH St. Pölten ForschungsGmbH, St. Pölten University of Applied Sciences; Sankt Pölten, Austria
Doppler, Jakob FH St. Pölten ForschungsGmbH, St. Pölten University of Applied Sciences; Sankt Pölten, Austria
Raffaseder, Hannes FH St. Pölten ForschungsGmbH, St. Pölten University of Applied Sciences; Sankt Pölten, Austria
Abstract
In film and video production, the selection or production of suitable music often turns out to be an expensive and time-consuming task. Directors or video producers frequently do not possess enough expert musical knowledge to express their musical ideas to a composer, which is why the usage of temp tracks is a widely accepted practice. To improve this situation, we aim at devising a generative music prototyping tool capable of supporting media producers by exposing a set of high-level parameters tailored to the vocabulary of films (such as mood descriptors, semantic parameters, film and music genre etc.). The tool is meant to semi-automate the process of producing and/or selecting temp tracks by using algorithmic composition strategies to either generate new musical material, or process exemplary material, such as audio or MIDI files. Eventually, the tool will be able to provide suitable raw material for composers to start their work. We will also publish parts of the prototype as an open source framework (the RaPScoM framework) to foster further development in this area.
Keywords
affect, algorithmic, composition, framework, generative, music, score, semantic, temp-track
Paper topics
Automatic music generation/accompaniment systems, Computer environments for sound/music processing
Easychair keyphrases
film music [12], temp track [8], score music [7], rapscom framework [6], applied science st [4], medium production university [4], musical segment [4], rapid prototyping [4], rough cut [4], semantically enhanced score music [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849980
Zenodo URL: https://zenodo.org/record/849980
2011.60
REAL-TIME UNSUPERVISED MUSIC STRUCTURAL SEGMENTATION USING DYNAMIC DESCRIPTORS
Pires, André S. University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo University of São Paulo (USP); São Paulo, Brazil
Abstract
This paper presents three approaches for music structural segmentation, i.e. intertwined music segmentation and labelling, using real-time techniques based solely on dynamic sound descriptors, without any training data. The first method is based on tracking peaks of a sequence obtained from a weighted off-diagonal section of a dissimilarity matrix, and uses Gaussian models for labelling sections. The second approach is a multi-pass method using Hidden Markov Models (HMM) with Gaussian Mixture Models (GMM) in each state. The third is a novel approach based on an adaptiveHMMthat dynamically identifies and labels sections, and also sporadically reevaluates the segmentation and labelling, allowing redefinition of past sections based on recent and immediate past information. Finally, a method to evaluate results is presented, that allows penalization both of incorrect section boundaries and of incorrect number of detected segments, if so desired. Computational results are presented and analysed both from quantitative and qualitative points-of-view.
Keywords
musical information retrieval, real-time sound processing, unsupervised segmentation
Paper topics
Automatic separation, classification of sound and music, Music information retrieval, recognition
Easychair keyphrases
dynamic descriptor [24], real time [18], potential state [12], music structural segmentation [9], temporal memory [9], dissimilarity matrix [8], exponential decay [8], normal distribution [7], training data [7], transition point [7], dissimilarity sequence [6], real time structural segmentation [6], similarity matrix [6], structural segmentation [6], bhattacharyya distance [5], clustering algorithm [5], observation sequence [5], viterbis algorithm [5], bayesian information criterion [4], dissimilarity matrix peak [4], euclidean norm [4], global timbre [4], hidden markov model [4], music information retrieval [4], real time unsupervised music [4], real time unsupervised technique [4], red dot [4], reference sequence [4], refinement stage [4], unsupervised music structural segmentation [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849982
Zenodo URL: https://zenodo.org/record/849982
2011.61
Rencon Workshop 2011 (SMC-Rencon): Performance Rendering Contest for Computer Systems
Hashida, Mitsuyo Soai University; Osaka, Japan
Hirata, Keiji Future University Hakodate; Hakodate, Japan
Katayose, Haruhiro Kwansei Gakuin University; Osaka, Japan
Abstract
The Performance Rendering Contest (Rencon) is an annual international competition in which entrants present computer systems they have developed for generating expressive musical performances, which audience members and organizers judge. Recent advances in performance-rendering technology have brought with them the need for a means for researchers in this area to obtain feedback about the abilities of their systems in comparison to those of other researchers. The Rencon contest at SMC2011 (SMC-Rencon) is going to have two different stages of evaluation. In the first stage, the musicality of generated performances and technical quality of systems will be evaluated by expert reviewers using a blind procedure for evaluation. In the second stage, performances generated on site will be openly evaluated by the SMC audience and Internet viewers. The SMC-Rencon Award will be bestowed on the system scoring the highest number for listening evaluation of Stages I and II is the highest.
Keywords
autonomous music systems, interactive music interfaces, music expression, music listening evaluation, performance rendering
Paper topics
Automatic music generation/accompaniment systems, Interactive performance systems, Interfaces for sound and music, Music performance analysis and rendering
Easychair keyphrases
performance rendering [23], set piece [13], technical quality [12], interactive section [10], performance rendering system [9], autonomous section [8], commercial music software [6], international computer music [6], musical performance [6], computer system [5], expert reviewer [5], expressive performance [5], performance expression [5], rendered performance [5], autonomous computer system [4], evaluation stage [4], expressive musical performance [4], human performance [4], internet viewer [4], kagurame phase [4], midi level note data [4], newly composed piano piece [4], rencon webpage [4], smc rencon award [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849984
Zenodo URL: https://zenodo.org/record/849984
2011.62
Robotic piano player making pianos talk
Ritsch, Winfried Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
The overall vision of a piano which can talk, a piano that produces understandable speech playing notes with a robotic piano player has been developed as artwork over the last decade. After successfully transcribing recorded ambient sound for piano and ensembles, the outcome of this mapping was applied by the composer Peter Ablinger in his artwork, which explores the auditory perception in the tradition of artistic phenomenalists. For this vision a robotic piano player has been developed to play the result from the mapping of voice recordings, by reconstructing the key features of the analyzed spectrum stream, so that a voice can be imagined and roughly recognized. This paper is a report on the artistic research, mentioning different solutions. The output as artworks will be referenced.
Keywords
cognition, player piano, robotics, speech, transcription
Paper topics
Automatic music generation/accompaniment systems, Automatic separation, classification of sound and music, Computational musicology, Music and robotics, Music information retrieval, Music performance analysis and rendering, Perception and cognition of sound and music, recognition
Easychair keyphrases
peter ablinger [12], robotic piano player [9], piano player [8], player piano [7], robot piano player [7], key feature [5], real time [5], art work [4], pure data [4], repetition rate [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849986
Zenodo URL: https://zenodo.org/record/849986
2011.63
Sonic Gestures as Input in Human-Computer Interaction: Towards a Systematic Approach
Jylhä, Antti School of Electrical Engineering, Aalto University; Espoo, Finland
Abstract
While the majority of studies in sonic interaction design (SID) focuses on sound as the output modality of an interactive system, the broad scope of SID includes also the use of sound as an input modality. Sonic gestures can be defined as sound-producing actions generated by a human in order to convey information. Their use as input in computational systems has been studied in several isolated contexts, however a systematic approach to their utility is lacking. In this study, the focus is on general sonic gestures, rather than exclusively focusing on musical ones. Exemplary interactive systems applying sonic gestures are reviewed, and based on previous studies on gesture, the first steps towards a systematic framework of sonic gestures are presented. Here, sonic gestures are studied from the perspectives of typology, morphology, interaction affordances, and mapping. The informational richness of the acoustic properties of sonic gestures is highlighted.
Keywords
audio input, gesture studies, multimodal interaction, sonic interaction design
Paper topics
Interfaces for sound and music, Multimodality in sound and music computing, Sonic interaction design
Easychair keyphrases
sonic gesture [77], sound producing action [11], hand clap [10], finger snap [8], gesture type [7], sonic interaction [7], sustained gesture [7], temporal deviation [7], computational system [6], human computer interaction [6], instrumental sonic gesture [6], interactive system [6], iterative gesture [6], sound producing [6], discrete command [5], impulsive gesture [5], signal processing [5], basic gesture [4], continuous parameter [4], continuous sonic interaction [4], convey information [4], digital audio effect [4], everyday sound [4], hand configuration [4], iterative sustained [4], sonic interaction design [4], temporal form [4], vocal joystick [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849990
Zenodo URL: https://zenodo.org/record/849990
2011.64
SONIK SPRING
Henriques, Tomas State University of New York (SUNY), Buffalo State College; Buffalo, United States
Abstract
This paper presents a new digital musical instrument that focuses on the issue of feedback in instrument design as a key condition to achieve a performance tool that is both highly responsive and highly expressive. The Sonik Spring emphasizes the relationship between kinesthetic feedback and sound production while at the same time linking visual and gestural motion to the auditory experience and musical outcome. The interface consists of a 15-inch coil that is held and controlled using both hands. The coil exhibits unique stiffness and flexibility characteristics that allow many degrees of variation of its shape and length. The design of the instrument is described and its unique features discussed. Three distinct performance modes are also detailed highlighting the instrument’s expressive potential and wide range functionality.
Keywords
Digital Music Instrument, Gestural Control of Sound, Kinesthetic and visual feedback
Paper topics
Interfaces for sound and music, Models for sound analysis and synthesis, Sonic interaction design
Easychair keyphrases
sonik spring [25], left hand controller [9], force feedback [7], hand controller [7], push button [6], gestural motion [5], left hand [5], hand unit [4], kinesthetic feedback [4], musical expression [4], physical model [4], right hand controller [4], sensor data [4], spatial motion [4], spring mass system [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849992
Zenodo URL: https://zenodo.org/record/849992
2011.65
SoundScape: A music composition environment designed to facilitate collaborative creativity in the classroom
Truman, Sylvia Regent's College; London, United Kingdom
Abstract
A question that has gained widespread interest is ‘how can learning tasks be structured to encourage creative thinking in the classroom?’ This paper adopts the stance of drawing upon theories of learning and creativity to encourage creative thinking in the classroom. A number of scholars have suggested that the processes of ‘learn-ing’ and ‘creativity are inextricably linked. Extending upon this, a generative framework is presented which exists as a design support tool for planning creative learn-ing experiences. A demonstration of how this framework can be applied is made through the design of SoundScape – A music composition program designed for school children. This paper reports upon a study using Sound-Scape within a school with 96 children aged 11. The study focused on two objectives, firstly, identifying any differences in explicitly supporting the creative processes of ‘preparation’ as opposed to not, and secondly, compar-ing the outcomes of using real-world metaphors to create music compared to the use of abstract visual representa-tion to specify music.
Keywords
Creativity, Education, Music Composition
Paper topics
Computer environments for sound/music processing, Interfaces for sound and music, Social interaction in sound and music computing
Easychair keyphrases
specify music [24], creative process [19], composition object [16], visual metaphor [16], music composition [15], abstract representation [12], creative thinking [9], generative framework [9], non preparation condition [9], preparation condition [8], creative learning [7], design support tool [7], formal music training [7], composition task [6], creative idea [6], discussion point [6], explicitly supporting [6], music composition task [6], perceived confidence [6], research hypothesis [6], significant difference [6], visual metaphor condition [6], personal level [5], stage model [5], supporting preparation [5], theoretical background [5], available composition object [4], creative act [4], evaluation process [4], musical bar [4]
Paper type
Full paper
DOI: 10.5281/zenodo.849998
Zenodo URL: https://zenodo.org/record/849998
2011.66
SOUND SPATIALIZATION CONTROL BY MEANS OF ACOUSTIC SOURCE LOCALIZATION SYSTEM
Salvati, Daniele Università di Udine; Udine, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Rodà, Antonio Università di Udine; Udine, Italy
Abstract
This paper presents a system for controlling the sound spatialization of a live performance by means of the acoustic localization of the performer. Our proposal is to allow a performer to directly control the position of a sound played back through a spatialization system, by moving the sound produced by its own musical instrument. The proposed system is able to locate and track the position of a sounding object (e.g., voice, instrument, sounding mobile device) in a two-dimensional space with accuracy, by means of a microphone array. We consider an approach based on Generalized Cross-Correlation (GCC) and Phase Transform (PHAT) weighting for the Time Difference Of Arrival (TDOA) estimation between the microphones. Besides, a Kalman filter is applied to smooth the time series of observed TDOAs, in order to obtain a more robust and accurate estimate of the position. To test the system control in real-world and to validate its usability, we developed a hardware/software prototype, composed by an array of three microphones and a Max/MSP external object for the sound localization task. We have got some preliminary successfully results with a human voice in real moderately reverberant and noisy environment and a binaural spatialization system for headphone listening.
Keywords
acoustic source localization system, musical interface, sound spazialization control
Paper topics
Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
kalman filter [9], sound source [9], time delay [9], time delay estimation [9], human voice [8], sound spatialization [8], acoustic source localization [7], maximum peak detection [6], signal processing [6], microphone array [5], noisy environment [5], raw data [5], spatialization system [5], acoustical society [4], array signal processing [4], audio engineering society [4], live performance [4], microphone array signal [4], msp external object [4], musical instrument [4], sound localization [4], source position [4], tdoa estimation [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849994
Zenodo URL: https://zenodo.org/record/849994
2011.67
Sound Spheres: A Design Study of the Articulacy of a Non-contact Finger Tracking Virtual Musical Instrument
Hughes, Craig The Open University; Milton Keynes, United Kingdom
Wermelinger, Michel The Open University; Milton Keynes, United Kingdom
Holland, Simon The Open University; Milton Keynes, United Kingdom
Abstract
A key challenge in the design of Virtual Musical instruments (VMIs) is finding expressive, playable, learnable mappings from gesture to sound that progressively re-ward practice by performers. Designing such mappings can be particularly demanding in the case of non-contact musical instruments, where physical cues can be scarce. Unaided intuition works well for many instrument de-signers, but others may find design and evaluation heuristics useful when creating new VMIs. In this paper we gather existing criteria from the literature to assemble a simple set of design and evaluation heuristics that we dub articulacy. This paper presents a design case study in which an expressive non-contact finger-tracking VMI, Sound Spheres, is designed and evaluated with the sup-port of the articulacy heuristics. The case study explores the extent to which articulacy usefully informs the design of a non-contact VMI, and we reflect on the usefulness or otherwise of heuristic approaches in this context.
Keywords
articulacy, design heuristics, finger tracking, interaction design, light-weight methodology, virtual musical instruments
Paper topics
Interfaces for sound and music
Easychair keyphrases
sound sphere [47], tracking sphere [44], control parameter [23], sound sphere vmi [20], non contact vmi [19], design decision [16], visual feedback [13], non contact [11], finger tracking [10], musical instrument [10], evaluation heuristic [9], virtual musical instrument [9], user interface [7], vmi design [7], instrument control parameter [6], key design decision [6], musical expression [6], present case study [6], s erva tion [6], computer music [5], led array [5], pressure control [5], acute angle [4], design case study [4], design heuristic [4], finger tracking application [4], non contact finger tracking [4], open university [4], starting position [4], stru ctu [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.849996
Zenodo URL: https://zenodo.org/record/849996
2011.68
Spatio-temporal unfolding of sound sequences
Rocchesso, Davide IUAV University of Venice; Venezia, Italy
Delle Monache, Stefano IUAV University of Venice; Venezia, Italy
Abstract
Distributing short sequences of sounds in space as well as in time is important for many applications, including the signaling of hot spots. In a first experiment, we show that the accuracy in the localization of one such spot is not improved by the apparent motion induced by spatial se- quencing. In a second experiment, we show that increasing the number of emission points does improve the smooth- ness of spatio-temporal trajectories, even for those rapidly- repeating pulses that may induce an auditory-saltation illu- sion. Other indications for auditory-display designers can also be drawn from the experiments.
Keywords
auditory display, auditory saltation, sound design, spatial hearing
Paper topics
Perception and cognition of sound and music, Sonic interaction design
Easychair keyphrases
impact position [20], auditory saltation [14], estimated position [14], emission point [10], position estimated position [9], impact sound [8], sound source [8], auditory saltation effect [6], inter onset interval [6], inter stimulus [6], standard deviation [6], acoustical society [5], cutaneous rabbit [5], ecological condition [5], piezo speaker [5], several subject [5], cardboard panel [4], double impact [4], minimum audible angle [4], quadriple impact [4], shorter ioi [4], sound event [4], sound motion [4], sound stimulus [4], stimulus interval [4], traversing sequence [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850000
Zenodo URL: https://zenodo.org/record/850000
2011.69
Support for Learning Synthesiser Programming
Dykiert, Mateusz University College London; London, United Kingdom
Gold, Nicolas E. University College London; London, United Kingdom
Abstract
When learning an instrument, students often like to emulate the sound and style of their favourite performers. The learning process takes many years of study and practice. In the case of synthesisers the vast parameter space involved can be daunting and unintuitive to the novice making it hard to define their desired sound and difficult to understand how it was achieved. Previous research has produced methods for automatically determining an appropriate parameter set to produce a desired sound but this can still require many parameters and does not explain or demonstrate the effect of particular parameters on the resulting sound. As a first step to solving this problem, this paper presents a new approach to searching the synthesiser parameter space to find a sound, reformulating it as a multi-objective optimisation problem (MOOP) where two competing objectives (closeness of perceived sonic match and number of parameters) are considered. As a proof-of-concept a pareto-optimal search algorithm (NSGA-II) is applied to CSound patches of varying complexity to generate a pareto-front of non-dominating (i.e. ”equally good”) solutions. The results offer insight into the extent to which the size and nature of parameter sets can be reduced whilst still retaining an acceptable degree of perceived sonic match between target and candidate sound.
Keywords
CSound, learning, multi-objective, parameters, synthesiser
Paper topics
Computational musicology
Easychair keyphrases
genetic algorithm [13], random search [10], sonic match [10], pareto front [8], pareto optimal search algorithm [8], synthesiser parameter [8], csound patch [7], fitness function [7], function evaluation [6], target sound [6], desired sound [5], parameter set [5], k function evaluation [4], multi objective optimisation [4], multi objective optimisation problem [4], objective optimisation problem [4], parameter value [4], search algorithm [4], university college london [4], yee king [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850002
Zenodo URL: https://zenodo.org/record/850002
2011.70
The Closure-based Cueing Model: Cognitively-Inspired Learning and Generation of Musical Sequences
Maxwell, James B. Simon Fraser University; Vancouver, Canada
Pasquier, Philippe Simon Fraser University; Vancouver, Canada
Eigenfeldt, Arne Simon Fraser University; Vancouver, Canada
Abstract
In this paper we outline the Closure-based Cueing Model (CbCM), an algorithm for learning hierarchical musical structure from symbolic inputs. Inspired by perceptual and cognitive notions of grouping, cueing, and chunking, the model represents the schematic and invariant properties of musical patterns, in addition to learning explicit musical representations. Because the learned structure encodes the formal relationships between hierarchically related musical segments, as well as the within-segment transitions, it can be used for the generation of new musical material following principles of recombinance. The model is applied to learning melodic sequences, and is shown to generalize perceptual contour and invariance. We outline a few methods for generation from the CbCM, and demonstrate a particular method for generating ranked lists of plausible continuations from a given musical context.
Keywords
cognition, generation, machine-learning, music, perception
Paper topics
Automatic music generation/accompaniment systems, Automatic separation, classification of sound and music, Music information retrieval, Perception and cognition of sound and music, recognition
Easychair keyphrases
higher level [22], source work [11], level node [9], music perception [9], identity state [7], schema state [7], novel production [6], invariance state [5], chunk boundary [4], formal cue [4], information theoretic property [4], musical structure [4], pitch sequence [4], simon fraser university [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850004
Zenodo URL: https://zenodo.org/record/850004
2011.71
The EyeHarp: An Eye-Tracking-Based Musical Instrument
Vamvakousis, Zacharias Pompeu Fabra University (UPF); Barcelona, Spain
Ramirez, Rafael Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this paper we present EyeHarp, a new musical instrument based on eye tracking. EyeHarp consists of a self-built low-cost eye-tracking device which communicates with an intuitive musical interface. The system allows performers and composers to produce music by controlling sound settings and musical events using eye movement. We describe the development of EyeHarp, in particular the construction of the eye-tracking device and the design and implementation of the musical interface.
Keywords
digital musical instrument, eye tracking, Interfaces for sound and music, real time performance
Paper topics
Interfaces for sound and music
Easychair keyphrases
eye tracking [28], fixation detection algorithm [19], eye tracking device [17], eye movement [15], eye tracking system [11], musical instrument [11], fixation detection [10], real time [8], eyewriter project [6], eyeharp melodic [5], response time [5], spatial distribution [5], temporal control [5], commercial eye tracking system [4], eyeharp interface [4], eyeharp layer [4], international computer music [4], low cost eye tracking [4], main circle [4], musical interface [4], music performance [4], raw data [4], real time melody [4], smoothing amount [4], velocity based fixation detection algorithm [4], video based head tracking [4]
Paper type
Full paper
DOI: 10.5281/zenodo.850006
Zenodo URL: https://zenodo.org/record/850006
2011.72
The plurality of melodic similarity
Marsden, Alan Lancaster University; Lancaster, United Kingdom
Abstract
Melodic similarity is a much-researched topic. While there are some common paradigms and methods, there is no single emerging model. The different means by which melodic similarity has been studied are briefly surveyed and contrasts drawn between them which lead to impor-tant differences in the light of the finding that similarity is dependent on context. Models of melodic similarity based on reduction are given particular scrutiny, and the existence of multiple possible reductions proposed as a natural basis for a lack of triangle inequality. It is finally proposed that, in some situations at least, similarity is deliberately sought by maximising the similarity of interpretations. Thus melodic similarity is found to be plural on two counts (differing contexts and multiple interpretations) and furthermore to be an essentially creative concept. There are therefore grounds for turning research on melodic similarity on its head and using the concept as a means for studying reduction and in musical creative contexts.
Keywords
Analysis, Melodic similarity, Reduction
Paper topics
Computational musicology, Music information retrieval
Easychair keyphrases
melodic similarity [36], triangle inequality [12], music information retrieval [9], proceeding international [5], schenkerian analysis [5], similarity judgement [5], edit distance [4], levenshtein distance [4], maximum similarity [4], multiple interpretation [4], music analysis [4]
Paper type
Full paper
DOI: 10.5281/zenodo.850008
Zenodo URL: https://zenodo.org/record/850008
2011.73
The Vowel Worm: Real-time Mapping and Visualisation of Sung Vowels in Music
Frostel, Harald Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Arzt, Andreas Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Abstract
This paper presents an approach to predicting vowel quality in vocal music performances, based on common acoustic features (mainly MFCCs). Rather than performing classification, we use linear regression to project spoken or sung vowels into a continuous articulatory space: the IPA Vowel Chart. We introduce a real-time on-line visualisation tool, the Vowel Worm, which builds upon the resulting models and displays the evolution of sung vowels over time in an intuitive manner. The concepts presented in this work can be used for artistic purposes and music teaching.
Keywords
acoustic-articulatory mapping, IPA Vowel Chart, MFCC, multiple linear regression, real-time, singing, speech, visualisation, vowels, Vowel Worm
Paper topics
Automatic separation, classification of sound and music, Content processing of music audio signals, Models for sound analysis and synthesis, Music information retrieval, Music performance analysis and rendering, Perception and cognition of sound and music, recognition
Easychair keyphrases
ipa vowel chart [14], sung vowel [14], real time [13], vowel worm [13], vowel quality [12], fundamental frequency [9], regression model [7], vowel height [6], formant frequency [5], ipa vowel [5], spoken vowel [5], vowel chart [5], window size [5], feature combination [4], multiple linear regression [4], real time visualisation [4], vowel space [4]
Paper type
Full paper
DOI: 10.5281/zenodo.850010
Zenodo URL: https://zenodo.org/record/850010
2011.74
Towards a Generative Electronica: Human-Informed Machine Transcription and Analysis in MaxMSP
Eigenfeldt, Arne Simon Fraser University; Vancouver, Canada
Pasquier, Philippe Simon Fraser University; Vancouver, Canada
Abstract
We present the initial research into a generative electronica system based upon analysis of a corpus, describing the combination of expert human analysis and machine analysis that provides parameter data for generative algorithms. Algorithms in MaxMSP and Jitter for the transcription of beat patterns and section labels are presented, and compared with human analysis. Initial beat generation using a genetic algorithm utilizing a neural net trained on the machine analysis data is discussed, and compared with the use of a probabilistic model.
Keywords
Electronica, Generative Music, MaxMSP, Music transcription
Paper topics
Automatic music generation/accompaniment systems, Automatic separation, classification of sound and music, Music information retrieval, recognition
Easychair keyphrases
beat pattern [20], machine analysis [11], human analysis [9], genetic algorithm [8], neural network [6], electronic dance music [4], fitness function [4], high frequency [4], mean value [4], notable artist [4], signal processing [4], successive measure [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850012
Zenodo URL: https://zenodo.org/record/850012
2011.75
TOWARDS A PERSONALIZED TECHNICAL EAR TRAINING PROGRAM: AN INVESTIGATION OF THE EFFECT OF ADAPTIVE FEEDBACK
Kaniwa, Teruaki University of Tsukuba; Tsukuba, Japan
Kim, Sungyoung Yamaha Corporation; Hamamatsu, Japan
Terasawa, Hiroko University of Tsukuba; Tsukuba, Japan
Ikeda, Masahiro Yamaha Corporation; Hamamatsu, Japan
Yamada, Takeshi University of Tsukuba; Tsukuba, Japan
Makino, Shoji University of Tsukuba; Tsukuba, Japan
Abstract
Technical ear training aims to improve the listening of sound engineers so that they can skillfully modify and edit the structure of sound. To provide non-professionals such as amateur sound engineers and students with this technical ear training, we have developed a simple yet personalized ear training program. The most distinct fea-ture of this system is that it adaptively controls the train-ing task based on the trainee’s previous performance. In detail, this system estimates a trainee’s weakness, and generates a training routine that provides drills focusing on the weakness, so that the trainee can effectively re-ceive technical ear training without an instructor. We subsequently investigated the effect of the new training program with a one-month training experiment involving eight subjects. The result showed that the score of the group assigned to the proposed training system improved more than that of the group assigned to conventional training.
Keywords
Recording, Technical ear training, Timbre
Paper topics
access and modelling of musical heritage, Perception and cognition of sound and music, Technologies for the preservation
Easychair keyphrases
correct answer rate [20], low score band [14], proposal group [14], conventional group [12], pink noise [12], ear training program [9], ear training [7], training program [7], training system [7], correct answer [6], pink noise pink noise [6], technical ear training [6], absolute identification [5], center frequency [5], technical listening [5], audio engineering society [4], average correct answer rate [4], equal variance [4], intelligent tutoring system [4], personalized technical ear training [4], question appearance [4], technical ear training program [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850014
Zenodo URL: https://zenodo.org/record/850014
2011.76
Using Physical Models Is Necessary to Guarantee Stable Analog Haptic Feedback Control for Any User and Haptic Device
Berdahl, Edgar ACROE, INPG and CCRMA, Stanford University ACROE, National Polytechnic Institute of Grenoble (INPG) Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Florens, Jean-Loup Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Cadoz, Claude Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
It might be easy to imagine that physical models only represent a small portion of the universe of appropriate force feedback controllers for haptic new media; however, we argue the contrary in this work, in which we apply creative physical model design to re-examine the science of feedback stability. For example, in an idealized analog haptic feedback control system, if the feedback corresponds to a passive physical model, then the haptic control system is guaranteed to be stable, as we prove. Furthermore, it is in fact necessary that the feedback corresponds to a passive physical model. Otherwise, there exists a passive "user/haptic device transfer function" that can drive the feedback control system unstable. To simplify the mathematics, we make several assumptions, which we discuss throughout the paper and reexamine in an appendix. The work implies that besides all of the known advantages of physical models, we can argue that we should employ only them for designing haptic force feedback. For example, even though granular synthesis has traditionally been implemented using signal modeling methods, we argue that physical modeling should nonetheless be employed when controlling granular synthesis with a haptic force-feedback device.
Keywords
analog, ergotic, haptic, passivity, physical models, sound synthesis
Paper topics
Interactive performance systems, Interfaces for sound and music, Models for sound analysis and synthesis, Multimodality in sound and music computing, Music and robotics, Sonic interaction design, Sound and music for VR and games
Easychair keyphrases
physical model [46], haptic device [31], feedback control [22], control system [17], passive physical model [15], physical modeling [13], haptic feedback [10], haptic feedback control system [10], feedback control system [9], haptic feedback control [7], positive real [7], granular synthesis [6], haptic force feedback [6], international computer music [6], linear physical model [6], phase response [6], positive real function [6], recherche sur les outil [6], user hand [6], driving point [5], ergotic function [5], musical instrument [5], user device [5], device transfer function [4], driving point impedance [4], enactive system book [4], haptic control system [4], haptic feedback controller [4], m fext fext [4], strictly positive real [4]
Paper type
Full paper
DOI: 10.5281/zenodo.850016
Zenodo URL: https://zenodo.org/record/850016
2011.77
Version Detection for Historical Musical Automata
Niedermayer, Bernhard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Johannes Kepler University Linz; Linz, Austria
Reuter, Christoph Department of Musicology, University of Vienna; Vienna, Austria
Abstract
Musical automata were very popular in European homes in the pre-phonograph era, but have attracted little attention in academic research. Motivated by a specific application need, this paper proposes a first approach to the automatic detection of versions of the same piece of music played by different automata. Due to the characteristics of the instruments as well as the themes played, this task deviates considerably from cover version detection in modern pop and rock music. We therefore introduce an enhanced audio matching and comparison algorithm with two novel features: (1) a new alignment cost measure -- \textit{Off-Diagonal Cost} -- based on the Hough transform; and (2) a \textit{split-and-merge strategy} that compensates for major structural differences between different versions. The system was evaluated on a test set comprising 89 recordings of historical musical automata. Results show that the new algorithm performs significantly better than a `standard' matching approach without the above-mentioned new features, and that it may work well enough to be practically useful for the intended application.
Keywords
Dynamic Time Warping, Hough Transform, Mechanical Music Instrument, Musical Automata, Music Box, Version Detection
Paper topics
Automatic separation, classification of sound and music, Content processing of music audio signals, Music information retrieval, recognition
Easychair keyphrases
alignment path [13], hough transform [9], musical box [9], similarity measure [9], chroma vector [8], version detection [7], cover version detection [6], diagonal cost [6], dynamic time warping [6], musical automata [6], relative path cost [6], dissimilarity matrix [5], flute clock [5], alignment cost [4], audio matching [4], audio recording [4], audio signal [4], chroma feature [4], compact similarity measure [4], feature sequence [4], historical musical automata [4], image domain [4], main melody note [4], matching cost [4], music information retrieval [4], pitch class [4], version detection system [4]
Paper type
Full paper
DOI: 10.5281/zenodo.850018
Zenodo URL: https://zenodo.org/record/850018
2011.78
When sound teaches
Zanolla, Serena Università di Udine; Udine, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Rodà, Antonio Università di Udine; Udine, Italy
Romano, Filippo Università di Udine; Udine, Italy
Scattolin, Francesco Università di Udine; Udine, Italy
Foresti, Gian Luca Università di Udine; Udine, Italy
Abstract
This paper presents the Stanza Logo-Motoria, a technologically augmented environment for learning and communication, which since last year we have been experimenting in a primary school; this system offers an alternative and/or additional tool to traditional ways of teaching that often do not adapt to the individual learning ability. The didactic use of interactive multimodal systems, such as the Stanza Logo-Motoria, does not replace the teacher; on the contrary this kind of technology is a resource which offers greater access to knowledge and interaction with others and the environment. This is possible by inventing systems and activities, which bring out inherent values in using technology and in its integration in learning processes. The aim of this paper is to document activities carried out by Resonant Memory, the first application of the Stanza Logo-Motoria, and the relative experimental protocol that we are implementing. In addition, we are going to introduce a new application of the system, the Fiaba Magica, for strengthening gesture intentionality in children with motor-cognitive impairments.
Keywords
Augmented Environment for Teaching, Augmented Reality, Disability, Interactive and Multimodal Environment, Stanza Logo-Motoria
Paper topics
Content processing of music audio signals, Interactive performance systems, Multimodality in sound and music computing, Social interaction in sound and music computing, Sound/music and the neurosciences
Easychair keyphrases
stanza logo motoria [41], fiaba magica application [20], resonant memory application [14], resonant memory [9], fiaba magica [6], severe disability [6], validation protocol [5], augmented reality [4]
Paper type
Full paper
DOI: 10.5281/zenodo.850020
Zenodo URL: https://zenodo.org/record/850020
2011.79
Where do you want your ears? Comparing performance quality as a function of listening position in a virtual jazz band
Olmos, Adriana McGill University; Montreal, Canada
Rushka, Paul McGill University; Montreal, Canada
Ko, Doyuen McGill University; Montreal, Canada
Foote, Gordon McGill University; Montreal, Canada
Woszczyk, Wieslaw McGill University; Montreal, Canada
Cooperstock, Jeremy R. McGill University; Montreal, Canada
Abstract
This study explores the benefits of providing musicians with alternative audio rendering experiences while they perform with a virtual orchestra. Data collection methods included a field study with a large jazz band and a pilot study in which musicians rehearsed using a prototype that presented two different audio rendering perspectives: one from the musician's perspective, and a second from the audience perspective. The results showed that the choice of audio perspective makes a significant difference in some musicians' performance. Specifically, for some musicians, e.g., lead trumpet players, an acoustically natural mix results in improved performance, for others, e.g., drummers, it was easier to play along with the artificial "audience" perspective. These results motivate the inclusion of a music mixer capability in such a virtual rehearsal scenario.
Keywords
audio rendering experiences, Jazz band, music perception, virtual orchestra, virtual rehearsal
Paper topics
Interactive performance systems, Interfaces for sound and music, Music performance analysis and rendering, Perception and cognition of sound and music
Easychair keyphrases
audio image [8], audience mix [7], lead trumpet [7], trumpet player [7], audience perspective [6], audio rendering perspective [6], binaural recording [6], jazz band [6], mcgill jazz orchestra [6], music mcgill university [6], audio rendering [5], ensemble rehearsal [5], musician perspective [5], pilot study [5], schulich school [5], audio perspective [4], field study [4], intelligent machine mcgill university [4], mcgill university [4], musician performance [4], rehearsal session [4], sound source [4]
Paper type
Full paper
DOI: 10.5281/zenodo.850024
Zenodo URL: https://zenodo.org/record/850024
Sound and Music Computing Conference 2012 (ed. 9)
Dates: from July 12 to July 14, 2012
Place: Copenhangen, Denmark
Proceedings info: Proceedings of the 9th Sound and Music Computing Conference, Copenhagen, Denmark, 11-14, ISBN 978-3-8325-3180-5
2012.1
A Framework to Evaluate the Adoption Potential of Interactive Performance Systems for Popular Music
Gold, Nicolas E. University College London; London, United Kingdom
Abstract
Popular music plays a central role in the lives of millions of people. It motivates beginners, engages experienced musicians, and plays both functional (e.g. churches) and non-functional (e.g. music festivals) roles in many contexts. Forming and maintaining a popular music ensemble can be challenging, particularly for part-time musicians who face other demands on their time. Where an ensemble has a functional role, performing music of consistent style and quality becomes imperative yet the demands of everyday life mean that it is not always possible to have a full complement of musicians. Interactive music technology has the potential to substitute for absent musicians to give a consistent musical output. However, the technology to achieve this (for popular music) is not yet mature, or in a suitable form for adoption and use by musicians who are not experienced with interactive music systems, or who are unprepared to work in experimental music or with experimental systems (a particular concern for functional ensembles). This paper proposes a framework of issues to be considered when developing interactive music technologies for popular music ensemble performance. It explores aspects that are complementary to technological concerns, focusing on adoption and practice to guide future technological developments.
Keywords
Evaluation, Interactive Music Systems, Popular Music
Paper topics
Interactive performance systems, Methodological issues in sound and music computing, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850028
Zenodo URL: https://zenodo.org/record/850028
2012.2
A Hierarchical Approach for the Design of Gesture-to-Sound Mappings
Françoise, Jules Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Caramiaux, Baptiste Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bevilacqua, Frédéric Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
We propose a hierarchical approach for the design of gesture-to-sound mappings, with the goal to take into account multilevel time structures in both gesture and sound processes. This allows for the integration of temporal mapping strategies, complementing mapping systems based on instantaneous relationships between gesture and sound synthesis parameters. Specifically, we propose the implementation of Hierarchical Hidden Markov Models to model gesture input, with a flexible structure that can be authored by the user. Moreover, some parameters can be adjusted through a learning phase. We show some examples of gesture segmentations based on this approach, considering several phases such as preparation, attack, sustain, release. Finally we describe an application, developed in Max/MSP, illustrating the use of accelerometer-based sensors to control phase vocoder synthesis techniques based on this approach.
Keywords
gesture, gesture recognition, hidden markov models, interaction, machine learning, mapping, music, music interfaces, sound
Paper topics
Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850030
Zenodo URL: https://zenodo.org/record/850030
2012.3
A Hybrid Keyboard-Guitar Interface using Capacitive Touch Sensing and Physical Modeling
Heinrichs, Christian Queen Mary University of London; London, United Kingdom
McPherson, Andrew P. Queen Mary University of London; London, United Kingdom
Abstract
This paper presents a hybrid interface based on a touch-sensing keyboard which gives detailed expressive control over a physically-modeled guitar. Physical modeling allows realistic guitar synthesis incorporating many expressive dimensions commonly employed by guitarists, including pluck strength and location, plectrum type, hand damping and string bending. Often, when a physical model is used in performance, most control dimensions go unused when the interface fails to provide a way to intuitively control them. Techniques as foundational as strumming lack a natural analog on the MIDI keyboard, and few digital controllers provide the independent control of pitch, volume and timbre that even novice guitarists achieve. Our interface combines gestural aspects of keyboard and guitar playing. Most dimensions of guitar technique are controllable polyphonically, some of them continuously within each note. Mappings are evaluated in a user study of keyboardists and guitarists, and the results demonstrate its playability by performers of both instruments.
Keywords
guitar, keyboard, mapping, performance interfaces, physical modeling, touch sensing
Paper topics
Digital audio effects, Interactive performance systems, Interfaces for sound and music, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850032
Zenodo URL: https://zenodo.org/record/850032
2012.4
A Multi-timelines Scheduler and a Rehearsal Function for Improving Users' Sensation of Orchestral Conducting with a Conducting System
Baba, Takashi Kwansei Gakuin University; Osaka, Japan
Hashida, Mitsuyo Soai University; Osaka, Japan
Katayose, Haruhiro Kwansei Gakuin University; Osaka, Japan
Abstract
The VirtualPhilharmony (VP) system conveys the sensation of conducting an orchestra to a user (a conductor). VP’s performances are created through interaction between the conductor and orchestra, exactly like real performance. ``Concertmaster function’’ has been already implemented by incorporating the heuristics of conducting an orchestra. A precisely predictive scheduler and dynamical template have been designed based on analyses of actual recordings. We especially focused on two more problems to emulate a more real orchestral performance; one was that each note in the template was controlled by single-timeline scheduler; the other was that the interaction and communication between the conductor and the orchestra in repeated practices were not simulated. We implemented ``Multi-timelines scheduler’’ and ``Rehearsal function’’ to resolve these problems.
Keywords
conducting system, heuristics, interaction, multi-timeline scheduler, rehearsal
Paper topics
Interfaces for sound and music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850034
Zenodo URL: https://zenodo.org/record/850034
2012.5
An Automated Testing Suite for Computer Music Environments
Peters, Nils International Computer Science Institute (ICSI) / Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley; Berkeley, United States
Lossius, Trond Bergen Centre for Electronic Arts (BEK); Bergen, Norway
Place, Timothy Electrotap; United States
Abstract
Software development benefits from systematic testing with respect to implementation, optimization, and maintenance. Automated testing makes it easy to execute a large number of tests efficiently on a regular basis, leading to faster development and more reliable software. Systematic testing is not widely adopted within the computer music community, where software patches tend to be continuously modified and optimized during a project. Consequently, bugs are often discovered during rehearsal or performance, resulting in literal “show stoppers”. This paper presents a testing environment for computer music systems, first developed for the Jamoma framework and Max. The testing environment works with Max 5 and 6, is independ from any 3rd-party objects, and can be used with non-Jamoma patches as well.
Keywords
Jamoma, software development, testing
Paper topics
Computer environments for sound/music processing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850042
Zenodo URL: https://zenodo.org/record/850042
2012.6
An Extension of Interactive Scores for Multimedia Scenarios With Temporal Relations for Micro and Macro Controls
Toro-Bermudez, Mauricio Université Bordeaux-I; Bordeaux, France
Desainte-Catherine, Myriam Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Castet, Julien Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Abstract
Software to design multimedia scenarios is usually based either on a fixed timeline or on cue lists, but both models are unrelated temporally. On the contrary, the formalism of interactive scores can describe multimedia scenarios with flexible and fixed temporal relations among the objects of the scenario, but cannot express neither temporal relations for micro controls nor signal processing. We extend interactive scores with such relations and with sound processing. We show some applications and we describe how they can be implemented in Pure Data. Our implementation has low average relative jitter even under high CPU load.
Keywords
concurrent constraint programming, interactive multimedia scenarios, multimedia interaction, sound processing
Paper topics
Computer environments for sound/music processing, Interactive performance systems
Easychair keyphrases
temporal object [26], temporal relation [25], interactive score [24], sound processing [11], faust program [10], pure data [10], high cpu load [9], karplus strong [9], real time [9], multimedia scenario [8], average relative jitter [6], cpu load [6], desainte catherine [6], fixed temporal relation [6], high precision temporal relation [6], interactive object [6], soft real time [6], audio output [5], cue list [5], dataflow relation [5], fixed timeline [5], micro control [5], signal processing [5], time model [5], time scale [5], time unit [5], control message [4], non deterministic timed concurrent constraint [4], sampling rate [4], standalone program [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850044
Zenodo URL: https://zenodo.org/record/850044
2012.7
An In-Situ Study of Real Life Listening Context
Watson, Diane University of Saskatchewan; Saskatoon, Canada
Mandryk, Regan L. University of Saskatchewan; Saskatoon, Canada
Abstract
Current models of musical mood are based on clean, noiseless data that does not correspond to real life listening experiences. We conducted an experience sampling study collecting in-situ data of listening experiences. We show that real life music listening experiences are far from the homogeneous experiences used in current models of musical mood.
Keywords
Listening Context, Listening Habits, Musical Mood
Paper topics
Content processing of music audio signals, Humanities in sound and music computing, Methodological issues in sound and music computing, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850046
Zenodo URL: https://zenodo.org/record/850046
2012.8
An overview of sound and music applications for Android available on the market
Dubus, Gaël KTH Royal Institute of Technology; Stockholm, Sweden
Hansen, Kjetil Falkenberg KTH Royal Institute of Technology; Stockholm, Sweden
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper introduces a database of sound-based applications running on the Android mobile platform. The long-term objective is to provide a state-of-the-art of mobile applications dealing with sound and music interaction. After exposing the method used to build up and maintain the database using a non-hierarchical structure based on tags, we present a classification according to various categories of applications, and we conduct a preliminary analysis of the repartition of these categories reflecting the current state of the database.
Keywords
Android, Interaction, Music, Sound
Paper topics
Computer environments for sound/music processing, Interfaces for sound and music, Multimodality in sound and music computing, Sonic interaction design
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850048
Zenodo URL: https://zenodo.org/record/850048
2012.9
A REACTIVE, CONFLUENTLY PERSISTENT FRAMEWORK FOR THE DESIGN OF COMPUTER MUSIC SYSTEMS
Rutz, Hanns Holger Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Abstract
The process of composition can be seen as sequence of manipulations on the material. In algorithmic composition, such sequences are prescribed through another set of sequences which yield the algorithm. In a realtime situation the sequences may be closely linked to the temporal sequence of the unfolding musical structure, but in general they form orthogonal temporal graphs on their own. We present a framework which can be used to model these temporal graphs. The framework is composed of layers, which---from low to high level---provide (1) database storage and software transactional memory with selectable temporal semantics, (2) the most prominent semantics being confluent persistence, in which the temporal traces are registered and can be combined, yielding a sort of structural feedback or recursion, and finally (3) an event and expression propagation system, which, when combined with confluent persistence, provides a hook to update dependent object graphs even when they were constructed in the future. This paper presents the implementation of this framework, and outlines how it can be combined with a realtime sound synthesis system.
Keywords
algorithmic composition, computer music language, confluent persistence, data structures
Paper topics
Computer environments for sound/music processing, Interactive performance systems
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850036
Zenodo URL: https://zenodo.org/record/850036
2012.10
A Study of the Noise-Level in Two Infrared Marker-Based Motion Capture Systems
Jensenius, Alexander Refsum University of Oslo; Oslo, Norway
Nymoen, Kristian University of Oslo; Oslo, Norway
Skogstad, Ståle A. University of Oslo; Oslo, Norway
Voldsund, Arve University of Oslo; Oslo, Norway
Abstract
With musical applications in mind, this paper reports on the level of noise observed in two commercial infrared marker-based motion capture systems: one high-end (Qualisys) and one affordable (OptiTrack). We have tested how various features (calibration volume, marker size, sampling frequency, etc.) influence the noise level of markers lying still, and fixed to subjects standing still. The conclusion is that the motion observed in humans standing still is usually considerably higher than the noise level of the systems. Dependent on the system and its calibration, however, the signal-to-noise-ratio may in some cases be problematic.
Keywords
accuracy and precision, motion capture, noise, quantity of motion, spatial range, standstill, still markers
Paper topics
Methodological issues in sound and music computing, Music performance analysis and rendering
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850038
Zenodo URL: https://zenodo.org/record/850038
2012.11
A System for Sketching in Hardware: Do-It-Yourself Interfaces for Sound and Music Computing
Overholt, Daniel Aalborg University; Aalborg, Denmark
Abstract
A system for Do-It-Yourself (DIY) interface designs focused on sound and music computing has been developed. The system is based on the Create USB Interface (CUI), which is an open source microcontroller prototyping board together with the GROVE system of interchangeable transducers. Together, these provide a malleable and fluid prototyping process of ‘Sketching in Hardware’ for both music and non-music interaction design ideas. The most recent version of the board is the CUI32Stem, which is designed specifically to work hand-in-hand with the GROVE elements produced by Seeed Studio, Inc. GROVE includes a growing collection of open source sensors and actuators that utilize simple 4-wire cables to connect to the CUI32Stem. The CUI32Stem itself utilizes a high-performance Microchip® PIC32 microcontroller, allowing a wide range of programmable interactions. The development of this system and its use in sound and music interaction design is described. Typical use scenarios for the system may pair the CUI32Stem with a smartphone, a normal computer, and one or more GROVE elements via wired or wireless connections.
Keywords
802.11, 802.15.4, Arduino, BASIC, Bluetooth, Create USB Interface, CUI32, CUI32Stem, Microchip PIC32, Microcontrollers, Music Interaction Design, Open Sound Control, Sketching in Hardware, Sound and Music Computing education, StickOS, Wifi, Wireless, Zigbee, Zigflea
Paper topics
Interactive performance systems, Interfaces for sound and music, Methodological issues in sound and music computing, Multimodality in sound and music computing, Music and robotics, Sonic interaction design
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850040
Zenodo URL: https://zenodo.org/record/850040
2012.12
Audio Metaphor: Audio Information Retrieval for Soundscape Composition
Thorogood, Miles School of Interactive Arts and Technology (SIAT), Simon Fraser University; Vancouver, Canada
Pasquier, Philippe School of Interactive Arts and Technology (SIAT), Simon Fraser University; Vancouver, Canada
Eigenfeldt, Arne School of Interactive Arts and Technology (SIAT), Simon Fraser University; Vancouver, Canada
Abstract
We have developed an audio information retrieval system called, Audio Metaphor, that utilizes large online collaborative databases for real time soundscape composition. Audio Metaphor has been used in a contemporary dance piece IN[A]MOMENT. The audience interacts with the system by sending the system Tweets. At the heart of the Audio Metaphor is a sub-query generation algorithm. This algorithm which we name SLiCE, for string list chopping experiments, accepts a natural language phrase that is parsed into a text feature string list, which is chopped into sub-query search to find a combination of queries with non-empty mutually exclusive results. Employing SLiCE, Audio Metaphor processes natural language phrases to find a combination of audio file results that represents the input phrase. In parallel, the parsed input phrase is used to search for related Tweets which are similarly put through SLiCE. Search results are then sent to a human composer to combine and process into a soundscape.
Keywords
Performance, Search algorithms, Social media, Soundscape composition
Paper topics
Interactive performance systems, Music information retrieval, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850050
Zenodo URL: https://zenodo.org/record/850050
2012.13
AUTOMATIC AND MANUAL ANNOTATION OF TIME-VARYING PERCEPTUAL PROPERTIES IN MOVIE SOUNDTRACKS
Dhandhania, Vedant Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Abeßer, Jakob Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Kruspe, Anna Marie Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Grossman, Holger Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Abstract
In this paper, we present an automated process as a part of the SyncGlobal project for time continuous prediction of loudness and brightness in soundtracks. The novel Annotation Tool is presented, which allows performing manual time-continuous annotations. We rate well-known audio features to represent two perceptual attributes -loudness and brightness. A regression model is trained with the manual annotations and the acoustic features representing the perceptions. Four different regression methods are implemented and their success in tracking the two perceptions is studied. A coefficient of determination (R^2) of 0.91 is achieved for loudness and 0.35 for brightness using Support Vector Regression (SVR), yielding a better performance than Friberg et al. (2011).
Keywords
Annotation Tool, Automatic Annotation, Brightness, Loudness, Prediction, Regression, Soundtracks, Time continuous
Paper topics
Automatic separation, classification of sound and music, Content processing of music audio signals, Multimodality in sound and music computing, Music information retrieval, Perception and cognition of sound and music, recognition
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850052
Zenodo URL: https://zenodo.org/record/850052
2012.14
AUTOMATIC ARRANGEMENT FOR GUITARS USING HIDDEN MARKOV MODEL
Hori, Gen Asia University; Tokyo, Japan
Yoshinaga, Yuma The University of Tokyo; Tokyo, Japan
Fukayama, Satoru The University of Tokyo; Tokyo, Japan
Kameoka, Hirokazu The University of Tokyo; Tokyo, Japan
Sagayama, Shigeki The University of Tokyo; Tokyo, Japan
Abstract
Considering a large population of guitarist and a relatively poor selection of guitar scores, there should be a certain demand for systems that automatically arrange scores for other instruments to guitar scores. This paper introduces a framework based on hidden Markov model (HMM) that carries out ``arrangement'' and ``fingering determination'' in a unified way. The framework takes forms and picking patterns as its hidden states and a given piece of music as an observation sequence and carries out fingering determination and arrangement as a decoding problem of HMM. With manually-set HMM parameters reflecting preference of beginner guitarists, the framework generates natural fingerings and arrangements suitable for beginners. Some examples of fingering and arrangement generated by the framework are presented.
Keywords
automatic arrangement, guitar, hidden Markov model (HMM)
Paper topics
Automatic music generation/accompaniment systems
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850054
Zenodo URL: https://zenodo.org/record/850054
2012.15
Automatic Calibration of Modified FM Synthesis to Harmonic Sounds using Genetic Algorithms
Macret, Matthieu School of Interactive Arts and Technology (SIAT), Simon Fraser University; Vancouver, Canada
Pasquier, Philippe Simon Fraser University; Vancouver, Canada
Smyth, Tamara Simon Fraser University; Vancouver, Canada
Abstract
Many audio synthesis techniques have been successful in reproducing the sounds of musical instruments. Several of these techniques require parameters calibration. However, this task can be difficult and time-consuming especially when there is not intuitive correspondence between a parameter value and the change in the produced sound. Searching the parameter space for a given synthesis technique is, therefore, a task more naturally suited to an automatic optimization scheme. Genetic algorithms (GA) have been used rather extensively for this purpose, and in particular for calibrating Classic FM (ClassicFM) synthesis to mimic recorded harmonic sounds. In this work, we use GA to further explore its modified counterpart, Modified FM (ModFM), which has not been used as widely, and its ability to produce musical sounds not as fully explored. We completely automize the calibration of a ModFM synthesis model for the reconstruction of harmonic instrument tones using GA. In this algorithm, we refine parameters and operators such as crossover probability or mutation operator for closer match. As an evaluation, we show that GA system automatically generates harmonic musical instrument sounds closely matching the target recordings, a match comparable to the application of GA to ClassicFM synthesis.
Keywords
artificial intelligence, automatic parameter estimation, genetic algorithm, modified FM sound synthesis, resynthesis
Paper topics
Automatic music generation/accompaniment systems, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850056
Zenodo URL: https://zenodo.org/record/850056
2012.16
Automatic Melodic Grammar Generation for Polyphonic Music Using a Classifier System
Tanaka, Tsubasa Tokyo University of the Arts; Tokyo, Japan
Furukawa, Kiyoshi Tokyo University of the Arts; Tokyo, Japan
Abstract
In this paper, we propose a method to generate new melodic styles (melodics) in the automatic composition of polyphonic music. In the proposed method, a melodic style is represented as a grammar that consists of rewriting rules, and the rewriting rules are generated by a classifier system, which is a genetics-based machine learning system. In the previous studies of the grammatical approach, the problem of how to treat polyphony and that of generating new melodic styles automatically haven't been studied very intensively. Therefore, we have chosen to tackle those problems. We modeled the generative process of polyphonic music as asynchronous growth by applying rewriting rules in each voice separately. In addition, we developed a method to automatically generate grammar rules, which are the parameters of the polyphony model. The experimental results show that the proposed method can generate grammar rules and polyphonic music pieces that have characteristic melodic styles.
Keywords
Algorithmic Composition, Classifier System, Grammar, Melodics, Polyphony
Paper topics
Automatic music generation/accompaniment systems, Computational musicology
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850058
Zenodo URL: https://zenodo.org/record/850058
2012.17
Building a Music Search Database Using Human Computation
Cartwright, Mark Northwestern University; New York, United States
Pardo, Bryan Northwestern University; New York, United States
Abstract
Systems able to find a song based on a sung, hummed, or whistled melody are called Query-By-Humming (QBH) systems. Hummed or sung queries are not directly compared to original recordings. Instead, systems employ search keys that are more similar to a cappella singing than the original pieces. Successful, deployed systems use human computation to create search keys: hand-entered midi melodies or recordings of a cappella singing. There are a number of human computation-based approaches that may be used to build a database of QBH search keys, but it is not clear what the best choice is based on cost, computation time, and search performance. In this paper we compare search keys built through human computation using two populations: paid local singers and Amazon Mechanical Turk workers. We evaluate them on quality, cost, computation time, and search performance.
Keywords
human computation, music information retrieval, query by humming
Paper topics
Music information retrieval
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850060
Zenodo URL: https://zenodo.org/record/850060
2012.18
Chord recognition using Prewitt filter and self-similarity
Glazyrin, Nikolay Ural Federal University; Yekaterinburg, Russia
Klepinin, Alexander Ural Federal University; Yekaterinburg, Russia
Abstract
In this paper we propose a method of audio chord estimation. It does not rely on any machine learning technique, but shows good recognition quality compared to other known algorithms. We calculate a beat-synchronized spectrogram with high time and frequency resolution. It is then processed with an analogue of Prewitt filter used for edge detection in image processing to suppress non-harmonic spectral components. The sequence of chroma vectors obtained from spectrogram is smoothed using self-similarity matrix before the actual chord recognition. Chord templates used for recognition are binary-like, but have the tonic and the 5th note accented. The method is evaluated on the 13 Beatles albums.
Keywords
Audio content processing, Chord recognition, Music information retrieval
Paper topics
Content processing of music audio signals, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850062
Zenodo URL: https://zenodo.org/record/850062
2012.19
COMBINING SCORE AND FILTER BASED MODELS TO PREDICT TEMPO FLUCTUATIONS IN EXPRESSIVE MUSIC PERFORMANCES
Krebs, Florian Johannes Kepler University Linz; Linz, Austria
Grachten, Maarten Johannes Kepler University Linz; Linz, Austria
Abstract
Tempo variations in classical music are an important means of artistic expression. Fluctuations in tempo can be large and sudden, making applications like automated score following a challenging task. Some of the fluctuations may be predicted from (tempo annotations in) the score, but prediction based only on the score is unlikely to capture the internal coherence of a performance. On the other hand, filtering approaches to tempo prediction (like the Kalman filter) are suited to track gradual changes in tempo, but do not anticipate sudden changes. To combine the advantages of both approaches, we propose a method that incorporates score based tempo predictions into a Kalman filter model of performance tempo. We show that the combined model performs better than the filter model alone.
Keywords
expressive performance, Kalman filter, linear basis function, tempo prediction, tempo tracking
Paper topics
Automatic music generation/accompaniment systems, Computational musicology, Models for sound analysis and synthesis, Music performance analysis and rendering
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850064
Zenodo URL: https://zenodo.org/record/850064
2012.20
COMPOSING GRAPHIC SCORES AND SONIFYING VISUAL MUSIC WITH THE SUM TOOL
Adhitya, Sara IUAV University of Venice; Venezia, Italy
Kuuskankare, Mika Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Abstract
This paper will explore the potential for the SUM tool, intended initially for the sonification of images, as a tool for graphical computer-aided composition. As a user li- brary with a graphical user interface within the computer- aided composition environment of PWGL, SUM has the potential to be used as a graphical approach towards com- puter-aided composition. Through the re-composition of the graphic score of Ligeti’s Artikulation, we demonstrate how SUM can be used in the generation of a graphic score. Supporting spatio-temporal timepaths, we explore alterna- tive ways of reading this score. Furthermore, we investi- gate the claim of certain visual artworks to be ‘visual mu- sic’, by sonifying them as graphic scores in SUM.
Keywords
computer-aided composition, graphic score, visual music
Paper topics
3D sound/music, Auditory and multimodal illusions, Auditory display and data sonification, Humanities in sound and music computing, Interfaces for sound and music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850066
Zenodo URL: https://zenodo.org/record/850066
2012.21
Concatenative Synthesis Unit Navigation and Dynamic Rearrangement in vrGrains
Zappi, Victor Istituto Italiano di Tecnologia (IIT); Genova, Italy
Mazzanti, Dario Istituto Italiano di Tecnologia (IIT); Genova, Italy
Brogni, Andrea Istituto Italiano di Tecnologia (IIT); Genova, Italy
Caldwell, Darwin Istituto Italiano di Tecnologia (IIT); Genova, Italy
Abstract
Corpus based concatenative synthesis has been approached from different perspectives by many researchers. This generated a number of diverse solutions addressing the matter of target selection, corpus visualization and navigation. With this paper we introduce the concept of extended descriptor space, which permits the arbitrary redistribution of audio units in space, without affecting each unit's sonic content. This feature can be exploited in novel instruments and music applications to achieve spatial dispositions which could enhance control and expression. Making use of Virtual Reality technology, we developed vrGrains, an immersive installation in which real-time corpus navigation is based on the concept of extended descriptor space and on the related audio unit rearrangement capabilities. The user is free to explore a corpus represented by 3D units which physically surrounds her/him. Through natural interaction, the interface provides different interaction modalities which allow controllable and chaotic audio unit triggering and motion.
Keywords
corpus based synthesis, installation, tracking, virtual reality
Paper topics
Computer environments for sound/music processing, Multimodality in sound and music computing, Sonic interaction design, Sound and music for VR and games
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850068
Zenodo URL: https://zenodo.org/record/850068
2012.22
Constructing high-level perceptual audio descriptors for textural sounds
Grill, Thomas Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Abstract
This paper describes the construction of computable audio descriptors capable of modeling relevant high-level perceptual qualities of textural sounds. These qualities - all metaphoric bipolar and continuous constructs - have been identified in previous research: high-low, ordered-chaotic, smooth-coarse, tonal-noisy, and homogeneous-heterogeneous, covering timbral, temporal and structural properties of sound. We detail the construction of the descriptors and demonstrate the effects of tuning with respect to individual accuracy or mutual orthogonality. The descriptors are evaluated on a corpus of 100 textural sounds against respective measures of human perception that have been retrieved by use of an online survey. Potential future use of perceptual audio descriptors in music creation is illustrated by a prototypic sound browser application.
Keywords
audio analysis, audio descriptors, auditory perception, music information retrieval
Paper topics
Content processing of music audio signals, Models for sound analysis and synthesis, Music information retrieval, Perception and cognition of sound and music, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850070
Zenodo URL: https://zenodo.org/record/850070
2012.23
Content-based retrieval of environmental sounds by multiresolution analysis
Lallemand, Ianis UMR STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Schwarz, Diemo UMR STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Artières, Thierry Laboratoire de Recherche en Informatique (LIP6); France
Abstract
Query by example retrieval of environmental sound recordings is a research area with applications to sound design, music composition and automatic suggestion of metadata for the labeling of sound databases. Retrieval problems are usually composed of successive feature extraction (FE) and similarity measurement (SM) steps, in which a set of extracted features encoding important properties of the sound recordings are used to compute the distance between elements in the database. Previous research has pointed out that successful features in the domains of speech and music, like MFCCs, might fail at describing environmental sounds, which have intrinsic variability and noisy characteristics. We present a set of novel multiresolution features obtained by modeling the distribution of wavelet subband coefficients with generalized Gaussian densities (GGDs). We define the similarity measure in terms of the Kullback-Leibler divergence between GGDs. Experimental results on a database of 1020 environmental sound recordings show that our approach always outperforms a method based on traditional MFCC features and Euclidean distance, improving retrieval rates from 51% to 62%.
Keywords
Content-based retrieval, Environmental sounds, Features, Similarity Measure, Sound textures, Wavelets
Paper topics
Automatic separation, classification of sound and music, Models for sound analysis and synthesis, Music information retrieval, recognition
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850072
Zenodo URL: https://zenodo.org/record/850072
2012.24
Creative Agents, Curatorial Agents, and Human-agent Interaction in Coming Together
Eigenfeldt, Arne Simon Fraser University; Vancouver, Canada
Pasquier, Philippe Simon Fraser University; Vancouver, Canada
Abstract
We describe a multi-agent systems which composes in real-time, using negotiation as the active compositional technique. In one version of the system, creative agents’ output is written to disk; during performance, a curatorial agent selects prior-composed movements and assembles a complete musical composition. The resulting score is then displayed to musicians, and performed live. A second version of the system is described, in which the real-time interaction is performed immediately by a mechanical musical instrument, and a human instrumentalist’s performance data is included in system as being one of the agents (a human agent).
Keywords
generative music, interactive performance, music and robotics, social interaction
Paper topics
Automatic music generation/accompaniment systems, Interactive performance systems, Music and robotics, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850074
Zenodo URL: https://zenodo.org/record/850074
2012.25
Creative Experiments Using a System for Learning High-Level Performance Structure in Ableton Live
Martin, Aengus The University of Sydney; Sydney, Australia
Jin, Craig The University of Sydney; Sydney, Australia
Carey, Benjamin University of Technology Sydney; Sydney, Australia
Bown, Oliver The University of Sydney; Sydney, Australia
Abstract
The Agent Design Toolkit is a software suite that we have developed for designing the behaviour of musical agents; software elements that automate some aspect of musical composition or performance. It is intended to be accessible to musicians who have no expertise in computer programming or algorithms. However, the machine learning algorithms that we use require the musician to engage with technical aspects of the agent design, and our research goal is to find ways to enable this process through understandable and intuitive concepts and interfaces, at the same time as developing effective agent algorithms. Central to enabling musicians to use the software is to make available a set of clear instructional examples showing how the technical aspects of agent design can be used effectively to achieve particular musical results. In this paper, we present a pilot study of the Agent Design Toolkit in which we conducted two contrasting musical agent design experiments with the aim of establishing a set of such examples. From the results, we compiled a set of four clear examples of effective use of the learning parameters which will be used to teach new users about the software. Secondary results of the experiments were the discovery of a range of improvements which can be made to the software itself.
Keywords
design, human-computer interaction, musical agents
Paper topics
Automatic music generation/accompaniment systems, Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850078
Zenodo URL: https://zenodo.org/record/850078
2012.26
Designing simulacra or the electronic replication of a mechanical instrument
Kaiser, Fabio University of Music and Performing Arts (KUG); Graz, Austria
Weger, Marian University of Music and Performing Arts (KUG); Graz, Austria
Ritsch, Winfried Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
Specific requirements of certain works of music, especially in the field of contemporary experimental music of the 19th century, are sometimes hard to meet when it comes to the performance. Special instruments or technologies are necessary and often no longer available, broken or their documentation is insufficient. This paper addresses this problem of performance practice in contemporary music by exploring the design of an electronic replacement of a mechanical instrument for the performance of the piece ``Mouvement - vor der Erstarrung'' by Helmut Lachenmann. The simulacra developed consist of a musical interface, a software for sound synthesis and a loudspeaker system. A focus is put on the challenge of synthesising and projecting the sound as close as possible to the original instrument and to fit the musical requirements of the piece. The acoustic integration of the electronic instrument into an ensemble of acoustic instruments was achieved by using an omni-directional loudspeaker. For the sound synthesis, a hybrid approach of sampling and additive synthesis was chosen. The prototypes developed were proven to be robust and reliable and the simulacra were generally well-accepted by performing musicians, surrounding musicians, conductor and audience.
Keywords
electronic instrument, instrumental design, musical interface, performance practice, radiation synthesis, simulacrum, sound synthesis
Paper topics
access and modelling of musical heritage, Interactive performance systems, Technologies for the preservation
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850080
Zenodo URL: https://zenodo.org/record/850080
2012.27
DISEMBODIED VOICES: A KINECT VIRTUAL CHOIR CONDUCTOR
Mandanici, Marcella Conservatorio Statale di musica “Luca Marenzio” di Brescia; Brescia, Italy
Sapir, Sylviane Conservatorio di musica “Giuseppe Verdi” di Como; Como, Italy
Abstract
"Disembodied voices" is an interactive environment designed for an expressive, gesture-based musical performance. The motion sensor Kinect, placed in front of the performer, provides the computer with the 3D space coordinates of the two hands. The application is designed according to the metaphor of the choir director: the performer, through gestures, is able to run a score and to produce a real-time expressive interpretation. The software, developed by the authors, interprets the gestural data by activating a series of compositional algorithms that produce vocal sounds. These are pre-recorded samples processed in real time through the expressive interaction dependent on the conductor's gestures. Hence the name of the application: you follow the conductor's gestures, hear the voices but don't see any singer. The system also provides a display of motion data, a visualization of the part of the score performed at that time, and a representation of the musical result of the compositional algorithms activated.
Keywords
algorithmic composition, Kinect, musical performance
Paper topics
Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850082
Zenodo URL: https://zenodo.org/record/850082
2012.28
EFFECTS OF AUDIO-TACTILE FLOOR AUGMENTATION ON PERCEPTION AND ACTION DURING WALKING: PRELIMINARY RESULTS
Papetti, Stefano Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Fontana, Federico Università di Udine; Udine, Italy
Abstract
Two pilot experiments have been conducted to investigate the influence of auditory and underfoot tactile cues respectively on perception and action during walking. The for- mer experiment shows that illusory tactile perception can be generated, biased by the intensity of auditory cues in the low-frequency region. The latter experiment suggests that non-visual foot-level augmentation may influence the gait cycle in normally able subjects. In the respective limits of significance, taken together both experiments suggest that the introduction of ecological elements of augmented reality at floor level may be exploited for the development of novel multimodal interfaces.
Keywords
auditory, cross-modal effect, ecological, experiment, footwear interface, gait, illusion, vibrotactile
Paper topics
Auditory and multimodal illusions, Auditory display and data sonification, Interfaces for sound and music, Multimodality in sound and music computing, Sonic interaction design, Sound and music for VR and games, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850084
Zenodo URL: https://zenodo.org/record/850084
2012.29
Electronic Pipe Organ using Audio Feedback
Kim, Seunghun Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Yeo, Woon Seung Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Abstract
This paper presents a new electronic pipe organ based on positive audio feedback. Unlike typical resonance of a tube of air, we use audio feedback introduced by an amplifier, a lowpass filter, as well as a loudspeaker and a microphone in a closed pipe to generate resonant sounds without any physical air blows. Timbre of this sound can be manipulated by controlling the parameters of the filter and the amplifier. We introduce the design concept of this audio feedback-based wind instrument, and present a prototype that can be played by a MIDI keyboard.
Keywords
audio feedback, pipe instrument, resonance
Paper topics
Digital audio effects, Interfaces for sound and music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850086
Zenodo URL: https://zenodo.org/record/850086
2012.30
EMPLOYING SPATIAL SONIFICATION OF TARGET MOTION IN TRACKING EXERCISES
Spagnol, Simone IUAV University of Venice; Venezia, Italy
Geronazzo, Michele Università di Padova; Padova, Italy
Avanzini, Federico Università di Padova; Padova, Italy
Oscari, Fabio Università di Padova; Padova, Italy
Rosati, Giulio Università di Padova; Padova, Italy
Abstract
This paper presents the results of an experiment in which the effect of spatial sonification of a moving target on the user's performance during the execution of basic tracking exercises was investigated. Our starting hypothesis is that a properly designed multimodal continuous feedback could be used to represent temporal and spatial information that can in turn improve performance and motor learning of simple target following tasks. Sixteen subjects were asked to track the horizontal movement of a circular visual target by controlling an input device with their hand. Two different continuous task-related auditory feedback modalities were considered, both simulating the sound of a rolling ball, the only difference between them being the presence or absence of binaural spatialization of the target's position. Results demonstrate how spatial auditory feedback significantly decreases the average tracking error with respect to visual feedback alone, contrarily to monophonic feedback. It was thus found how spatial information provided through sound in addition to visual feedback helps subjects improving their performance.
Keywords
3D audio, auditory feedback, sonification, target following
Paper topics
3D sound/music, Auditory display and data sonification, Multimodality in sound and music computing
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850088
Zenodo URL: https://zenodo.org/record/850088
2012.31
Enhanced Source-Filter Model of Quasi-Harmonic Instruments for Sound Synthesis, Transformation and Interpolation
Hahn, Henrik Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Roebel, Axel Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In this paper we present a new instrument model to be used for sound modification and interpolation. The approach comprises the analysis of sounds of an instruments sound database, a parameter estimation for the instrument model and a sound synthesis using this model. The sound analysis is carried out by the segmentation of each sound into a sinusoidal and noise component. Both components are modeled using B-splines (basic-splines) in a n-dimensional hyperplane according to the specific sound parameters to capture the instruments timbre for its complete pitch range, possible intensities and temporal evolution. Sound synthesis therein is achieved by exploring these hyperplanes and altering the timbre of the sounds of the database. To conclude a subjective evaluation is presented for comparison with state of the art sound transformations. This work is based on a preliminary study published recently.
Keywords
analysis, interpolation, modeling, synthesis
Paper topics
Digital audio effects, Models for sound analysis and synthesis
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850090
Zenodo URL: https://zenodo.org/record/850090
2012.32
Enumeration of Chord Sequences
Collins, Nick University of Sussex; Brighton, United Kingdom
Abstract
The enumeration of musical objects has received heightened attention in the last twenty five years, and whilst such phenomena as tone rows, polyphonic mosaics, and scales have been explored, there has not been prior investigation of the enumeration of chord sequences. In part, analysts may have disregarded the situation as having a trivial solution, namely the number of chord types at each step raised to the power of the number of steps. However, there are more subtle and interesting situations where there are constraints, such as rotational and transpositional equivalence of sequences. Enumeration of such chord sequences is explored through the application of Burnside’s lemma for counting equivalence classes under a group action, and computer generation of lists of representative chord sequences outlined. Potential extensions to ‘McCartney’s Chord Sequence Problem’ for the enumeration of cyclic (looping) chord sequences are further discussed
Keywords
computer enumeration of musical objects, generation of chord sequences, mathematical music theory
Paper topics
Automatic music generation/accompaniment systems, Computational musicology, Music information retrieval
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850092
Zenodo URL: https://zenodo.org/record/850092
2012.33
Evaluating How Different Video Features Influence the Visual Quality of Resultant Motiongrams
Jensenius, Alexander Refsum University of Oslo; Oslo, Norway
Abstract
Motiongrams are visual representations of human motion, generated from regular video recordings. This paper evaluates how different video features may influence the generated motiongram: inversion, colour, filtering, background, lighting, clothing, video size and compression. It is argued that the proposed motiongram implementation is capable of visualising the main motion features even with quite drastic changes in all of the above mentioned variables.
Keywords
Jamoma, jitter, max, motiongram, motion image, musical gestures, music-related motion, video analysis
Paper topics
Methodological issues in sound and music computing, Multimodality in sound and music computing, Music performance analysis and rendering
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850094
Zenodo URL: https://zenodo.org/record/850094
2012.34
Even More Errant Sound Synthesis
Collins, Nick University of Sussex; Brighton, United Kingdom
Abstract
Sound synthesis algorithms which radically depart from acoustical equations, and seek out numerical quirks at audio rate, can still have a part to play in the art-science investigations of computer music. This paper describes a host of ideas in alternative sound synthesis, from dilation equations and nonlinear dynamical equations, through probabilistic sieves, to oscillators based on geometrical formulae. We close with some new ideas in concatenative sound synthesis, using sparse approximation as the analysis method for matching, and driving synthesis through an EEG interface. (side note for reviewers: code and examples are made available at http://www.sussex.ac.uk/Users/nc81/evenmoreerrant.html to assist review, and illustrate disclosure that would accompany the paper)
Keywords
concatenative synthesis, non-linear equations, sound synthesis
Paper topics
Digital audio effects, Models for sound analysis and synthesis, Sonic interaction design, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850098
Zenodo URL: https://zenodo.org/record/850098
2012.35
Exploring Sound and Spatialization Design on Speaker Arrays using Physical Modelling
Marentakis, Georgios Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Pirrò, David Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
In the course of the realization of the sound installation \textit{Interstices}, questions pertaining to the auditory perception of location and extent and the spatial composition of the micro and macro structure of sound were explored in a \textit{poietic} way. Physical modelling was re-interpreted as a framework to design the spatial and timbral appearance of sounds upon a set of distributed speaker array clusters. This explorative process lead to observations that helped formulating novel research questions within the context of psychoacoustics and auditory display.
Keywords
auditory display, installation art, physical modelling, spatialization
Paper topics
3D sound/music, Auditory display and data sonification, Computer environments for sound/music processing, Perception and cognition of sound and music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850100
Zenodo URL: https://zenodo.org/record/850100
2012.36
Factors in human recognition of timbre lexicons generated by data clustering
Roma, Gerard Pompeu Fabra University (UPF); Barcelona, Spain
Xambó, Anna The Open University; Milton Keynes, United Kingdom
Herrera, Perfecto Pompeu Fabra University (UPF); Barcelona, Spain
Laney, Robin Charles The Open University; Milton Keynes, United Kingdom
Abstract
Since the development of sound recording technologies, the palette of sound timbres available for music creation was extended way beyond traditional musical instruments. The organization and categorization of timbre has been a common endeavor. The availability of large databases of sound clips provides an opportunity for obtaining data-driven timbre categorizations via content-based clustering. In this article we describe an experiment aimed at understanding what factors influence the ability of users to learn a given clustering of sound samples. We clustered a large database of short sound clips, and analyzed the success of participants in assigning sounds to the "correct" clusters after listening to a few examples of each. The results of the experiment suggest a number of relevant factors related both to the strategies followed by users and to the quality measures of the clustering solution, which can guide the design of creative applications based on audio clip clustering.
Keywords
data clustering, hci, sound clip databases
Paper topics
Automatic separation, classification of sound and music, Interfaces for sound and music, Perception and cognition of sound and music, recognition
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850102
Zenodo URL: https://zenodo.org/record/850102
2012.37
From the Shepard Tone to the Perpetual Melody Auditory Illusion
Patrício, Pedro Research Centre for Science and Technology of the Arts (CITAR), Catholic University of Portugal; Porto, Portugal
Abstract
This paper discusses the use of the Shepard Tone (ST) as a digital sound source in musical composition. This tone has two musical interests. First, it underlines the difference between the tone height and the tone chroma, opening new possibilities in sound generation and musical perception. And second, considering the fact that it is (in a paradoxical way) locally directional while still globally stable and circumscribed it allows us to look differently at the instrument's range as well as at the phrasing in musical composition. Thus, this paper proposes a method of generating the ST relying upon an alternative spectral envelope, which as far as we know, has never been used before for the reproduction of the Shepard Scale Illusion (SSI). Using the proposed digital sound source, it was possible to successfully reproduce the SSI, even when applied to a melody. The melody was called "Perpetual Melody Auditory Illusion" because when it is heard it creates the auditory illusion that it never ends, as is the case with the SSI. Moreover, we composed a digital music titled “Perpetual Melody – contrasting moments”, using exclusively the digital sound source as sound generator and the melody as musical content.
Keywords
40 Phon equal-loudness curve, A-Weighting curve, Digital music composition, Perpetual Melody Auditory Illusion, Shepard Scale Illusion, Shepard Tones, Spectral envelope
Paper topics
Auditory and multimodal illusions, Perception and cognition of sound and music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850104
Zenodo URL: https://zenodo.org/record/850104
2012.38
Gestural Musical Affordances
Tanaka, Atau Goldsmiths Digital Studios, Goldsmiths, University of London; London, United Kingdom
Altavilla, Alessandro Culture Lab, Newcastle University; Newcastle upon Tyne, United Kingdom
Spowage, Neal Music, Technology and Innovation Research Centre (MTI), De Montfort University Leicester; Leicester, United Kingdom
Abstract
In this paper a comparative study gestural interaction with musical sound, to gain insight into the notion of musical affordance on interactive music systems. We con-ducted an interview base user study trialing three accel-erometer based devices, an iPhone, a Wii-mote, and an Axivity Wax prototype, with four kinds of musical sound, including percussion, stringed instruments, and voice recordings. The accelerometers from the devices were mapped to computer based sound synthesis parameters. By using consistent mappings across different source sounds, and performing them from the three different devices, users experienced forms of physical, sonic, and cultural affordance, that combine to form what we term musical affordance.
Keywords
accelerometer, Affordances, Gesture, user study
Paper topics
Interactive performance systems, Interfaces for sound and music, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850106
Zenodo URL: https://zenodo.org/record/850106
2012.39
IDEAS IN AUTOMATIC EVALUATION METHODS FOR MELODIES IN ALGORITHMIC COMPOSITION
Freitas, Alan Universidade Federal de Ouro Preto (UFOP); Belo Horizonte, Brazil
Guimarães, Frederico Gadelha Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Barbosa, Rogerio Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Abstract
Algorithmic Composition (AC) methods often depend on evaluation methods in order to define the probabilities that change operators have to be applied. However, the evaluation of music material involves the codification of aesthetic features, which is a very complex process if we want to outline automatic procedures that are able to compute the suitability of melodies. In this context, we offer in this paper a comprehensive investigation on numerous ideas to examine and evaluate melodies, some of them based on music theory. These ideas have been used in music analysis but have been usually neglected in many AC procedures. Those features are partitioned into ten categories. While there is still much research to do in this field, we intend to help computer-aided composers define more sophisticated and useful methods for evaluating music.
Keywords
Algorithmic Composition, Automatic Evaluation of Melodies, Evolutionary Music
Paper topics
Automatic music generation/accompaniment systems, Computational musicology, Methodological issues in sound and music computing, Music information retrieval
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850108
Zenodo URL: https://zenodo.org/record/850108
2012.40
INVERSE PROBLEM IN SOUND SYNTHESIS AND MUSICAL CREATION USING MASS-INTERACTION NETWORKS
Villeneuve, Jérôme ICA laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Cadoz, Claude ICA laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
Sound synthesis with mass-interaction physical modeling networks can be considered as a general paradigm capable of being the central part of complete software environments for musical creation. GENESIS 3, built around the CORDIS-ANIMA formalism and developed by ACROE/ICA Laboratory, is the first environment of this kind. Using it, the artist may be facing an inherent problematic of every creation process: how to use a given tool in order to obtain an expected result. In our context, the question would be: “Considering a sound, which physical model could produce it?”. This paper especially aims at presenting the frame in which this inverse problem is set and at establishing its very own “ins and outs”. However, we will also present two different algorithmic resolutions applied on quite simple cases and then discuss their relevance.
Keywords
ANIMA, CORDIS, GENESIS, Interaction, Inverse, Mass, Modeling, Physical, Problem, Sound, Synthesis
Paper topics
Automatic music generation/accompaniment systems, Computer environments for sound/music processing, Interfaces for sound and music, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850110
Zenodo URL: https://zenodo.org/record/850110
2012.41
LCSynth: A Strongly-Timed Synthesis Language that Integrates Objects and Manipulations for Microsounds
Nishino, Hiroki National University of Singapore; Singapore, Singapore
Osaka, Naotoshi Tokyo Denki University; Tokyo, Japan
Abstract
In this paper, we describe LCSynth, a new sound synthe-sis language currently under development. LCSynth integrates objects and manipulation for microsounds in its language design. Such an integration of objects and manipulations for microsound into sound synthesis framework design can facilitate creative exploration in the mi-crosound synthesis techniques such as granular synthesis and waveset synthesis, which has been considered relatively difficult in the existing sound synthesis frameworks and computer music languages, which depend solely on traditional abstraction of unit-generators.
Keywords
computer music, microsound, programming language
Paper topics
Computer environments for sound/music processing
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850112
Zenodo URL: https://zenodo.org/record/850112
2012.42
MODELING AND PREDICTING SONG ADJACENCIES IN COMMERCIAL ALBUMS
Sarroff, Andy M. Dartmouth College; Hanover, United States
Casey, Michael Dartmouth College; Hanover, United States
Abstract
This paper examines whether latent structure may be discovered from commercially sold albums using features characterizing their songs adjacencies. We build a large-scale dataset from the first 5 songs of 8,505 commercial albums. The dataset spans multiple artists, genres, and decades. We generate a training set (Train) consisting of 11,340 True song adjacencies and use it to train a mixture of multivariate gaussians. We also generate two disjoint test sets (Test1 and Test2), each having 11,340 True song adjacencies and 45,360 Artificial song adjacencies. We perform feature subset selection and evaluate on Test_1. We test our model on Test_2 in a standard retrieval setting. The model achieves a precision of 22.58%, above baseline precision of 20% . We compare this performance against a model trained and tested on a smaller dataset and against a model that uses full-song features. In the former case, precision is better than the large scale experiment (24.80%). In the latter case, the model achieves precision no better than baseline (20.13%). Noting the difficulty of the retrieval task, we speculate that using features which characterize song adjacency may improve Automatic Playlist Generation (APG) systems.
Keywords
Modeling, Playlists, Retrieval
Paper topics
Automatic separation, classification of sound and music, Music information retrieval, recognition
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850114
Zenodo URL: https://zenodo.org/record/850114
2012.43
"MUSICA SULL'ACQUA": A MOTION TRACKING BASED SONIFICATION OF AN AQUARIUM IN REAL TIME
Baldan, Stefano Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Ludovico, Luca Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Mauro, Davide Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Abstract
This paper presents a temporary multimedia installation set up at the \emph{Civic Aquarium of Milan}. Thanks to four web cameras located in front of the tropical fishpond, fishes are tracked and their movements are used to control a number of music-related parameters in real time. In order to process multiple video streams, the open-source programming language Processing has been employed. Then, the sonification is implemented by a PureData patch. The communication among the parts of the system has been realized through Open Sound Control (OSC) messages. This paper describes the key concepts, the musical idea, the design phase and the implementation of this multimedia installation, discussing also the major critical aspects.
Keywords
aquarium, motion tracking, music, sonification, sonorization, webcam
Paper topics
Auditory display and data sonification, Automatic music generation/accompaniment systems, Interactive performance systems, Sonic interaction design
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850026
Zenodo URL: https://zenodo.org/record/850026
2012.44
MUSICOG: A COGNITIVE ARCHITECTURE FOR MUSIC LEARNING AND GENERATION
Maxwell, James B. Simon Fraser University; Vancouver, Canada
Eigenfeldt, Arne Simon Fraser University; Vancouver, Canada
Pasquier, Philippe Simon Fraser University; Vancouver, Canada
Thomas, Nicolas Gonzalez Simon Fraser University; Vancouver, Canada
Abstract
Music composition is an intellectually demanding human activity that engages a wide range of cognitive faculties. Although several domain-general integrated cognitive architectures (ICAs) exist---ACT-R, Soar, Icarus, etc.---the use of integrated models for solving musical problems remains virtually unexplored. In designing MusiCOG, we wanted to bring forward ideas from our previous work, combine these with principles from the fields of music perception and cognition and ICA design, and bring these elements together in an initial attempt at an integrated model. Here we provide an introduction to MusiCOG, outline the operation of its various modules, and share some initial musical results.
Keywords
Architecture, Cognitive, Composition, Music
Paper topics
Automatic music generation/accompaniment systems, Music information retrieval, Perception and cognition of sound and music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850116
Zenodo URL: https://zenodo.org/record/850116
2012.45
New Framework for Score Segmentation and Analysis in OpenMusic
Bresson, Jean UMR STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Pérez-Sancho, Carlos Department of Software and Computing systems (DLSI), Universidad de Alicante; Alicante, Spain
Abstract
We present new tools for the segmentation and analysis of musical scores in the OpenMusic computer-aided composition environment. A modular object-oriented framework enables the creation of segmentations on score objects and the implementation of automatic or semi-automatic analysis processes. The analyses can be performed and displayed thanks to customizable classes and callbacks. Concrete examples are given, in particular with the implementation of a semi-automatic harmonic analysis system and a framework for rhythmic transcription.
Keywords
Computer-Aided Music Analysis, OpenMusic, Segmentation
Paper topics
Computational musicology, Computer environments for sound/music processing, Interfaces for sound and music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850118
Zenodo URL: https://zenodo.org/record/850118
2012.46
NOVICE COLLABORATION IN SOLO AND ACCOMPANIMENT IMPROVISATION
Skriver Hansen, Anne-Marie Aalborg University; Aalborg, Denmark
Andersen, Hans Jørgen Aalborg University; Aalborg, Denmark
Abstract
This study investigates how non-musicians engaged in a solo-accompaniment music improvisation relationship. Seven user teams interacted with two electronic music instruments integrated in two pen tablets. One instrument was a melody instrument and the other a chord instrument. The study was done in order to understand how future shared electronic music instruments can be designed to encourage non-musicians to engage in social action through music improvisation. A combination of quantitative and qualitative analysis was used to find characteristics in co-expression found in a solo-accompaniment relationship. Results of interaction data and video analysis show that 1) teams related to each other through their experience with verbal conversation, 2) users searched for harmonic connections and 3) were able to establish rhythmical grounding. The paper concludes with some design guidelines for future solo-accompaniment shared improvisation interfaces: How realtime analysis of co-expression can be mapped to additional sound feedback that supports, strengthens and evolves co-expression in improvisation.
Keywords
collaborative interfaces, music improvisation, novice, shared electronic music instruments, social learning, user studies
Paper topics
Humanities in sound and music computing, Social interaction in sound and music computing, Sonic interaction design
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850120
Zenodo URL: https://zenodo.org/record/850120
2012.47
On the performance of real-time DSP on Android devices
Bianchi, André Jucovsky Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Abstract
With the spread of mobile devices comes the possibility of using (relatively) cheap, wireless hardware embedded with plenty of sensors to perform real time Digital Signal Processing on live artistic performances. The Android Operating System represents a milestone for mobile devices due to its lightweight Java Virtual Machine and API that makes it easier to develop applications that run on any (supported) device. With an appropriate DSP model implementation, it is possible to use the values of sensors as input for algorithms that can modify streams of audio to generate rich output signals. Because of memory, CPU and battery limitations, it is interesting to study the performance of each device under real time DSP conditions, and also provide feedback about resources consumption to provide the basis for (user or automated) decision making regarding devices' use. This work presents an object oriented model for performing DSP on Android devices and focus on measuring the time taken to perform common DSP tasks as read from the input, write to output, and carry the desired signal manipulation. We obtain statistics regarding one specific combination of device model and operating system version, but our approach can be used on any Android device to provide the user with important information that can aid aesthetic and algorithmic decisions.
Keywords
android devices, benchmarking, digital signal processing, real-time I/O
Paper topics
Computer environments for sound/music processing, Digital audio effects, Interactive performance systems, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850122
Zenodo URL: https://zenodo.org/record/850122
2012.48
PAPERTONNETZ: MUSIC COMPOSITION WITH INTERACTIVE PAPER
Bigo, Louis Laboratoire d’Algorithmique, Complexité et Logique (LACL); France
Garcia, Jérémie Institut national de recherche en informatique et en automatique (INRIA); France
Spicher, Antoine Laboratoire d’Algorithmique, Complexité et Logique (LACL); France
Mackay, Wendy Institut national de recherche en informatique et en automatique (INRIA); France
Abstract
Tonnetz are space-based musical representations that lay out individual pitches in a regular structure. They are primarily used for analysis with visualization tools or on paper and for performance with button-based tablet or tangible interfaces. This paper first investigates how properties of Tonnetz can be applied in the composition process, including how to represent pitch based on chords or scales and lay them out in a two-dimensional space. We then describe PaperTonnetz, a tool that lets musicians explore and compose music with Tonnetz representations by making gestures on interactive paper. Unlike screen-based interactive Tonnetz systems that treat the notes as playable buttons, PaperTonnetz allows composers to interact with gestures, creating replayable patterns that represent pitch sequences and/or chords. We describe the results of an initial test of the system in a public setting, and how we revised PaperTonnetz to better support three activities: discovering, improvising and assembling musical sequences in a Tonnetz. We conclude with a discussion of directions for future research with respect to creating novel paper-based interactive music representations to support musical composition.
Keywords
computer aided composition, human computer interaction, interactive paper, pitch layouts, Tonnetz
Paper topics
Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850124
Zenodo URL: https://zenodo.org/record/850124
2012.49
Paths in Interactive Sound Visualization: From AVOL to AV Clash
Correia, Nuno N. Media Lab, School of Arts, Design and Architecture, Aalto University; Espoo, Finland
Abstract
This paper compares two multimodal net art projects, AVOL and AV Clash, by the author and André Carrilho (under the name Video Jack). Their objective is to create projects enabling integrated audiovisual expression that are flexible, intuitive, playful to use and engaging to experience. The projects are contextualized with related works. The methodology for the research is presented, with an emphasis on experience-focused Human-Computer Interaction (HCI) perspectives. The comparative evaluation of the projects focuses on the analysis of the answers to an online questionnaire. AVOL and AV Clash have adopted an Interactive Audiovisual Objects (IAVO) approach, which is a major contribution from these projects, consisting of the integration of sound, audio visualization and Graphical User Interfaces (GUI). Strengths and weaknesses detected in the projects are analysed. Generic conclusions are discussed, mainly regarding simplicity and harmony versus complexity and serendipity in audiovisual projects. Finally, paths for future development are presented.
Keywords
audiovisual, evaluation, graphical user interface, interaction design, multimodal, net art, sound visualization
Paper topics
Auditory and multimodal illusions, Interfaces for sound and music, Multimodality in sound and music computing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850126
Zenodo URL: https://zenodo.org/record/850126
2012.50
PERSISTENT EMPIRICAL WIENER ESTIMATION WITH ADAPTIVE THRESHOLD SELECTION FOR AUDIO DENOISING
Siedenburg, Kai Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Abstract
Exploiting the persistence properties of signals leads to significant improvements in audio denoising. This contribution derives a novel denoising operator based on neighborhood smoothed, Wiener filter like shrinkage. Relations to the sparse denoising approach via thresholding are drawn. Further, a rationale for adapting the threshold level to a performance criterion is developed. Using a simple but efficient estimator of the noise level, the introduced operators with adaptive thresholds are demonstrated to act as attractive alternatives to the state of the art in audio denoising.
Keywords
Audio Restauration, Denoising, Digital Audio Effects, Signal Estimation, Sparsity
Paper topics
Digital audio effects, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850128
Zenodo URL: https://zenodo.org/record/850128
2012.51
PHASE VOCODERS WITH ARBITRARY FREQUENCY BAND SELECTION
Evangelista, Gianpaolo Linköping University; Norrköping, Sweden
Dörfler, Monika Numerical Harmonic Analysis Group (NuHAG), University of Vienna; Vienna, Austria
Matusiak, Ewa Numerical Harmonic Analysis Group (NuHAG), University of Vienna; Vienna, Austria
Abstract
Time-frequency representations play a central role in sound analysis and synthesis. While the most conventional methods are based on phase vocoders with uniform frequency bands, perception and physical characteristics of sound signals suggest the need for nonuniform bands. In this paper we propose a flexible design of a phase vocoder having arbitrary frequency band divisions. The design is based on recently developed nonuniform frames where here frequency warping, i.e. a remapping of the frequency axis, is employed for the design of the sliding windows, which are different for each frequency channel. We show that tight frames can be obtained with this method, which allow for perfect reconstruction with identical analysis and synthesis time-frequency atoms. The transform and its inverse have computationally efficient implementations.
Keywords
Frequency Warping, Gabor Frames, Phase Vocoder, Time-Frequency Representations, Wavelets
Paper topics
Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850130
Zenodo URL: https://zenodo.org/record/850130
2012.52
Physical Modeling and Hybrid Synthesis for the Gyil African Xylophone
Godlovitch, Daniel University of Victoria; Victoria, Canada
Tavares, Tiago Fernandes University of Victoria; Victoria, Canada
Trail, Shawn University of Victoria; Victoria, Canada
Tzanetakis, George University of Victoria; Victoria, Canada
Abstract
In this paper we introduce a physical model of the Gyil, an African pentatonic idiophone whose wooden bars' sonic characteristics most closely resemble the western marimba. We are most interested in the resonators of the instrument, which are comprised of graduated gourds suspended beneath each bar similar to the way tuned tubes are used on western mallet instruments. The prominant characteristic of the resonator that we are concerned with is the intentionally added buzz that results when the bar is struck creating a naturally occuring type of distortion. Sympathetic distortion is inherent to African sound design, as these unamplified acoustic instruments must typically be heard above large crowds of people dancing and singing at ceremonies and festivals. The Gyil's distortion is a result of a specific preparation of the gourds where holes are drilled into the sides and covered with a membrane traditionally constructed from the silk of spider egg casings stretched across the opening. In analysing the sonic characteristics of the Gyil, and developing a model, we find that the physical mechanisms through which the characteristic Gyil sound is produced are highly non-linear, and the development of this model has required the use of synthesis techniques novel to physical modelling. We present several variants of our physical model, and conduct comparitive listening tests with musicians who are recognised Gyil virtuosos.
Keywords
Gyil, Non-linear model, Physical modelling, Pitched Percussion
Paper topics
access and modelling of musical heritage, Digital audio effects, Models for sound analysis and synthesis, Sound/music signal processing algorithms, Technologies for the preservation
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850132
Zenodo URL: https://zenodo.org/record/850132
2012.53
Pianist Motion Capture with the Kinect Depth Camera
Hadjakos, Aristotelis Technische Universität Darmstadt (TU Darmstadt); Darmstadt, Germany
Abstract
Capturing pianist movements can be used for various applications such as music performance research, musician medicine, movement-augmented piano instruments, and piano pedagogical feedback systems. This paper contributes an unobtrusive method to capture pianist movements based on depth sensing. The method was realized using the Kinect depth camera and evaluated in comparison with 2D marker tracking.
Keywords
Kinect, motion capture, piano
Paper topics
Interactive performance systems, Multimodality in sound and music computing, Music performance analysis and rendering
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850134
Zenodo URL: https://zenodo.org/record/850134
2012.54
Recognition of Phonemes in A-cappella Recordings using Temporal Patterns and Mel Frequency Cepstral Coefficients
Hansen, Jens Kofod University of Southern Denmark (SDU); Odense, Denmark
Abstract
In this paper, a new method for recognizing phonemes in singing is proposed. Recognizing phonemes in singing is a task that has not yet matured to a standardized method, in comparison to regular speech recognition. The standard methods for regular speech recognition have already been evaluated on vocal records, but their performances are lower compared to regular speech. In this paper, two alternative classification methods dealing with this issue are proposed. One uses Mel-Frequency Cepstral Coefficient features, while another uses Temporal Patterns. They are combined to create a new type of classifier which produces a better performance than the two separate classifiers. The classifications are done with US English songs. The preliminary result is a phoneme recall rate of 48.01% in average of all audio frames within a song.
Keywords
mfcc, pattern, recognition, singing, song, Speech, temporal
Paper topics
Automatic separation, classification of sound and music, Content processing of music audio signals, Music information retrieval, recognition
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850136
Zenodo URL: https://zenodo.org/record/850136
2012.55
Remote Music Tuition
Duffy, Sam Queen Mary University of London; London, United Kingdom
Williams, Doug Future Content Group, British Telecom; Ipswich, United Kingdom
Kegel, Ian Future Content Group, British Telecom; Ipswich, United Kingdom
Stevens, Tim Future Content Group, British Telecom; Ipswich, United Kingdom
Jansen, Jack Centrum Wiskunde & Informatica (CWI); Amsterdam, Netherlands
Cesar, Pablo Centrum Wiskunde & Informatica (CWI); Amsterdam, Netherlands
Healey, Patrick Queen Mary University of London; London, United Kingdom
Abstract
It is common to learn to play an orchestral musical instrument through one-to-one lessons with an experienced tutor. For musicians who choose to study performance at an undergraduate level and beyond, their tutor is an important part of their professional musical development. For many musicians, travel is part of their professional lives due to touring, auditioning and teaching, often overseas. This makes temporary separation of students from their tutor inevitable. A solution used by some conservatoires is teaching via video conferencing, however the challenges of using video conference for interaction and collaborative work are well documented. The Remote Music Tuition prototype was designed to enhance music tuition via video conference by providing multiple views of the student. This paper describes the system, documents observations from initial tests of the prototype and makes recommendations for future developments and further testing.
Keywords
multiple views, music education, music tuition, video conference
Paper topics
Humanities in sound and music computing, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850138
Zenodo URL: https://zenodo.org/record/850138
2012.56
Sensor Setup for Force and Finger Position and Tilt Measurements for Pianists
Großhauser, Tobias Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Candia, Victor Collegium Helveticum; Zurich, Switzerland
Tessendorf, Bernd Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Abstract
Finger force, acceleration and position are fundamental in playing music instruments. Measuring these parameters is a technical challenge and precise position and acceleration measurement of single fingers is particularly demanding. We present a sensor setup for multi modal measurements of force, position and acceleration in piano playing. We capture outputs from the upper extremity contributing to the total force output seen at the fingers. To precisely characterize fingers' positions and acceleration we use wearable sensors. A 6-axes (3-force and 3-torque axes) force sensor precisely captures contributions from hand, wrist and arm. A finger's acceleration sensor and a MIDI grand piano complete the measuring setup. The acceleration and position sensor is fixed to the dorsal aspect of the last finger phalanx. The 6-axes sensor is adjustable to fit individual hand positions and constitutes a basis setup that can be easily expanded to account for diverse measurement needs. An existing software tool was adapted to visualize the sensor data and to synchronize it to the MIDI out. With this basis setup we seek to estimate the isolated force output of finger effectors and to show coherences of finger position, force and attack. To proof the setup, a few pilot measurements were carried out.
Keywords
finger, force, Piano, position, Sensor
Paper topics
Music performance analysis and rendering
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850142
Zenodo URL: https://zenodo.org/record/850142
2012.57
Simulated Formant Modeling of Accompanied Singing Signals for Vocal Melody Extraction
Chien, Yu-Ren Academia Sinica; Taipei, Taiwan
Wang, Hsin-Min Academia Sinica; Taipei, Taiwan
Jeng, Shyh-Kang National Taiwan University; Taipei, Taiwan
Abstract
This paper deals with the task of extracting vocal melodies from accompanied singing recordings. The challenging aspect of this task consists in the tendency for instrumental sounds to interfere with the extraction of the desired vocal melodies, especially when the singing voice is not necessarily predominant among other sound sources. Existing methods in the literature are either rule-based or statistical. It is difficult for rule-based methods to adequately take advantage of human voice characteristics, whereas statistical approaches typically require large-scale data collection and labeling efforts. In this work, the extraction is based on a model of the input signals that integrates acoustic-phonetic knowledge and real-world data under a probabilistic framework. The resulting vocal pitch estimator is simple, determined by a small set of parameters and a small set of data. Tested on a publicly available dataset, the proposed method achieves a transcription accuracy of 76%.
Keywords
Acoustic phonetics, Formant synthesis, Melody extraction, Pitch estimation, Simulation, Singing voice, Voice examples
Paper topics
Automatic separation, classification of sound and music, Content processing of music audio signals, Models for sound analysis and synthesis, recognition, Sound/music signal processing algorithms
Easychair keyphrases
singing voice [28], vocal spectrum envelope [19], spectrum envelope [14], vocal melody extraction [14], vocal pitch [14], accompanied singing [13], melody extraction [10], formant frequency [9], pitch value [9], time point [8], accompanied singing signal [7], raw pitch accuracy [7], non professional [6], overall transcription accuracy [6], probability distribution [6], quarter tone [6], vocal melody [6], vocal pitch sequence [6], voicing detection [6], instrumental sound [5], time sample [5], voiced sound [5], accompanied singing data [4], constant q transform [4], publicly available dataset [4], random n vector [4], raw chroma accuracy [4], short time spectra [4], signal model [4], vocal pitch estimation [4]
Paper type
Full paper
DOI: 10.5281/zenodo.850144
Zenodo URL: https://zenodo.org/record/850144
2012.58
SKETCHING CONCATENATIVE SYNTHESIS: SEARCHING FOR AUDIOVISUAL ISOMORPHISM IN REDUCED MODES
Tsiros, Augoustinos Edinburgh Napier University; Edinburgh, United Kingdom
Leplâtre, Grégory Edinburgh Napier University; Edinburgh, United Kingdom
Smyth, Michael Edinburgh Napier University; Edinburgh, United Kingdom
Abstract
This paper presents a prototype allowing the control of a concatenative synthesis algorithm using a 2D sketching interface. The design of the system is underpinned by a preliminary discussion in which isomorphisms between auditory and visual phenomena are identified. We support that certain qualities of sound and graphics are inherently cross-modal. Following this reasoning, a mapping strategy between low-level auditory and visual features was developed. The mapping enables the selection of audio units based on five feature data streams that derive from the statistical analysis of the sketch.
Keywords
Audio Visual association, Concatenative Synthesis, Interaction Design, Isomorphism, Metaphor, Reduced modes, Sketching
Paper topics
Auditory and multimodal illusions, Auditory display and data sonification, Interfaces for sound and music, Multimodality in sound and music computing, Perception and cognition of sound and music, Sonic interaction design
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850146
Zenodo URL: https://zenodo.org/record/850146
2012.59
SpatDIF: Principles, Specification, and Examples
Peters, Nils International Computer Science Institute (ICSI) / Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley; Berkeley, United States
Lossius, Trond Bergen Centre for Electronic Arts (BEK); Bergen, Norway
Schacher, Jan C. Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
SpatDIF, the Spatial Sound Description Interchange Format, is an ongoing collaborative effort offering a semantic and syntactic specification for storing and transmitting spatial audio scene descriptions. The SpatDIF core is a lightweight minimal solution providing the most essential set of descriptors for spatial sound scenes. Additional descriptors are introduced as extensions, expanding the namespace and scope with respect to authoring, scene description, rendering and reproduction of spatial audio. A general overview of the specification is provided, and two use cases are discussed, exemplifying SpatDIF’s potential for file-based pieces as well as real-time streaming of spatial audio scenes.
Keywords
object-based audio, SpatDIF, spatial audio
Paper topics
3D sound/music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850148
Zenodo URL: https://zenodo.org/record/850148
2012.60
SPATIAL RENDERING OF AUDIO-TACTILE FEEDBACK FOR EXPLORATION AND OBJECT INTERACTION IN VIRTUAL ENVIRONMENTS
Pugliese, Roberto Aalto University; Espoo, Finland
Politis, Archontis Aalto University; Espoo, Finland
Takala, Tapio Aalto University; Espoo, Finland
Abstract
In this paper an integrated system for the creation of a combined audio and tactile display is described. In order to get an illusion of physically being among virtual sounding objects, we used vibration motors attached to a belt to give tactile stimulus, and sensed the user's position and orientation with a 3D tracker. Collisions with free-to-move virtual objects is provided through semi-realistic vibration on the correct collision point with respect to the position and orientation of the user. The tactile vibration is encoded on 8 vibrotactile motors using a calculation of the gains on the motors similar to a panning law and improved to convey the perceptual illusion of proximity of the object and collision with it. We combine the tactile stimulus with a spatialization system augmented with distance cues. As a case scenario, simpleLife, an immersive audio-tactile installation for one participant, inspired by the concept of performance ecosystems and ecological approaches to musical interaction is shown.
Keywords
audio-tactile integration, sonic interaction, spatialization, virtual environment
Paper topics
3D sound/music, Auditory and multimodal illusions, Multimodality in sound and music computing, Sonic interaction design, Sound and music for VR and games
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850150
Zenodo URL: https://zenodo.org/record/850150
2012.61
Statistical Synthesis of Transient and Pitch-changing Signals
Cavaco, Sofia Universidade NOVA de Lisboa; Lisbon, Portugal
Abstract
We propose a statistical method for modeling and synthesizing sounds with both sinusoidal and attack transient components. In addition, the sinusoidal component can have pitch-changing characteristics. The method applies multivariate decomposition techniques (such as independent component analysis and principal component analysis) to learn the intrinsic structures that characterize the sound samples. Afterwards these structures are used to synthesize new sounds which can be drawn from the distribution of the real original sound samples. Here we apply the method to impact sounds and show that the method is able to generate new samples that have the characteristic attack transient of impact sounds.
Keywords
independent component analysis, natural sounds, sound synthesis, transients
Paper topics
Models for sound analysis and synthesis
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850154
Zenodo URL: https://zenodo.org/record/850154
2012.62
StringScore: Composing Music with Visual Text
Alvaro, Jesus L. University of Málaga (UMA); Málaga, Spain
Abstract
This paper introduces StringScore, a productive text-based Music Representation for Composition that provides a visual arrangement of motivic elements in a compact and meaningful layout of characters. Time dimension is represented horizontally, taking the text character as the time unit, thus considering character strings as time-lines where musical elements are sequenced. While being compact, Stringscore provides a high degree of independent control of the fundamentals of traditional composition, such as musical form, harmony, melodic contour, texture and counterpoint. The description of the proposed representation has been illustrated with musical examples of applied composition. As an additional validation, StringScore has been successfully applied in the analysis and re-composition of the beginning of Beethoven's Fifth Symphony. Finally, the paper presents "StringScore in the Cloud", a Web-based implementation that probes the representation in the environment of the Computer Music Cloud.
Keywords
cloud computing, composition model, music composition, music representation, web composition
Paper topics
Automatic music generation/accompaniment systems, Computational musicology, Computer environments for sound/music processing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850156
Zenodo URL: https://zenodo.org/record/850156
2012.63
Surface as Structure: The multi-touch controller as map of musical state space
Bown, Oliver The University of Sydney; Sydney, Australia
Jones, Daniel Goldsmiths, University of London; London, United Kingdom
Britton, Sam Brunel University London; London, United Kingdom
Abstract
In this paper we present a new general approach to the use of multi-touch screens as musical controllers. In our approach the surface acts as a large hierarchically structured state-space map through which a musician can navigate a path. We discuss our motivations for this approach, which include the possibility of representing large amounts of musical data such as an entire live set in a common visually mnemonic space rather like a map, and the potential for a rich dynamic and non-symbolic approach to live algorithm generation. We describe our initial implementation of the system and present some initial examples of its use in musical contexts.
Keywords
Android, hierarchical structure, iOS, multi-touch tablet, tablet controller
Paper topics
Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850158
Zenodo URL: https://zenodo.org/record/850158
2012.64
The Body in Electronic Music Performance
Schacher, Jan C. Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
This text discusses the notions of physical presence, perception and 'gestural' actions as an important element of a performance practice in electronic music. After discussing the meaning of the term 'gesture' in music and dance, a brief overview about current trends and methods in research is presented. The skills associated with the performance of electronic instruments are compared to those acquired with traditional instruments, for other physical performing arts such as dance and in technologically mediated art forms that extend the concept of the stage. Challenges and approaches for composing and performing electronic music are addressed and finally a tentative statement is made about embodiment as a quality and category to be applied to and perceived in electronic music performance.
Keywords
Electronic Music, Embodiment, Enaction, Instruments, Perception, Performance
Paper topics
Interfaces for sound and music, Perception and cognition of sound and music, Sound/music and the neurosciences
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850160
Zenodo URL: https://zenodo.org/record/850160
2012.65
THE CONSTANT-Q IIR FILTERBANK APPROACH TO SPECTRAL FLUX
Holopainen, Risto Department of Musicology, University of Oslo; Oslo, Norway
Abstract
Spectral flux is usually measured with the FFT, but here a constant-Q IIR filterbank implementation is proposed. This leads to a relatively efficient sliding feature extractor with the benefit of keeping the time resolution of the output as high as it is in the input signal. Several applications are considered, such as estimation of sensory dissonance, uses in sound synthesis, adaptive effects processing and visualisation in recurrence plots. A novel feature called second order flux is also introduced.
Keywords
adaptive DAFX, filterbank, sensory dissonance, sliding feature extractor, Spectral Flux
Paper topics
Digital audio effects, Methodological issues in sound and music computing, Models for sound analysis and synthesis, Perception and cognition of sound and music, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850162
Zenodo URL: https://zenodo.org/record/850162
2012.66
The FireFader Design: Simple, Open-source, and Reconfigurable Haptics for Musicians
Berdahl, Edgar Technische Universität Berlin (TU Berlin); Berlin, Germany
Kontogeorgakopoulos, Alexandros Cardiff School of Art and Design, Cardiff Metropolitan University; Cardiff, United Kingdom
Abstract
The FireFader is a simple haptic force-feedback device that is optimized for introducing musician to haptics. It has a single degree of freedom and is based upon a mass-produced linear potentiometer fader coupled to a DC motor, also known as a "motorized fader." Lights are connected in parallel with the motor to help visually communicate the strength of the force. Compatibile with OS X, Linux, and Windows, the FireFader consists of only open-source hardware and software elements. Consequently, it is also relatively easy for users to repurpose it into new projects involving varying kinds and numbers of motors and sensors. An open-source device driver for the FireFader allows it to be linked to a laptop via USB, so that the computer can perform the feedback control calculations. For example, the laptop can simulate the acoustics of a virtual musical instrument to calculate the motor force as a function of the fader position. The serial interface over USB causes delay of the control signal, but it facilitates easy programming and less expensive control nevertheless using floating-point computation. Some new devices derived from the FireFader design are presented.
Keywords
Arduino, force feedback, haptic, interfaces, open-source hardware, open-source software, robotics
Paper topics
Interfaces for sound and music, Multimodality in sound and music computing, Music and robotics, Sonic interaction design
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850164
Zenodo URL: https://zenodo.org/record/850164
2012.67
The Fluxations Stochastic Interactive Algorithmic Music Engine (SIAME) and iPhone App
Mailman, Joshua Columbia University; Manhattan, United States
Abstract
This paper reports on aspects of the Fluxations paradigm for interactive music generation and an iPhone app implementation of it. The paradigm combines expressive interactivity with stochastic algorithmic computer generated sound. The emphasis is on pitch-oriented (harmonic) continuity and flux, as steered through sliders and sensors. The paradigm enables the user-performer to maximize exotic but audible musical variety by spontaneously manipulating parameters within the paradigm.
Keywords
accelerometer, emergence, form, harmony, human-computer interaction, improvisation, iPhone, minimalism, pitch-class sets, texture, transposition
Paper topics
Automatic music generation/accompaniment systems, Computational musicology, Humanities in sound and music computing, Interactive performance systems, Interfaces for sound and music, Methodological issues in sound and music computing, Perception and cognition of sound and music, Sonic interaction design
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850166
Zenodo URL: https://zenodo.org/record/850166
2012.68
THE ICST DSP LIBRARY: A VERSATILE AND EFFICIENT TOOLSET FOR AUDIO PROCESSING AND ANALYSIS APPLICATIONS
Papetti, Stefano Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
The ICST DSP library is a compact collection of C++ routines with focus on rapid development of audio processing and analysis applications. Unlike other similar libraries it offers a set of technical computing tools as well as speed-optimized industrial-grade DSP algorithms, which allow one to prototype, test and develop real-time applications without the need of switching development environment. The package has no dependence on third-party libraries, supports multiple platforms and is released under FreeBSD license.
Keywords
analysis, audio, C++ library, computational efficiency, DSP, open-source, synthesis, technical computing
Paper topics
Computer environments for sound/music processing, Content processing of music audio signals, Digital audio effects, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850168
Zenodo URL: https://zenodo.org/record/850168
2012.69
The Quiet Walk: Sonic Memories and Mobile Cartography
Altavilla, Alessandro Culture Lab, Newcastle University; Newcastle upon Tyne, United Kingdom
Tanaka, Atau Goldsmiths Digital Studios, Goldsmiths, University of London; London, United Kingdom
Abstract
This paper presents The Quiet Walk, an interactive mo-bile artwork for sonic explorations of urban space. The goal of TQW is to find the “quietest place”. An interface on the mobile device directs the user to avoid noisy areas of the city, giving directions to find quiet zones. Data collected by the system generates a geo-acoustic map of the city that facilitates the personal recollection of sonic memories. The system is comprised of 3 components: a smartphone running a custom application based on libpd and openFrameworks, a web server collecting the GPS and acoustical data, and computer in an exhibition space displaying a visualization of the sound map. This open-ended platform opens up possibilities of mobile digital signal processing, not only for sound art related artworks but also as a platform for data-soundscape compositions and mobile, digital explorations in acoustic ecology studies.
Keywords
acoustic ecology, libpd, mobile dsp, sonic interactions, sound maps, soundwalks
Paper topics
Auditory display and data sonification, Interactive performance systems, Interfaces for sound and music, Perception and cognition of sound and music, Social interaction in sound and music computing, Sonic interaction design, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850170
Zenodo URL: https://zenodo.org/record/850170
2012.70
The Saxophone by Model and Measurement
Smyth, Tamara Simon Fraser University; Vancouver, Canada
Cherla, Srikanth Simon Fraser University; Vancouver, Canada
Abstract
This work presents an extension to a measurement technique that was used to estimate the reflection and transmission functions of musical instrument bells, to be used within the context of a parametric waveguide model. In the original technique, several measurements are taken of a system, a 2-meter long cylindrical tube with a speaker and co-located microphone at one end, having incrementally varying termination/boundary conditions. Each measured impulse response yields a sequence of multiple evenly spaced arrivals, from which estimates of waveguide element transfer functions, including the bell reflection and transmission, may be formed. The use of the technique for measuring the saxophone presents difficulties due to 1) the inability of separating the bore from the bell for an isolated measurement, 2) the length of the saxophone producing impulse response arrivals that overlap in time (and are not easily windowed), and 3) the presence of a junction when appending the saxophone to the measurement tube and the spectral ``artifact'' generated as a result. In this work we present a different post signal processing technique to overcome these difficulties while keeping the hardware the same. The result is a measurement of the saxophone's round-trip reflection function which is used to construct its transfer function---the inverse transform of which yield's the instrument's impulse response.
Keywords
acoustic measurement, saxophone synthesis, waveguide synthesis, wind instruments modeling
Paper topics
Models for sound analysis and synthesis
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850140
Zenodo URL: https://zenodo.org/record/850140
2012.71
Towards Predicting Expressed Emotion in Music From Pairwise Comparisons
Madsen, Jens DTU Informatics, Technical University of Denmark (DTU); Kongens Lyngby, Denmark
Jensen, Bjørn Sand Technical University of Denmark (DTU); Kongens Lyngby, Denmark
Larsen, Jan DTU Informatics, Technical University of Denmark (DTU); Kongens Lyngby, Denmark
Nielsen, Jens Brehm DTU Informatics, Technical University of Denmark (DTU); Kongens Lyngby, Denmark
Abstract
We introduce five regression models for the modeling of expressed emotion in music using data obtained in a two alternative forced choice listening experiment. The predictive performance of the proposed models is compared using learning curves, showing that all models converge to produce a similar classification error. The predictive ranking of the models is compared using Kendall's tau rank correlation coefficient which shows a difference despite similar classification error. The variation in predictions across subjects and the difference in ranking is investigated visually in the arousal-valence space and quantified using Kendall's tau.
Keywords
Expressed emotions, Music Information Retrieval, Pairwise comparisons
Paper topics
Automatic separation, classification of sound and music, Music information retrieval, Perception and cognition of sound and music, recognition
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850172
Zenodo URL: https://zenodo.org/record/850172
2012.72
Use of soundscapes for providing information about distance left in train journeys
Hansen, Kjetil Falkenberg KTH Royal Institute of Technology; Stockholm, Sweden
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
The study at hand presents the testing of sonification for communicating the distance between two stations in a train journey. We wanted to investigate if it is possible to provide the traveller with information about the distance left to the next station by using non-speech sounds. The idea is that of using a sonification that is independent from culture and language and that can be understood by international travellers.
Keywords
High-speed railroad car, Sonification, Sound design
Paper topics
Auditory display and data sonification, Sonic interaction design
Easychair keyphrases
sound representation [7], next station [6], non speech sound [6], train journey [6], isht interior sound design [4], listening duration [4], mean duration [4], mobile journey planner application [4], post experiment question [4], sonification helped participant [4], urban area [4]
Paper type
Full paper
DOI: 10.5281/zenodo.850174
Zenodo URL: https://zenodo.org/record/850174
2012.73
Virtual Masks in the BACCHAE by Georgia Spiropoulos (ΙRCAM,2010): Exploring Tragic Vocality in Max/Msp Environment
Spiropoulos, Georgia Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Georgaki, Anastasia National and Kapodistrian University of Athens; Athens, Greece
Abstract
In this paper we present some technical aspects on the interactive masks of the opera Les Bacchantes by Georgia Spiropoulos (Ircam, 2010) for a single performer, tape and live electronics. Our purpose is to explore the mutability of a solo voice through different “virtual masks” in Max/Msp as proposed by the composer on a relecture of Euripide’s Bacchae.
Keywords
real-time vocal processing, tragic vocality, virtual score
Paper topics
Humanities in sound and music computing, Interactive performance systems, Music performance analysis and rendering
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.850176
Zenodo URL: https://zenodo.org/record/850176
2012.74
Waveguides for Model-based Sonification
Vogt, Katharina Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Höldrich, Robert Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Pirrò, David Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
Digital waveguides have been used in signal processing for modelling room acoustics. The same technique can be used for model-based sonifications, where the given data serves to construct the three-dimensional sound propagation model. The resulting sounds are intuitive to understand as they simulate real world acoustics. As an example we introduce a digital waveguide mesh based on complex data of computational physics. This approach allows exploring sonically this three-dimensional data and unveiling spatial structures.
Keywords
Digital signal processing, Digital waveguide, Sonification
Paper topics
Auditory display and data sonification, Sound/music signal processing algorithms
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850178
Zenodo URL: https://zenodo.org/record/850178
2012.75
Yig, the Father of Serpents: A Real-Time Network Music Performance Environment
McKinney, Chad University of Sussex; Brighton, United Kingdom
Collins, Nick University of Sussex; Brighton, United Kingdom
Abstract
Approaches to network music performance are often focused on creating systems with minimal latency and maximal synchronicity. In this article we present \emph{Yig, the Father of Serpents}, a new program for performing network music that is designed with these principles in mind, but also offers an argument for a different approach. In Yig, users may have identical states yet the audio rendering could be different. In this paper an introduction to the interface is followed by a brief description of the technical development of the software. Next, the instrument is classified and analyzed using existing frameworks and some philosophy behind divergence in network music is explained. The article concludes with an numeration of potential software improvements and suggestions towards future work using divergence
Keywords
Interfaces, Network Music, SuperCollider
Paper topics
Computer environments for sound/music processing, Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.850180
Zenodo URL: https://zenodo.org/record/850180
Sound and Music Computing Conference 2013 (ed. 10)
Dates: from July 30 to August 03, 2013
Place: Stockholm, Sweden
Proceedings info: Proceedings of the Sound and Music Computing Conference 2013, SMC 2013, Stockholm, Sweden, ISBN 978-91-7501-831-7
2013.1
3D Gestural Interaction With Harmonic Pitch Space
Hedges, Thomas W. Center for Digital Music, Queen Mary University of London; London, United Kingdom
McPherson, Andrew P. Center for Digital Music, Queen Mary University of London; London, United Kingdom
Abstract
This paper presents an interface allowing users to intuitively interact with harmonic pitch space through gestures in physical space. Although harmonic pitch spaces are a well-defined concept within the circles of academic musicology, they often fail to engage with non-musicians or musicians outside academia. A three-dimensional tonnetz founded on root progression theories is conceived and a graphical representation rendered for visual feedback. Users navigate the tonnetz with two-handed gestures captured in three-dimensional space with a purpose built video colour-tracking system. Root transitions and pivot tone triads are used to navigate the tonnetz and trigger audio feedback generated with MIDI. Keywords: Harmonic pitch space, Interactive, Gesture, Tonnetz, Root progression theory.
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unknown
DOI: 10.5281/zenodo.850182
Zenodo URL: https://zenodo.org/record/850182
2013.2
About the Impact of Audio Quality on Overall Listening Experience
Schoeffler, Michael International Audio Laboratories Erlangen (AudioLabs); Erlangen, Germany
Herre, Jürgen International Audio Laboratories Erlangen (AudioLabs); Erlangen, Germany
Abstract
When listening to music, rating the overall listening experience takes many different aspects into account, e. g. the provided audio quality, the listener’s mood, the song that is played back etc. Music that is distributed over the Internet is usually encoded into a compressed audio format. Compressed audio formats are evaluated by expert listeners who rate these audio formats according to the perceived audio quality. Much effort is put into researching techniques for encoding music by having better audio quality at lower bit rates. Nevertheless, the beneficial effect that the audio quality has on the overall listening experience is not fully known. This paper presents the results of an experiment that was carried out to examine the influence that a song and audio quality have on the overall listening experience. The 27 participants rated their personal overall listening experience of music items which were played back in different levels of audio quality. Since listeners have different preferences when rating overall listening experience, the participants were divided into two groups of listeners according to their responses: song likers and audio quality likers. For both types of listeners, the effect of the audio quality on the rating of overall listening experience is shown.
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unknown
DOI: 10.5281/zenodo.850202
Zenodo URL: https://zenodo.org/record/850202
2013.3
A Computational Method for Exploring Musical Creativity Development
Alexakis, Antonis Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Khatchatourov, Armen Sony Computer Science Laboratory; Paris, France
Triantafyllaki, Angeliki Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Anagnostopoulou, Christina Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Abstract
The development of musical creativity using non-standard methods and techniques has been given considerable attention in the last years. However, the use of new technologies in teaching improvisation and thus development of creativity has received relatively little attention to date. The aim of this paper is two-fold: firstly to propose a way of formalising the measurement of creativity, and secondly to test whether the use of a particular interactive system built to support musical improvisational dialogues between the user and the computer (MIROR IMPRO), can develop creativity. First, based on previous research, we define a set of variables aiming at evaluating creativity, and we create a computational model to automatically calculate these variables in order to assess the development of creative abilities. Second, we assess the advancement of creativity in 8-10 year-old children, who spent six weeks interacting with MIROR-IMPRO. We used two groups of children in assessing this advancement: a group of children with no musical background (n=20) and a group of young pianists (n=10). We carried out a free improvisation test before the start and after the end of six sessions with the system. The results suggest a potential progress related to a number of these variables, which could be indicative of creativity advancement. The issue of measuring creativity is discussed in the light of these findings.
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unknown
DOI: 10.5281/zenodo.850184
Zenodo URL: https://zenodo.org/record/850184
2013.4
A Contour-based Jazz Walking Bass Generator
Dias, Rui INESC TEC; Porto, Portugal / School of Applied Arts, Polytechnic Institute of Castelo Branco; Castelo Branco, Portugal
Guedes, Carlos School of Music and Performing Arts, P.Porto (Instituto Politécnico do Porto); Porto, Portugal / INESC TEC; Porto, Portugal
Abstract
This paper describes a contour-based algorithm for the real-time automatic generation of jazz walking bass lines, following a given harmonic progression. A brief description of the walking bass procedure will be presented, and also a brief survey on some common implementations and techniques. This algorithm was implemented in the Max/MSP graphical programming environment.
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unknown
DOI: 10.5281/zenodo.850186
Zenodo URL: https://zenodo.org/record/850186
2013.5
Acoustic Retroreflectors for Music Performance Monitoring
Tuominen, Heikki T. Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Rämö, Jussi Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Välimäki, Vesa Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Abstract
This paper is concerned with acoustic retroreflectors, which reflect sound back towards any sound source. They are constructed here of two reflecting panels connected with hinges and placed on a hard reflecting floor. Acoustic retroreflectors can replace electroacoustic monitoring in music performance when sufficiently large panels are placed at an appropriate distance from performers. A good distance is between about 3 and 8 m from a player, corresponding to propagation delays of between approximately 20 ms and 50 ms from a player to the retroreflector and back. We have conducted acoustic measurements in an anechoic chamber using various retroreflector structures, including symmetric V-shaped and asymmetric L-shaped reflectors of two different heights with various opening angles and incident angles. Our data show that the 90° opening angle produces the strongest reflection. Surprisingly, increasing the opening angle to 100° or more decreases the magnitude of reflection by more than 10 dB, while a smaller angle, such as 80°, mainly weakens the reflection at high frequencies. User tests with musicians indicate that acoustic retroreflectors can provide the desired feedback in performance spaces in which natural reflections to the stage are missing, such as in large halls far away from the walls or outdoors.
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unknown
DOI: 10.5281/zenodo.850204
Zenodo URL: https://zenodo.org/record/850204
2013.6
Acoustic Score Following to Musical Performance With Errors and Arbitrary Repeats and Skips for Automatic Accompaniment
Nakamura, Tomohiko Graduate School of Information Science and Technology, The University of Tokyo; Tokyo, Japan
Nakamura, Eita Graduate School of Information Science and Technology, The University of Tokyo; Tokyo, Japan
Sagayama, Shigeki Graduate School of Information Science and Technology, The University of Tokyo; Tokyo, Japan
Abstract
We discuss acoustic score-following algorithms for monophonic musical performances with arbitrary repeats and skips as well as performance errors, particularly focusing on reducing the computational complexity. Repeats/skips are often made arbitrarily during musical practice, and it is desirable to deal with arbitrary repeats/skips for wide application of score following. Allowing arbitrary repeats/skips in performance models demands reducing the computational complexity for score following. We show that for certain hidden Markov models which assume independence of transition probabilities from and to where repeats/skips are made, the computational complexity can be reduced from O(M 2 ) down to O(M ) for the number of notes M , and construct score-following algorithms based on the models. We experimentally show that the proposed algorithms work in real time with practical scores (up to about 10000 notes) and can catch up with the performances in around 3.8 s after repeats/skips.
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unknown
DOI: 10.5281/zenodo.850206
Zenodo URL: https://zenodo.org/record/850206
2013.7
Acoustics-like Dynamics in Signal-based Synthesis Through Parameter Mapping
Gaffney, Brendan Bernhardt University California, San Diego (UCSD); San Diego, United States
Smyth, Tamara University California, San Diego (UCSD); San Diego, United States
Abstract
To ideally expand a sound synthesis parameter mapping strategy is to introduce complexity and capability without sacrificing its ease of use. Following work done with dynamical systems and catastrophe theory by René Thom, Sir E.C. Zeeman and others, we are able to create a general purpose model for introducing extended behaviors, akin to the dynamics of acoustic instruments, in low complexity interfaces without adding control parameters or losing the possibility of reverting to a simple, near-linear mapping. Herein, we explore the principles of catastrophe theory, paying particular attention to the cusp model in which two input parameters yield a third and fourth describing the “catastrophic” events after which the theory is named. As acoustic systems possess several attributes of the catastrophic models, we experiment using the cusp model to enhance mapping of control parameters to FM synthesis parameters, in an attempt to give these signal-based virtual instruments the nuance and capability of their acoustic counterparts.
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unknown
DOI: 10.5281/zenodo.850208
Zenodo URL: https://zenodo.org/record/850208
2013.8
A History of Sequencers: Interfaces for Organizing Pattern-based Music
Arar, Raphael California Institute of the Arts (CalArts); Santa Clarita, United States
Kapur, Ajay California Institute of the Arts (CalArts); Santa Clarita, United States
Abstract
This paper presents a history of sequencers for musical performance and creation. A sequencer is a musical interface designed to record, edit and playback audio samples in pattern format for both music composition and performance. Sequencers have evolved over the years to take many forms including mechanical and analog sequencers, drum machines, software sequencers, robotic sequencers, grid-based sequencers and tangible sequencers. This vast array of sequencer types brings forth a number of technological approaches including hardware fabrication, software development, robotic design, embedded electronics and tangible interaction design.
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unknown
DOI: 10.5281/zenodo.850188
Zenodo URL: https://zenodo.org/record/850188
2013.9
Amarok Pikap: Interactive Percussion Playing Automobile
Artut, Selçuk Faculty of Arts and Social Sciences, Sabancı University; Istanbul, Turkey
Abstract
Alternative interfaces that imitate the audio-structure of authentic musical instruments are often equipped with sound generation techniques that feature physical attributes similar to those of the instruments they imitate. Amarok Pikap project utilizes an interactive system on the surface of an automobile that is specially modified with the implementation of various electronic sensors attached to its bodywork. Sur-faces that will be struck to produce sounds in percussive instrument modeling are commonly selected as distinctive surfaces such as electronic pads or keys. In this article we will carry out a status analysis to examine to what extent a percussion-playing interface using FSR and Piezo sensors can represent an authentic musical instrument, and how a new interactive musical interface may draw the interests of the public to a promotional event of an automobile campaign: Amarok Pikap. The structure that forms the design will also be subjected to a technical analysis.
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unknown
DOI: 10.5281/zenodo.850210
Zenodo URL: https://zenodo.org/record/850210
2013.10
A Multipitch Estimation Algorithm Based on Fundamental Frequencies and Prime Harmonics
Camacho, Arturo School of Computer Science and Informatics, University of Costa Rica; San José, Costa Rica
Kaver-Oreamuno, Iosef School of Computer Science and Informatics, University of Costa Rica; San José, Costa Rica
Abstract
An algorithm named Prime-multiF0 for the estimation of multiple pitches in a signal is proposed. Unlike other algorithms that consider all harmonics of every pitch candidate, our algorithm considers only on the fundamental frequency and prime harmonics. This approach is shown to work extremely well with chords made of intervals no smaller than a minor third. A test suite was created using synthetic signals of sawtooth, square, and triangle waves; major, minor, diminished and augmented triads in fundamental and first and second inversion, and spanning a bass range of three octaves. Experimental results show that our algorithm was able to detect the correct notes (after rounding to the closest semitone) for all the sawtooth and square waves in the test set, and for 99.3\% of the triangle waves, failing only on very high pitch notes.
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unknown
DOI: 10.5281/zenodo.850192
Zenodo URL: https://zenodo.org/record/850192
2013.11
An Energy Conserving Finite Difference Scheme for Simulation of Collisions
Chatziioannou, Vasileios Department of Music Acoustics, University of Music and Performing Arts (MDW); Vienna, Austria
van Walstijn, Maarten Sonic Arts Research Centre, Queen's University Belfast; Belfast, United Kingdom
Abstract
Nonlinear phenomena play an essential role in the sound production process of many musical instruments. A common source of these effects is object collision, the numerical simulation of which is known to give rise to stability issues. This paper presents a method to construct numerical schemes that conserve the total energy in simulations of one-mass systems involving collisions, with no conditions imposed on any of the physical or numerical parameters. This facilitates the adaptation of numerical models to experimental data, and allows a more free parameter adjustment in sound synthesis explorations. The energy preservedness of the proposed method is tested and demonstrated though several examples, including a bouncing ball and a non-linear oscillator, and implications regarding the wider applicability are discussed.
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unknown
DOI: 10.5281/zenodo.850212
Zenodo URL: https://zenodo.org/record/850212
2013.12
An Open-source Framework for Time-domain Simulations
Geyer, Clemens Bernhard Department of Music Acoustics, University of Music and Performing Arts (MDW); Vienna, Austria
Kausel, Wilfried Department of Music Acoustics, University of Music and Performing Arts (MDW); Vienna, Austria
Abstract
In scientific research simulation of new or existing acoustical models is typically implemented using commercial numerical programming environments like Simulink/Matlab or expensive simulation packages like COMSOL or FLUENT. In this paper a new version of the open-source simulation library ART (Acoustic Research Tool) is presented where time-domain simulation capabilities have now been added to existing frequency domain models. The concept allows mixing of modeling elements belonging to different levels of abstraction and it relieves the user from tricky implementation details like scheduling, data dependencies and memory allocation. Starting with an equation in the z-Domain, signals can be described recursively as a function of other current or previous signal samples and local or global simulation parameters. Alternatively signals can also be generated by specifying a certain topology of predefined elements with certain input and output ports. The library can be called from any programming environment running on Microsoft Windows or on Linux which allows it to be integrated in any application software project. The examples shown here have been written in the open-source high-level programming language Python. They can be downloaded together with the library and documentation from the project site http://artool.sourceforge.net.
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unknown
DOI: 10.5281/zenodo.850214
Zenodo URL: https://zenodo.org/record/850214
2013.13
A Preliminary Computational Model of Immanent Accent Salience in Tonal Music
Parncutt, Richard Centre for Systematic Musicology, University of Graz; Graz, Austria
Bisesi, Erica Centre for Systematic Musicology, University of Graz; Graz, Austria
Friberg, Anders Department of Speech Music Hearing, Royal Institute of Technology; Stockholm, Sweden
Abstract
We describe the first stage of a two-stage semialgorithmic approach to music performance rendering. In the first stage, we estimate the perceptual salience of immanent accents (phrasing, metrical, melodic, harmonic) in the musical score. In the second, we manipulate timing, dynamics and other performance parameters in the vicinity of immanent accents (e. g., getting slower and/or louder near an accent). Phrasing and metrical accents emerge from the hierarchical structure of phrasing and meter; their salience depends on the hierarchical levels that they demarcate, and their salience. Melodic accents follow melodic leaps; they are strongest at contour peaks and (to a lesser extent) valleys; and their salience depends on the leap interval and the distance of the target tone from the local mean pitch. Harmonic accents depend on local dissonance (roughness, non-harmonicity, non-diatonicity) and chord/key changes. The algorithm is under development and is being tested by comparing its predictions with music analyses, recorded performances and listener evaluations.
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unknown
DOI: 10.5281/zenodo.850194
Zenodo URL: https://zenodo.org/record/850194
2013.14
A Quantitative Review of Mappings in Musical iOS Applications
Kell, Thor Input Devices and Music Interaction Laboratory, Music Technology Area, McGill University; Montreal, Canada
Wanderley, Marcelo M. Input Devices and Music Interaction Laboratory, Music Technology Area, McGill University; Montreal, Canada
Abstract
We present a quantitative review of the mappings and metaphors used across the most popular musical iOS applications. We examined 337 applications in terms of both the metaphor they present to the user (piano, guitar, etc), and the exact nature of their mappings (pitch mapped horizontally, time mapped vertically, etc). A special focus is given to applications that do not present a well-known interaction metaphor to the user. Potential reasons for the popularity of certain metaphors are given. We further suggest that this data could be used to help explore the iOS design space, and offer some examples.
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unknown
DOI: 10.5281/zenodo.850196
Zenodo URL: https://zenodo.org/record/850196
2013.15
Artificial Affective Listening Towards a Machine Learning Tool for Sound-based Emotion Therapy and Control
Kirke, Alexis Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Nasuto, Slawomir J. University of Reading; Reading, United Kingdom
Abstract
We are extending our work in EEG-based emotion detection for automated expressive performances of algorithmically composed music for affective communication and induction. This new system will involve music composed and expressively performed in real-time to induce specific affective states, based on the detection of affective state in a human listener. Machine learning algorithms will learn: (1) how to use EEG and other biosensors to detect the user’s current emotional state; and (2) how to use algorithmic performance and composition to induce certain affective trajectories. In other words the system will attempt to adapt so that it can – in real-time - turn a certain user from depressed to happy, or from stressed to relaxed, or (if they like horror movies!) from relaxed to fearful. As part of this we have developed a test-bed involving an artificial listening affective agent to examine key issues and test potential solutions. As well as giving a project overview, prototype design and first experiments with this artificial agent are presented here.
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unknown
DOI: 10.5281/zenodo.850216
Zenodo URL: https://zenodo.org/record/850216
2013.16
A Social Network Integrated Game Experiment to Relate Tapping to Speed Perception and Explore Rhythm Reproduction
Bellec, Guillaume ENSTA Paristech; Paris, France
Elowsson, Anders Department of Speech Music Hearing, Royal Institute of Technology; Stockholm, Sweden
Friberg, Anders Department of Speech Music Hearing, Royal Institute of Technology; Stockholm, Sweden
Wolff, Daniel Department of Computer Science, City University London; London, United Kingdom
Weyde, Tillman Independent; Finland
Abstract
During recent years, games with a purpose (GWAPs) have become increasingly popular for studying human behaviour [1–4]. However, no standardised method for web-based game experiments has been proposed so far. We present here our approach comprising an extended version of the CaSimIR social game framework [5] for data collection, mini-games for tempo and rhythm tapping, and an initial analysis of the data collected so far. The game presented here is part of the Spot The Odd Song Out game, which is freely available for use on Facebook and on the Web 1 . We present the GWAP method in some detail and a preliminary analysis of data collected. We relate the tapping data to perceptual ratings obtained in previous work. The results suggest that the tapped tempo data collected in a GWAP can be used to predict perceived speed. I toned down the above statement as I understand from the results section that our data are not as good as When averaging the rhythmic performances of a group of 10 players in the second experiment, the tapping frequency shows a pattern that corresponds to the time signature of the music played. Our experience shows that more effort in design and during runtime is required than in a traditional experiment. Our experiment is still running and available on line.
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unknown
DOI: 10.5281/zenodo.850198
Zenodo URL: https://zenodo.org/record/850198
2013.17
Audio Interpolation and Morphing via Structured-sparse Linear Regression
Kereliuk, Corey Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Depalle, Philippe Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Pasquier, Philippe School of Computing Science, Simon Fraser University; Vancouver, Canada
Abstract
We present a method of audio interpolation suitable for the restoration of missing and/or corrupted audio samples. Our method assumes that the missing/corrupted samples can be easily identified and are subsequently treated as missing data. We then model the audio signal as a linear combination of elementary waveforms (referred to as atoms) and estimate the values of the missing samples by solving a penalized linear regression problem. A first work in this direction was recently presented using the moniker ‘audio inpainting’ (in deference to similar work in the image processing community). We extend this avenue of research by incorporating additional continuity constraints into the problem, which leads to improved estimates of the missing data. Furthermore, we show how our method leads to a natural framework for morphing/transitioning between two sounds. Finally, we present several examples that illustrate the effectiveness of our interpolation strategy and the quality of morphing that can be attained.
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unknown
DOI: 10.5281/zenodo.850218
Zenodo URL: https://zenodo.org/record/850218
2013.18
Audio Restoration of Solo Guitar Excerpts Using a Excitation-filter Instrument Model
Parras-Moral, Juan Department of Telecommunication Engineering, University of Jaén; Jaén, Spain
Cañadas-Quesada, Francisco Jesús Department of Telecommunication Engineering, University of Jaén; Jaén, Spain
Vera-Candeas, Pedro Department of Telecommunication Engineering, University of Jaén; Jaén, Spain
Ruiz-Reyes, Nicolas Department of Telecommunication Engineering, University of Jaén; Jaén, Spain
Abstract
This work proposes a denoising algorithm for musical instruments based on the use of an excitation-filter instrument model. Firstly, frequency patterns for the musical instrument are learned. These patterns are trained in advance from the RWC database and classified into harmonic and transient components. The harmonic patterns of the target instrument are modelled with an excitation-filter approach. Frequency patterns from the beginning of different notes (onsets) are also learned. Secondly, frequency patterns from noise are trained. Two different types of global degradations from vinyl audio (hum and hiss), apart from localized degradations from crackle noise, are used in this work. Two different types of global degradations from vinyl audio (hum and hiss), apart from localized degradations from click, crackle and scratch noise, are used in this work. Two databases (click+crackle+scratch+hiss and click+crackle+scratch+hiss+hum) are collected in order to obtain different subsets for training and testing. Finally, an NMF approach is applied to separate instrument signal and noise from noisy performances. The proposed approach is compared with some commercial algorithms when denoising a vinyl degraded guitar database. The separation measures indicate that the proposed approach obtains competitive results.
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unknown
DOI: 10.5281/zenodo.850220
Zenodo URL: https://zenodo.org/record/850220
2013.19
Audio-tactile Feedback in Musical Gesture Primitives: Finger Pressing
Järveläinen, Hanna ICST, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Papetti, Stefano ICST, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Schiesser, Sébastien ICST, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Großhauser, Tobias Weaeable Computing Lab, Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Abstract
We present a study on the effect of auditory and vibrotactile cues in a finger-pressing task. During a training phase subjects learned three target forces, and had to reproduce them during an experiment, under different feedback conditions. Results show that audio-tactile augmentation allowed subjects to achieve memorized target forces with improved accuracy. A tabletop device capable of recording normal force and displaying vibrotactile feedback was implemented to run several experiments. This study is first in a series of planned investigations on the role of audio-haptic feedback and perception in relation to musical gestures primitives.
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unknown
DOI: 10.5281/zenodo.850222
Zenodo URL: https://zenodo.org/record/850222
2013.20
Auralization of Coupled Spaces Based on a Diffusion Equation Model
Luizard, Paul Laboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur (LIMSI), Université Paris-Sud XI; Paris, France
Polack, Jean-Dominique Lutheries - Acoustique - Musique (LAM), Institut Jean Le Rond d'Alembert; Paris, France
Katz, Brian F. G. Laboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur (LIMSI), Université Paris-Sud XI; Paris, France
Abstract
Auralization of room acoustics consists in audio rendering based on the sound characteristics of a virtual space. It is defined by Vorländer [1] as “the creation of audible acoustic sceneries from computer-generated data”, as the auditory equivalent of visualization techniques. Auralization is obtained by convolving a room impulse response with an anechoic recording, adding room presence to the reverberation-free excitation signal, providing subjective immersion in the considered space. Since acoustically coupled spaces are encountered in various venues such as large stairways distributing corridors or rooms, naves and side galleries in churches, even crossing streets in dense cities, it becomes interesting to produce accurate auralization in these types of venues. Such coupled room impulse responses can be synthesized using a recently proposed sound energy decay model based on a diffusion equation and adapted to coupled spaces. This paper presents the parametric model of sound energy decay and describes the impulse response synthesis process leading to auralization of coupled spaces.
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DOI: 10.5281/zenodo.850224
Zenodo URL: https://zenodo.org/record/850224
2013.21
Automatic Tuning of the OP-1 Synthesizer Using a Multi-objective Genetic Algorithm
Macret, Matthieu School of Computing Science, Simon Fraser University; Vancouver, Canada
Pasquier, Philippe School of Computing Science, Simon Fraser University; Vancouver, Canada
Abstract
Calibrating a sound synthesizer to replicate or approximate a given target sound is a complex and time consuming task for musicians and sound designers. In the case of the OP1, a commercial synthesizer developed by Teenage Engineering, the difficulty is multiple. The OP-1 contains several synthesis engines, effects and low frequency oscillators, which make the parameters search space very large and discontinuous. Furthermore, interactions between parameters are common and the OP-1 is not fully deterministic. We address the problem of automatically calibrating the parameters of the OP-1 to approximate a given target sound. We propose and evaluate a solution to this problem using a multi-objective Non-dominated-Sorting-GeneticAlgorithm-II. We show that our approach makes it possible to handle the problem complexity, and returns a small set of presets that best approximate the target sound while covering the Pareto front of this multi-objective optimization problem.
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DOI: 10.5281/zenodo.850227
Zenodo URL: https://zenodo.org/record/850227
2013.22
A Versatile Toolkit for Controlling Dynamic Stochastic Synthesis
Kreković, Gordan Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Petrinović, Davor Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Abstract
Dynamic stochastic synthesis is one of the non-standard sound synthesis techniques used mostly in experimental computer music. It is capable of producing various rich and organic sonorities, but its drawback is the lack of a convenient approach to controlling the synthesis parameters. Several authors previously addressed this problem and suggested direct parameter control facilitated with additional features such as parameter automation. In this paper we present a comprehensive toolkit which, besides direct control, offers several new approaches. First, it enables controlling the synthesizer with an audio signal. Relevant audio features of an input signal are mapped to the synthesis parameters making the control immediate and intuitive. Second, the toolkit supports MIDI control so that musicians can use standard MIDI interfaces to play the synthesizer. Based on this approach we implemented a polyphonic MIDI-controlled synthesizer and included it in the toolkit along with other examples of controlling the dynamic stochastic synthesizer. The toolkit was developed in the widely used visual programming environment Pure Data.
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unknown
DOI: 10.5281/zenodo.850200
Zenodo URL: https://zenodo.org/record/850200
2013.23
Beat-station: A Real-time Rhythm Annotation Software
Miron, Marius INESC TEC; Porto, Portugal
Gouyon, Fabien INESC TEC; Porto, Portugal
Davies, Matthew E. P. INESC TEC; Porto, Portugal
Holzapfel, André Boğaziçi University; Istanbul, Turkey
Abstract
This paper describes an open-source software for real-time rhythm annotation. The software integrates several modules for graphical user interface, user management across a network, tap recording, audio playing, midi interfacing and threading. It is a powerful tool for conducting listening tests, but can also be used for beat annotation of music or in a game setup. The parameters of this software, including the real-time constraints, are not pre-defined in the code but can be easily changed in a settings file. Finally, the framework used allows for scalability, as it was developed in openFrameworks. We show the usefulness of the software by applying it in a cross-cultural beat tapping experiment during the ISMIR 2012 conference. An analysis of the collected real-time annotations indicates that listeners encounter difficulties in synchronizing to music in presence of unfamiliar rhythmic structures and instrumental timbres.
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DOI: 10.5281/zenodo.850233
Zenodo URL: https://zenodo.org/record/850233
2013.24
Brazilian Challenges on Network Music
Arango, Julián Jaramillo Department of Music (CMU), University of São Paulo (USP); São Paulo, Brazil
Tomiyoshi, Marcio Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Iazzetta, Fernando Department of Music (CMU), University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Abstract
This paper presents an overview of research and development of Network Music in Brazil, and particularly the production of two concerts at the University of São Paulo in partnership with the Sonic Arts Research Centre in Belfast, Northern Ireland. We present technical issues encountered that were of substantial impact on the realization of rehearsals and concerts, and also discuss aesthetic issues related to composition, performance and perception on distributed environments. From these concerts we emphasize the lessons we learned and also the perspectives for future research, always from both technical and artistic points-of-view.
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unknown
DOI: 10.5281/zenodo.850237
Zenodo URL: https://zenodo.org/record/850237
2013.25
Capacitive Left Hand Finger and Bow Sensors for Synchronization and Rhythmical Regularity Analysis in String Ensembles
Großhauser, Tobias Weaeable Computing Lab, Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Feese, Sebastian Weaeable Computing Lab, Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Tröster, Gerhard Weaeable Computing Lab, Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Abstract
In this paper bow and fingerboard sensors for measurements of synchronization between musicians in group music making are introduced. They are evaluated in several performing situations from advanced musicians in a new founded string trio up to a professional, long time experienced string quartet. The small form factor of the sensors allowed to measure synchronization in musicians’ daily life situations. These are a rehearsal, tuition in chamber music class, and a concert situation. Additionally, the musicians filled out a questionnaire rating their grade of preparation, the influence of the sensor while playing, and some more data in each recording session. With the sensors, different rhythmic inaccuracies in seemingly simultaneous bow and note changes between the musicians while making music together are measured and quantified. Further a possibility for sensor based rhythmical regularity measurement while playing equal notes is presented. The results of the questionnaire confirm the unobtrusiveness of the setup and the possible use of it in daily performing situations and even on stage. At the end of this paper an outlook for synchronization skills is introduced and possible impacts into the field of new music is shown.
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unknown
DOI: 10.5281/zenodo.850239
Zenodo URL: https://zenodo.org/record/850239
2013.26
Child / Machine Interaction in Reflexive Environment. The Miror Platform
Addessi, Anna Rita Università di Bologna; Bologna, Italy
Abstract
This paper introduces the MIROR Platform, an innovative adaptive device for music and dance education, proposed in the framework of the EU-ICT project MIROR-Musical Interaction Relying On Reflexion. In concluding the MIROR project, 3 software applications (MIROR-Impro, MIROR-Compo and MIROR-Body Gesture) and the draft version of the User’s and Teacher’s Guides have been accomplished. In this paper, the technological and pedagogical principles of the MIROR platform, notably the “reflexive interaction” paradigm, the 3 applications and related experiments will be introduced. Finally, the draft of the full architecture of the platform is presented.
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unknown
DOI: 10.5281/zenodo.850241
Zenodo URL: https://zenodo.org/record/850241
2013.27
Comparing Timbre-based Features for Musical Genre Classification
Hartmann, Martin Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä; Jyväskylä, Finland
Saari, Pasi Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä; Jyväskylä, Finland
Toiviainen, Petri Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä; Jyväskylä, Finland
Lartillot, Olivier Finnish Centre of Excellence in Interdisciplinary Music Research, Department of Music, University of Jyväskylä; Jyväskylä, Finland
Abstract
People can accurately classify music based on its style by listening to less than half a second of audio. This has motivated efforts to build accurate predictive models of musical genre based upon short-time musical descriptions. In this context, perceptually relevant features have been considered crucial but only little research has been conducted in this direction. This study compared two timbral features for supervised classification of musical genres: 1) the Mel-Frequency Cepstral Coefficients (MFCC), coming from the speech domain and widely used for music modeling purposes; and 2) the more recent Sub-Band Flux (SBF) set of features which has been designed specifically for modeling human perception of polyphonic musical timbre. Differences in performance between models were found, suggesting that the SBF feature set is more appropriate for musical genre classification than the MFCC set. In addition, spectral fluctuations at both ends of the frequency spectrum were found to be relevant for discrimination between musical genres. The results of this study give support to the use of perceptually motivated features for musical genre classification.
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unknown
DOI: 10.5281/zenodo.850243
Zenodo URL: https://zenodo.org/record/850243
2013.28
Composing for Cars
Parkinson, Adam Department of Computing, Goldsmiths, University of London; London, United Kingdom
Tanaka, Atau Department of Computing, Goldsmiths, University of London; London, United Kingdom
Abstract
The authors report on composing a piece for RoadMusic, an interactive music project which generates and manipulates music for the passengers and driver in a car, using sensor information gathered from the surroundings and from the movements of the car. We present a literature review which brings together related works in the diverse fields of Automotive UI, musical mappings, generative music and sonification. We then describe our strategies for composing for this novel system, and the unique challenges it presented. We describe how the process of constructing mappings is an essential part of composing a piece of this nature, and we discuss the crucial role of mapping in defining RoadMusic as either a new musical instrument, a sonification system or generative music. We then consider briefly the extent to which the Road-Music performance was as we anticipated, and the relative success of our composition strategies, along with suggestions for future adaptations when composing for such an environment.
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Paper type
unknown
DOI: 10.5281/zenodo.850245
Zenodo URL: https://zenodo.org/record/850245
2013.29
Composing Social Interactions for an Interactive-spatial Performance System
Parkinson, Adam Department of Computing, Goldsmiths, University of London; London, United Kingdom
Tahiroğlu, Koray Dept. of Media, School of Arts, Design and Architecture, Aalto University; Espoo, Finland
Abstract
This paper describes a recent composition, No More Together, in which performers’ interactions directly influence the sound of the piece. The composition provides a structure for group interactions, and is performed with the onbody and in-space components of ’PESI’, an interactive spatial performance system. Our composition attempts to compose social interactions, drawing upon notions of participatory sense-making, and the idea that these interactions are best construed as emergent systems, possessing their own internal dynamics. The composition is contextualised as part of the repertoire for the PESI system, exploring embodied, social and spatial interactions in sound and music computing.
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unknown
DOI: 10.5281/zenodo.850247
Zenodo URL: https://zenodo.org/record/850247
2013.30
Conducting a Virtual Ensemble With a Kinect Device
Rosa-Pujazón, Alejandro Department of Telecommunication Engineering, University of Málaga (UMA); Málaga, Spain
Barbancho, Isabel Department of Telecommunication Engineering, University of Málaga (UMA); Málaga, Spain
Tardón, Lorenzo José Department of Telecommunication Engineering, University of Málaga (UMA); Málaga, Spain
Barbancho, Ana Maria Department of Telecommunication Engineering, University of Málaga (UMA); Málaga, Spain
Abstract
This paper presents a gesture-based interaction technique for the implementation of an orchestra conductor and a virtual ensemble, using a 3D camera-based sensor to capture user’s gestures. In particular, a human-computer interface has been developed to recognize conducting gestures using a Microsoft Kinect device. The system allows the conductor to control both the tempo in the piece played as well as the dynamics of each instrument set independently. In order to modify the tempo in the playback, a time-frequency processing-based algorithm is used. Finally, an experiment was conducted to assess user’s opinion of the system as well as experimentally confirm if the features in the system were effectively improving user experience or not.
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unknown
DOI: 10.5281/zenodo.850249
Zenodo URL: https://zenodo.org/record/850249
2013.31
Controlling a Sound Synthesizer Using Timbral Attributes
Pošćić, Antonio Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Kreković, Gordan Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Abstract
In this paper we present the first step towards a novel approach to visual programming for sound and music applications. To make the creative process more intuitive, our concept enables musicians to use timbral attributes for controlling sound synthesis and processing. This way, musicians do not need to think in terms of signal processing, but can rely on natural descriptions instead. A special point of interest was mapping timbral attributes into synthesis parameters. We proposed a solution based on fuzzy logic which can be applied to different synthesizers. For a particular synthesizer, an audio expert can conveniently define mappings in form of IF-THEN rules. A prototype of the system was implemented in Pure Data and demonstrated with a subtractive synthesizer. A survey conducted among amateur musicians has shown that the system works according to their expectations, but descriptions based on timbral attributes are imprecise and dependent on subjective interpretation.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850251
Zenodo URL: https://zenodo.org/record/850251
2013.32
Creating Expressive Piano Performance Using a Low-dimensional Performance Model
Gu, Yupeng Indiana University Bloomington; Bloomington, United States
Raphael, Christopher Indiana University Bloomington; Bloomington, United States
Abstract
A model is presented for representing and generating piano performance. The model has far fewer parameters than the number of notes. This model explicitly addresses one of the fundamental characteristic of music performance that different areas in a performance have very different kinds of objectives or strategies that are employed. A graphical model is introduced to represent the evolution of the discrete strategies and tempo and dynamic progression. We design interactive procedures that allow users to modify the model intuitively. An algorithm is described to estimate parameters from partial performances that represent the skeleton of the music. Experiments are presented on the two-piano version of Rhapsody in Blue by George Gershwin.
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unknown
DOI: 10.5281/zenodo.850253
Zenodo URL: https://zenodo.org/record/850253
2013.33
Design of an Interactive Earphone Simulator and Results From a Perceptual Experiment
Lindborg, PerMagnus Nanyang Technological University; Singapore, Singapore
Lim, Jia Yi (Miracle) Nanyang Technological University; Singapore, Singapore
Abstract
The article outlines a psychoacoustically founded method to describe the acoustic performance of earphones in two dimensions, Spectral Shape and Stereo Image Coherence. In a test set of 14 typical earphones, these dimensions explained 66.2\% of total variability in 11 acoustic features based on Bark band energy distribution. We designed an interactive Earphone Simulator software that allows smooth interpolation between measured earphones, and employed it in a controlled experiment (N=30). Results showed that the preferred ‘virtual earphone’ sound was different between two test conditions, silence and commuter noise, both in terms of gain level and spectral shape. We discuss possible development of the simulator design for use in perceptual research as well as in commercial applications.
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unknown
DOI: 10.5281/zenodo.850255
Zenodo URL: https://zenodo.org/record/850255
2013.34
Discrete Isomorphic Completeness and a Unified Isomorphic Layout Format
Park, Brett University of Regina; Regina, Canada
Gerhard, David University of Regina; Regina, Canada
Abstract
An isomorphic layout can be used to position pitches on a grid of hexagons. This has many beneficial musical properties such as consistent fingering and spatial harmonic consistency. A Unified Isomorphic Layout (UIL) format is presented in order to create a common specification for describing hexagonal isomorphic layouts. The UIL format provides an unambiguous description of relative pitch orientations and is easily visualized. The notion of complete and degenerate isomorphic layouts (along with a proof) is introduced to narrow down the number of valid isomorphic layouts used for exhaustive evaluations.
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unknown
DOI: 10.5281/zenodo.850257
Zenodo URL: https://zenodo.org/record/850257
2013.35
Downy Oak: Rendering Ecophysiological Processes in Plants Audible
Maeder, Marcus ICST, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Zweifel, Roman Swiss Federal Institute for Forest, Snow and Landscape Research (WSL); Birmensdorf, Switzerland
Abstract
In our research project trees: Rendering Ecophysiological Processes Audible, we are working on the acoustic recording, analysis and representation of ecophysiological processes in plants and studying the acoustic and aesthetic requirements for making them perceptible. Measurements of acoustic emissions in plants are only interpretable in relation to climatic and physiological dynamics such as microclimatic conditions, sap flow and changes in trunk radius and water potential within the plants—all measurement data that is not auditory per se. Therefore, our work involves analysing the acoustic emissions mathematically, on one hand, and sonifying ecophysiological data on the other. How can phenomena that are beyond our normal perception be made directly observable, creating new experiences and opening a new window on the processes of nature? The sound installation trees: Downy Oak, exhibited at swissnex in San Francisco in summer 2012, is a first approach to a spatial audio sonification and research system. Our experiments show that immediate and intuitive access to measurement data through sounds and their spatial positioning is very promising in terms of new forms of data display as well as generative art works.
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unknown
DOI: 10.5281/zenodo.850259
Zenodo URL: https://zenodo.org/record/850259
2013.36
Dynamic FM Synthesis Using a Network of Complex Resonator Filters
Parker, Julian Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Bovermann, Till Dept. of Media, School of Arts, Design and Architecture, Aalto University; Espoo, Finland
Abstract
There is a strong analogy between the sinusoidal operator used in FM synthesis, and the resonator filter. When implemented in a direct-form structure, a resonator filter is not suitable for use as a substitute for an FM operator, as it is not stable under centre frequency modulation. Recent, more robust resonator filter structures have made this use a possibility. In this paper we examine the properties of this structure that makes it appropriate for this application, and describe how a network of these filters can be combined to form a dynamic FM synthesis network. We discuss the possible range of sounds that can be produced by this structure, and describe its application to a performance system for improvised electroacoustic music.
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unknown
DOI: 10.5281/zenodo.850263
Zenodo URL: https://zenodo.org/record/850263
2013.37
Effect of Timbre on Melody Recognition in Three-voice Counterpoint Music
Chon, Song Hui Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Schwartzbach, Kevin Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Smith, Bennett Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
McAdams, Stephen Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Abstract
Timbre saliency refers to the attention-capturing quality of timbre. Can we make one musical line stand out of multiple concurrent lines using a highly salient timbre on it? This is the question we ask in this paper using a melody recognition task in counterpoint music. Three-voice stimuli were generated using instrument timbres that were chosen following specific conditions of timbre saliency and timbre dissimilarity. A listening experiment was carried out with 36 musicians without absolute pitch. No effect of gender was found in the recognition data. Although a strong difference was observed for the middle voice from mono-timbre to multi-timbre conditions, timbre saliency and timbre dissimilarity conditions did not appear to have systematic effects on the average recognition rate as we hypothesized. This could be due to the variability in the excerpts used for certain conditions, or more fundamentally, because the context effect of each voice position might have been much bigger than the effects of timbre conditions we were trying to measure. A further discussion is presented on possible context effects.
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unknown
DOI: 10.5281/zenodo.850265
Zenodo URL: https://zenodo.org/record/850265
2013.38
Energy Harvesting Power Flower Bell - a Cybernetic Sound Installation Driven by a Dirt-battery
Schauer, Josef Graz University of Technology (TU Graz); Graz, Austria
Ritsch, Winfried University of Music and Performing Arts (KUG); Graz, Austria
Fickert, Lothar Graz University of Technology (TU Graz); Graz, Austria
Abstract
This work describes the art-driven development of an energy harvesting system in sound installations. The used energy source is a dirt-battery. It is built by digging a piece of copper and a piece of zinc in a soil. Sound is generated when there is sufficient energy to trigger a bell. In the described sound installation, such a system looks like a flower and the bell represents its bloom. With its roots (electrodes) dug into the soil, it generates electrical energy to make sound. It is shown that this concept works. It is possible to make sound by dirt-energy. In a further step, many of such devices which are called Power Flower Bells (PFBs) should be spread in a meadow, communicating with low-power Radio Frequency (RF) technology, realizing musical compositions.
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unknown
DOI: 10.5281/zenodo.850267
Zenodo URL: https://zenodo.org/record/850267
2013.39
Exploiting Domain Knowledge in Music Information Research
Serra, Xavier Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Music Information Research (MIR) is a discipline that aims to understand and model music from an information processing perspective, but the successful approaches used in MIR are going beyond the traditional data processing methodologies. Most of the great advancements have been the result of combining engineering disciplines such as audio signal processing and machine learning with non-engineering disciplines such as music perception and music theory. One of the challenges in MIR is to automatically describe music audio signals, thus to develop methodologies to extract musically useful information from audio recordings. In this paper we claim that if we want to advance in this direction we should maximize the use of musical knowledge in all the steps of our research tasks. To support this claim we overview some of the work being carried out in CompMusic, a project that aims to analyze and automatically describe the music of several non-western music traditions.
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unknown
DOI: 10.5281/zenodo.850269
Zenodo URL: https://zenodo.org/record/850269
2013.40
Expressive Production of Piano Timbre: Touch and Playing Techniques for Timbre Control in Piano Performance
Bernays, Michel CIRMMT, Université de Montréal; Montreal, Canada
Traube, Caroline CIRMMT, Université de Montréal; Montreal, Canada
Abstract
Timbre is an essential expressive parameter in piano performance. Advanced-level pianists have integrated the palette of timbres at their artistic disposal as abstract concepts and multimodal images. A correspondingly imaged vocabulary composed of various adjectival descriptors is used in discussing and designating precise timbral nuances. However, the actual means of production and control of timbral nuances at the piano are not always explicitly expressed. This study explores the precise performance parameters used in producing different timbral nuances. For this aim, four short pieces were composed. Each was performed by four pianists, who highlighted five timbral nuances most representative of the piano timbre-describing vocabulary: dry, bright, round, velvety and dark. The performances were recorded with the Bösendorfer CEUS system, a highquality piano equipped with high-accuracy sensors and an embedded computer. Fine-grained performance features were extracted from the data collected. The features that significantly differed between different-timbre performances were identified. The performance space resulting from a principal component analysis revealed an average organization of timbral nuances along a circular arc. Thirteen essential, timbre-discriminating performance features were selected. Detailed descriptions were thus obtained for each timbral nuance, according to the fine characteristics of their production and control in piano performance.
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not available
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unknown
DOI: 10.5281/zenodo.850271
Zenodo URL: https://zenodo.org/record/850271
2013.41
Four-part Harmonization Using Probabilistic Models: Comparison of Models With and Without Chord Nodes
Suzuki, Syunpei Nihon University; Tokyo, Japan
Kitahara, Tetsuro Nihon University; Tokyo, Japan
Abstract
In this paper, we explore machine learning models that generate four-part harmonies according to the melody of a soprano voice. Although researchers have already tried to produce four-part harmonization through machine learning, the computational models that most studies have proposed already contain nodes or states that represent chords or harmonic functions. Explicitly introducing such nodes or states is suitable from the viewpoint of practically achieving musically acceptable harmonization, but it is unsuitable from the scientific viewpoint of acquiring the fundamental concepts of harmonies from actual music data. Therefore, we developed two kinds of computational models, one that contains chord nodes and another does not, and investigate to what extent the model without chord nodes acquires the fundamental concept of harmonies compared to the model with chord nodes. For our models, we describe musical simultaneity (i.e., the appropriateness of combinations of simultaneously played notes) and musical sequentiality (i.e., the smoothness of the melodic line within each voice) are described as dependencies between random variables in Bayesian networks. Both models learned 254 pieces taken from a Hymn corpus, and the results of this experiment show that the Bayesian network without chord nodes acquired some of the basic rules of harmony.
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not available
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unknown
DOI: 10.5281/zenodo.850273
Zenodo URL: https://zenodo.org/record/850273
2013.42
Full Automation of Real-time Processes in Interactive Compositions: Two Related Examples
Garavaglia, Javier Alejandro Faculty of Art, Architecture and Design, London Metropolitan University; London, United Kingdom
Abstract
This article analyses two interactive compositions of my own authorship: both include live instruments and a fully automated programming of live electronics using MAX. On the one hand, the paper introduces Intersections (memories) for clarinet in Bb, (2007/8); on the other hand, a comparison is offered, about how Confluences (Rainbows II) for flute, clarinet, violin, cello and piano (2010/12), is an amplification of the former piece with regard to not only its compositional further development, but also as a much more complex case of full automated live-electronics. The subject of full automation, including a historical perspective is explained in an article by the author in 2010 [1]. From a purely compositional perspective, both works share also a similar type of music dramaturgy due to their common something to hold on to factors (STHotF), as described by Landy [2], and later, also by Weale [3]. Hence, the poiesis and aesthesis [4] of both compositions are also hereby shortly introduced, to shed more light about the reasons for the full automation of their electronic parts, as these two aspects are solidly united to the electronics used and their relationship to the intended dramaturgy embedded in the two works.
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not available
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unknown
DOI: 10.5281/zenodo.850275
Zenodo URL: https://zenodo.org/record/850275
2013.43
Global Key Extraction From Classical Music Audio Recordings Based on the Final Chord
Weiß, Christof Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Abstract
This paper presents a novel approach to global key extraction from audio recordings, restricted to the genre Classical only. Especially in this field of music, musical key is a significant information since many works include the key in their title. Our rule-based method relies on pre-extracted chroma features and puts special emphasis on the final chord of the piece to estimate the tonic note. To determine the mode, we analyze the chroma histogram over the complete piece and estimate the underlying diatonic scale. In both steps, we apply a multiplicative procedure to obtain high error robustness. This approach helps to minimize the amount of false tonic notes which is important for further keyrelated tonality analyses. The algorithm is evaluated on three different datasets containing mainly 18th and 19th century music for orchestra, piano, and mixed instruments. We reach accuracies up to 97\% for correct full key (correct tonic note and mode) classification and up to 100\% for correct tonic note classification.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850277
Zenodo URL: https://zenodo.org/record/850277
2013.44
How Do People Assess Computer Generated Expressive Music Performances?
Canazza, Sergio CSC, Department of Information Engineering, Università di Padova; Padova, Italy
De Poli, Giovanni CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Rodà, Antonio CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Abstract
Music performance has being studied since long time and several computational systems were developed for generating expressive music performances. These models are generally evaluated by comparing their predictions with actual performances, both from a quantitative and a subjective point of view, often focusing on very specific aspects of the model. However little is known about how listeners evaluate the generated performances and which are the factors influencing their judgement and appreciation. In this paper we present two experiments, conducted during two dedicated workshops, to start understanding how the audience judges the entire performances. In particular we analyzed possible different preferences and expectations of the listeners and influencing factors, such as cognitive styles.
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unknown
DOI: 10.5281/zenodo.850279
Zenodo URL: https://zenodo.org/record/850279
2013.45
How Predictable Do We Like Our Music? Eliciting Aesthetic Preferences With the Melody Triangle Mobile App
Ekeus, Henrik Center for Digital Music, Queen Mary University of London; London, United Kingdom
Abdallah, Samer A. Department of Computer Science, University College London; London, United Kingdom
McOwan, Peter W. Center for Digital Music, Queen Mary University of London; London, United Kingdom
Plumbley, Mark D. Center for Digital Music, Queen Mary University of London; London, United Kingdom
Abstract
The Melody Triangle is a smartphone application for Android that lets users easily create musical patterns and textures. The user creates melodies by specifying positions within a triangle, and these positions correspond to the information theoretic properties of generated musical sequences. A model of human expectation and surprise in the perception of music, information dynamics, is used to ‘map out’ a musical generative system’s parameter space, in this case Markov chains. This enables a user to explore the possibilities afforded by Markov chains, not by directly selecting their parameters, but by specifying the subjective predictability of the output sequence. As users of the app find melodies and patterns they like, they are encouraged to press a ‘like’ button, where their setting are uploaded to our servers for analysis. Collecting the ‘liked’ settings of many users worldwide will allow us to elicit trends and commonalities in aesthetic preferences across users of the app, and to investigate how these might relate to the information-dynamic model of human expectation and surprise. We outline some of the relevant ideas from information dynamics and how the Melody Triangle is defined in terms of these. We then describe the Melody Triangle mobile application, how it is being used to collect research data and how the collected data will be evaluated.
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not available
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unknown
DOI: 10.5281/zenodo.850281
Zenodo URL: https://zenodo.org/record/850281
2013.46
Human-computer Music Performance: From Synchronized Accompaniment to Musical Partner
Dannenberg, Roger B. Carnegie Mellon University; Pittsburgh, United States
Jin, Zeyu Carnegie Mellon University; Pittsburgh, United States
Gold, Nicolas E. Department of Computer Science, University College London; London, United Kingdom
Sandu, Octav-Emilian Department of Computer Science, University College London; London, United Kingdom
Palliyaguru, Praneeth N. Department of Computer Science, University College London; London, United Kingdom
Robertson, Andrew Center for Digital Music, Queen Mary University of London; London, United Kingdom
Stark, Adam Center for Digital Music, Queen Mary University of London; London, United Kingdom
Kleinberger, Rebecca Massachusetts Institute of Technology (MIT); Boston, United States
Abstract
Live music performance with computers has motivated many research projects in science, engineering, and the arts. In spite of decades of work, it is surprising that there is not more technology for, and a better understanding of the computer as music performer. We review the development of techniques for live music performance and outline our efforts to establish a new direction, Human-Computer Music Performance (HCMP), as a framework for a variety of coordinated studies. Our work in this area spans performance analysis, synchronization techniques, and interactive performance systems. Our goal is to enable musicians to incorporate computers into performances easily and effectively through a better understanding of requirements, new techniques, and practical, performance-worthy implementations. We conclude with directions for future work.
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unknown
DOI: 10.5281/zenodo.850283
Zenodo URL: https://zenodo.org/record/850283
2013.47
Image Sonification Based on Object and Feature Extraction
Kim, Keunhyoung Luke Audio and Interactive Media Lab, Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Yeo, Woon Seung Audio and Interactive Media Lab, Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Abstract
We introduce a new paradigm for image sonification based on extraction of abstract features. Unlike most image sonification examples that convert low-level raw data into sound, this method utilizes scale invariant feature transform (SIFT) for image abstraction to obtain higher-level information, thereby producing more robust results with a variety of images and visual transformations. To separate visual components from an image and enhance hierarchical information to SIFT features, the sonification also utilizes an image structure analysis algorithm. Being invariant to object-level changes such as rotating, moving, or scaling, sonified sound describe the characteristics of different polygons well. We first describe our sonification model with SIFT features, and discuss its performance.
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not available
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unknown
DOI: 10.5281/zenodo.850285
Zenodo URL: https://zenodo.org/record/850285
2013.48
Improved Polynomial Transition Regions Algorithm for Alias-suppressed Signal Synthesis
Ambrits, Dániel Department of Measurement and Information Systems, Budapest University of Technology and Economics; Budapest, Hungary
Bank, Balázs Department of Measurement and Information Systems, Budapest University of Technology and Economics; Budapest, Hungary
Abstract
One of the building blocks of virtual analog synthesizers is the oscillator algorithm producing simple geometric waveforms, such as saw or triangle. An important requirement for such a digital oscillator is that its spectrum is similar to that of the analog waveform, that is, the heavy aliasing that would result from a trivial modulo-counter based implementation is reduced. Until now, the computationally most efficient oscillator algorithm with reduced aliasing was the Polynomial Transition Regions (PTR) method. This paper shows that the efficiency can be increased even further by eliminating the phase offset of the PTR method. The new Efficient PTR (EPTR) algorithm produces the same output as the PTR method, while requiring roughly 30\% fewer operations, making it the most efficient alias-reduced oscillator algorithm to date. In addition to presenting an EPTR sawtooth algorithm, the paper extends the differentiated parabolic wave (DPW) triangle algorithm to the case of asymmetric triangle waves, followed by an EPTR implementation. The new algorithm provides continuous transition between triangle and sawtooth signals, while still remaining computationally efficient.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850287
Zenodo URL: https://zenodo.org/record/850287
2013.49
Improving the Real-time Performance of a Causal Audio Drum Transcription System
Miron, Marius INESC TEC; Porto, Portugal
Davies, Matthew E. P. INESC TEC; Porto, Portugal
Gouyon, Fabien INESC TEC; Porto, Portugal
Abstract
In this paper we analyze and improve an audio drum transcription system with respect to real-time constraints. Furthermore, we propose a novel evaluation method, which allows us to systematically explore situations which are likely to occur in real-life drum performances. Then, we evaluate the architecture on a drum loops database, and discuss the influence of the size of the evaluation window, and of the classification method. Finally, we present the implementation in Pure Data and Max MSP, and propose a “do-it-yourself” technique which allows anyone to modify, and build a drum transcription system.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850289
Zenodo URL: https://zenodo.org/record/850289
2013.50
Impulse Response Estimation for the Auralisation of Vehicle Engine Sounds Using Dual Channel FFT Analysis
Shelley, Simon Audio Lab, University of York; York, United Kingdom
Murphy, Damian Audio Lab, University of York; York, United Kingdom
Goodwin, Simon Central Technology Department, Codemasters; Birmingham, United Kingdom
Abstract
A method is presented to estimate the impulse response of a filter that describes the transformation in sound that takes place between a close-mic recording of a vehicle engine and the sound of the same engine at another point in or near to the vehicle. The proposed method makes use of the Dual Channel FFT Analysis technique and does not require the use of loudspeakers, computer modelling or mechanical devices. Instead, a minimum of two microphones is required and the engine itself is used as the source of sound. This is potentially useful for virtual reality applications or in sound design for computer games, where users select their virtual position at points inside or outside the vehicle. A case study is described to examine the method in practice and the results are discussed. The described method can be readily extended for surround sound applications using spatial microphone array recording techniques.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850291
Zenodo URL: https://zenodo.org/record/850291
2013.51
Joint f0 and Inharmoncity Estimation Using Second Order Optimization
Hahn, Henrik Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Röbel, Axel Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
A new method is presented for the joint estimation of the inharmonicity coefficient and the fundamental frequency of inharmonic instrument sounds. The proposed method iteratively uses a peak selection algorithm and a joint parameters estimation method based on nonlinear optimization. We further introduce an adapted tessitura model to evaluate our proposed method for piano sounds and to compare it with state-of-the-art techniques.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850293
Zenodo URL: https://zenodo.org/record/850293
2013.52
Komeda: Framework for Interactive Algorithmic Music on Embedded Systems
Bacławski, Krystian Institute of Computer Science, University of Wrocław; Wrocław, Poland
Jackowski, Dariusz Institute of Computer Science, University of Wrocław; Wrocław, Poland
Abstract
Application of embedded systems to music installations is limited due to the absence of convenient software development tools. This is a very unfortunate situation as these systems offer an array of advantages over desktop or laptop computers. Small size of embedded systems is a factor that makes them especially suitable for incorporation into various forms of art. These devices are effortlessly expandable with various sensors and can produce rich audio-visual effects. Their low price makes it affordable to build and experiment with networks of cooperating devices that generate music. In this paper we describe the design of Komeda – implementation platform for interactive algorithmic music tailored for embedded systems. Our framework consists of music description language, intermediate binary representation and portable virtual machine with user defined extensions (called modules).
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850295
Zenodo URL: https://zenodo.org/record/850295
2013.53
LANdini: A Networking Utility for Wireless Lan-based Laptop Ensembles
Narveson, Jascha Princeton University; Princeton, United States
Trueman, Dan Princeton University; Princeton, United States
Abstract
Problems with OSC communication over wireless routers are summarized and the idea of a separate networking utility named LANdini is introduced. LANdini’s models and current structure are explained, and data from tests is presented. Future improvements are listed.
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not available
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unknown
DOI: 10.5281/zenodo.850297
Zenodo URL: https://zenodo.org/record/850297
2013.54
Large Data Sets & Recommender Systems: A Feasible Approach to Learning Music?
Gabriel, Jamie Macquarie University; Sydney, Australia
Abstract
One of the critical challenges in music teaching is providing ways for students to search easily across very large amounts of music data, in order that they can build intuition and gain experience around the ways in which different music styles are comprised. This paper demonstrates how MusicXML can be used to create large music data sets that can be utilized for searching and recommendation, in order to facilitate music learning.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850301
Zenodo URL: https://zenodo.org/record/850301
2013.55
Measuring the Interaction Between Bassoon and Horn Players in Achieving Timbre Blend
Lembke, Sven-Amin Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Levine, Scott Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
de Francisco, Martha Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
McAdams, Stephen Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Abstract
Our study investigates the interactive relationship between bassoon and horn players in achieving timbre blend during musical performance. The interaction is studied in a behavioral experiment, measuring the timbral adjustments performers employ. Several timbre descriptors serve as acoustic measures, quantifying global and formant-based spectral-envelope properties. Furthermore, musicians’ self-assessment of their performances is measured through behavioral ratings. The performances are investigated across four factors, i.e., room acoustics, communication directivity, musical voicing, and leading vs. accompanying roles. Findings from ANOVAs suggest that differences in role assignments and communication directivity between performers lead to timbral adjustments. These effects are more pronounced for horn than for bassoon and performer interdependencies appear to be most important for unison voicing.
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not available
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unknown
DOI: 10.5281/zenodo.850303
Zenodo URL: https://zenodo.org/record/850303
2013.56
Melodic Outline Extraction Method for Non-note-level Melody Editing
Tsuchiya, Yuichi Nihon University; Tokyo, Japan
Kitahara, Tetsuro Nihon University; Tokyo, Japan
Abstract
In this paper, we propose a method for extracting a melodic outline from a note sequence and a method for re-transforming the outline to a note sequence for non-note-level melody editing. There have been many systems that automatically create a melody. When the melody output by an automatic music composition system is not satisfactory, the user has to modify the melody by either re-executing the composition system or editing the melody on a MIDI sequencer. The former option, however, has the disadvantage that it is impossible to edit only part of the melody, and the latter option is difficult for non-experts, musically untrained people. To solve this problem, we propose a melody editing procedure based on a continuous curve of the melody called a melodic outline. The melodic outline is obtained by applying the Fourier transform to the pitch trajectory of the melody and extracting low-order Fourier coefficients. Once the user redraws the outline, it is transformed into a note sequence by the inverse procedure of the extraction and a hidden Markov model. Experimental results show that non-experts can edit the melody to some extent easily and satisfactorily.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850305
Zenodo URL: https://zenodo.org/record/850305
2013.57
Melody Bounce: Mobile Rhythmic Interaction for Children
Baldan, Stefano Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Serafin, Stefania Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
De Götzen, Amalia Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
This paper presents an audio-based game for mobile devices, designed to develop rhythmical and timing abilities in elementary-school-aged children. Developing such skills is believed to be very important for social interaction and interpersonal coordination. Moreover, increasing evidence suggests that rhythmicity has a direct influence on other cognitive abilities such as motor coordination and sustaining attention. The game makes exclusive use of motion-based input and non-verbal audio feedback, being therefore equally enjoyable by children which might speak different languages and might or might not have visual impairments. The game logic is inherently collaborative and multiplayer, in order to promote a sense of inclusion of the child among the group of players. The game design is heavily inspired by observations of children’s activities in schools, which are usually characterized by strong rhythmical patterns.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850307
Zenodo URL: https://zenodo.org/record/850307
2013.58
Methods for Real Time Harmonic Excitation of Acoustic Signals
Enderby, Sean Department of Digital Media Technology, Birmingham City University; Birmingham, United Kingdom
Baracskai, Zlatko Department of Digital Media Technology, Birmingham City University; Birmingham, United Kingdom
Athwal, Cham Department of Digital Media Technology, Birmingham City University; Birmingham, United Kingdom
Abstract
In this paper three methods for the introduction of new harmonic content to an acoustic signal are assessed. Each method extracts the amplitude envelope of the fundamental frequency in a signal and applies it to a newly generated harmonic. In one method this is achieved in the frequency domain through use of the short time Fourier transform. The other two methods process audio in the time domain using either instantaneous amplitude and phase measurements or single side band automodulation. The results from a set of preliminary listening tests are discussed and compared against objective measurements based on psychoacoustic models. It is suggested that frequency domain processing is too inaccurate where low latency is required and a time domain approach is preferential. The two time domain approaches show similar levels of accuracy, however it is considered that extracting the amplitude envelope of harmonics other than the fundamental could increase accuracy. It is noted that the instantaneous amplitude and phase method provides more flexibility in order to achieve this.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850309
Zenodo URL: https://zenodo.org/record/850309
2013.59
Mixing Symbolic and Audio Data in Computer Assisted Music Analysis: A Case Study From J. Harvey's Speakings (2008) for Orchestra and Live Electronics
Schaub, Stéphan Interdisciplinary Nucleus of Sound Communication, University of Campinas (UNICAMP); Campinas, Brazil
Simurra, Ivan Interdisciplinary Nucleus of Sound Communication, University of Campinas (UNICAMP); Campinas, Brazil
Tavares, Tiago Fernandes Interdisciplinary Nucleus of Sound Communication, University of Campinas (UNICAMP); Campinas, Brazil
Abstract
Starting from a (music) analytical question arising from the study of Jonathan Harvey’s Speakings for orchestra and electronics (2008) we propose a computer-based approach in which score (symbolic) and recorded (audio) sources are considered in tandem. After extracting a set of relevant features we used machine-learning algorithms to explore how compositional and auditory dimensions articulate in defining the identity of certain sound-events appearing in the first movement of the composition and how they contribute to their similarity with events occurring in the second movement. The computer-assisted approach was used as basis for discussing the metaphor that inspired this particular piece, but has the potential to be extended to other compositions in the repertoire.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850311
Zenodo URL: https://zenodo.org/record/850311
2013.60
Mocap Toolbox - a Matlab Toolbox for Computational Analysis of Movement Data
Burger, Birgitta Department of Music, University of Jyväskylä; Jyväskylä, Finland
Toiviainen, Petri Department of Music, University of Jyväskylä; Jyväskylä, Finland
Abstract
The MoCap Toolbox is a set of functions written in Matlab for analyzing and visualizing motion capture data. It is aimed at investigating music-related movement, but can be beneficial for other research areas as well. Since the toolbox code is available as open source, users can freely adapt the functions according to their needs. Users can also make use of the additional functionality that Matlab offers, such as other toolboxes, to further analyze the features extracted with the MoCap Toolbox within the same environment. This paper describes the structure of the toolbox and its data representations, and gives an introduction to the use of the toolbox for research and analysis purposes. The examples cover basic visualization and analysis approaches, such as general data handling, creating stick-figure images and animations, kinematic and kinetic analysis, and performing Principal Component Analysis (PCA) on movement data, from which a complexity-related movement feature is derived.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850313
Zenodo URL: https://zenodo.org/record/850313
2013.61
Modeling and Simulation: The Spectral Canon for Conlon Nancarrow by James Tenney
de Paiva Santana, Charles Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bresson, Jean Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Andreatta, Moreno Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This paper presents an approach for the analysis of musical pieces, based on the notion of computer modeling. The thorough analysis of musical works allows to reproduce compositional processes and implement them in computer models, opening new perspectives for the their exploration through the simulation and generation of variations derived from the original model.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850315
Zenodo URL: https://zenodo.org/record/850315
2013.62
Modeling of Melodic Rhythm Based on Entropy Toward Creating Expectation and Emotion
Ohmura, Hidefumi RIKEN; Tokyo, Japan
Shibayama, Takuro Tokyo Denki University; Tokyo, Japan
Shibuya, Satoshi Tokyo Denki University; Tokyo, Japan
Takahashi, Tatsuji Tokyo Denki University; Tokyo, Japan
Okanoya, Kazuo RIKEN; Tokyo, Japan / The University of Tokyo; Tokyo, Japan
Furukawa, Kiyoshi Tokyo University of the Arts; Tokyo, Japan
Abstract
The act of listening to music can be regarded as a sequence of expectations about the nature of the next segment in the musical piece. While listening to music, the listener infers how the next section of a musical piece would sound based on whether or not the previous inferences were confirmed. However, if the listener’s expectations continue to be satisfied, the listener will gradually want a change in the music. Therefore, the pleasant betrayal of the listener’s expectations is important to evoke emotion in music. The increase and decrease of local complexities in the music structure are deeply involved in the betrayal of expectation. Nevertheless, no quantitative research has been conducted in this area of study. We already validated that entropy in sets of note pitches are closely related to the listeners’ feeling of complexity. Therefore, in this paper, we propose a model that is able to generate a melodic rhythm based on entropy in sets of note values, and then we validate the suitability of the model in terms of complexities of rhythm through a psychological experiment.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850317
Zenodo URL: https://zenodo.org/record/850317
2013.63
Modelling Emotional Effects of Music: Key Areas of Improvement
Eerola, Tuomas Department of Music, University of Jyväskylä; Jyväskylä, Finland
Abstract
Modelling emotions perceived in music and induced by music has garnered increased attention during the last five years. The present paper attempts to put together observations of the areas that need attention in order to make progress in the modelling emotional effects of music. These broad areas are divided into theory, data and context, which are reviewed separately. Each area is given an overview in terms of the present state of the art and promising further avenues, and the main limitations are presented. In theory, there are discrepancies in the terminology and justifications for particular emotion models and focus. In data, reliable estimation of high-level musical concepts and data collection and evaluation routines require systematic attention. In context, which is the least developed area of modelling, the primary area of improvement is incorporating musical context (music genres) into the modelling emotions. In a broad sense, better acknowledgement of music consumption and everyday life context, such as the data provided by social media, may offer novel insights into the modelling emotional effects of music.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850319
Zenodo URL: https://zenodo.org/record/850319
2013.64
Modelling Perception of Speed in Music Audio
Elowsson, Anders Department of Speech Music Hearing, Royal Institute of Technology; Stockholm, Sweden
Friberg, Anders Department of Speech Music Hearing, Royal Institute of Technology; Stockholm, Sweden
Abstract
One of the major parameters in music is the overall speed of a musical performance. Speed is often associated with tempo, but other factors such as note density (onsets per second) seem to be important as well. In this study, a computational model of speed in music audio has been developed using a custom set of rhythmic features. The original audio is first separated into a harmonic part and a percussive part and onsets are extracted separately from the different layers. The characteristics of each onset are determined based on frequency content as well as perceptual salience using a clustering approach. Using these separated onsets a set of eight features including a tempo estimation are defined which are specifically designed for modelling perceived speed. In a previous study 20 listeners rated the speed of 100 ringtones consisting mainly of popular songs, which had been converted from MIDI to audio. The ratings were used in linear regression and PLS regression in order to evaluate the validity of the model as well as to find appropriate features. The computed audio features were able to explain about 90\% of the variability in listener ratings.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850321
Zenodo URL: https://zenodo.org/record/850321
2013.65
mono2eN: A Multi-channel Autospatialisation Performance System
Goddard, Callum Dept. of Media, School of Arts, Design and Architecture, Aalto University; Espoo, Finland
Abstract
This paper presents the mono2eN system, a multi-channel autospatialisation performance system. Developed through a practice-led research approach, the system was originally developed for a multi-channel solo acoustic bass performance. Central to the system is an autospatilisation algorithm that controls the multi-channel spatialisation parameters of a spatialised mono sound source as well as applying a magnitude freeze audio effect. The behaviour of both the spatialisation and freeze effect is dependent upon the audio content of the signal. The motivation behind the system and a technical overview of the autospatialisation algorithm is provided. Two studies are detailed, a performance case study and a user study. These were conducted to gain insight into and to convey the impressions and experience of practitioners and users of the system. Although some concerns over the audio effect triggering were raised, overall the results indicated a positive response to the system. This suggests that the mono2eN system has potential as an easy to understand multi-channel performance system that is able to spatialise any mono audio source, allowing for its use within a large number of contexts.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850323
Zenodo URL: https://zenodo.org/record/850323
2013.66
Motion Recurrence Analysis in Music Performances
Teixeira, Euler Centro de Estudos da Fala, Acústica, Linguagem e músicA, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Yehia, Hani Centro de Estudos da Fala, Acústica, Linguagem e músicA, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Loureiro, Maurício Centro de Estudos da Fala, Acústica, Linguagem e músicA, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Wanderley, Marcelo M. Input Devices and Music Interaction Laboratory, Music Technology Area, McGill University; Montreal, Canada
Abstract
This work presents a method to represent, segment and analyze the recurrence patterns on motion data during musical performances. Physical gestures were extracted during clarinet performances and analyzed according to gestural features, comparing different musicians, musical passages and performance styles. The gestural aspects of the performances were related to the musical structure and its expressive content, and an acoustical analysis validated the results. Results show a recurrent sequence of clarinet gestures inside a defined region of interest, shown to be a key moment in the music.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850325
Zenodo URL: https://zenodo.org/record/850325
2013.67
Multichannel Control of Spatial Extent Through Sinusoidal Partial Modulation (SPM)
Cabrera, Andrés Media Arts and Technology, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Kendall, Gary Artillerigatan 40, Independent; Stockholm, Sweden
Abstract
This paper describes a new sound processing technique to control perceived spatial extent in multichannel reproduction through artificial decorrelation. The technique produces multiple decorrelated copies of a sound signal, which when played back over a multichannel system, produce a sound image that is spatially enlarged. Decorrelation is achieved through random modulation of the time-varying sinusoidal components of the original signal’s spectrum extracted using a modified version of the Loris sinusoidal modeling technique. Sinusoidal partial modulation (SPM) can be applied in varying measure to both frequency and amplitude. The amount of decorrelation between channels can be controlled through adjusting the inter-channel coherency of the modulators, thus enabling control of spatial extent. The SPM algorithm has lent itself to the creation of an application simple enough for general users, which also provides complete control of all processing parameters when needed. SPM provides a new method for control of spatial extent in multichannel sound design and electroacoustic composition.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850329
Zenodo URL: https://zenodo.org/record/850329
2013.68
Multi-scale Design of Interactive Music Systems: The libTuiles Experiment
Janin, David SCRIME-LABRI, University Bordeaux I; Bordeaux, France
Berthaut, Florent SCRIME-LABRI, University Bordeaux I; Bordeaux, France
Desainte-Catherine, Myriam SCRIME-LABRI, University Bordeaux I; Bordeaux, France
Abstract
The design and implementation of an interactive music system is a difficult task. It necessitates the description of complex interplays between two design layers at least : the real time synchronous layer for audio processing, and the symbolic event based layer for interaction handling. Tiled programming is a recent proposal that aims at combining with a single metaphor: tiled signals, the distinct programmatic features that are used in these two layers. The libTuiles experiment presented in this paper is a first experimental implementation of such a new design principle.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850327
Zenodo URL: https://zenodo.org/record/850327
2013.69
MUSIC AS THE GOAL OF TRAINING AND MEANS OF REHABILITATION: EVIDENCE FROM BRAIN SCIENCE
Tervaniemi, Mari Cognitive Brain Research Unit, Institute of Behavioural Sciences, University of Helsinki; Helsinki, Finland / Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä; Jyväskylä, Finland
Abstract
During the past three decades, our knowledge about brain functions and its structures underlying music perception, performance, and emotions has accumulated relatively quickly. Cortical and subcortical brain areas involved in these musical functions have been identified using various techniques and paradigms. In the present talk, I will introduce recent findings revealing enhanced brain mechanisms during long-term musical training, as well as by informal music activities at home. Furthermore, I will present examples of how casual music activities, such as music listening and singing, can be used in neurological rehabilitation to promote health and wellbeing in patients and their family members. In sum, these findings promote the use of music in formal and informal settings across the whole life span in healthy participants, as well as with individuals with special needs.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850331
Zenodo URL: https://zenodo.org/record/850331
2013.70
Network Music With Medusa: A Comparison of Tempo Alignment in Existing MIDI APIs
Schiavoni, Flávio Luiz Institute of Mathematics and Statistics, University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo Institute of Mathematics and Statistics, University of São Paulo (USP); São Paulo, Brazil
Wanderley, Marcelo M. Input Devices and Music Interaction Laboratory, Music Technology Area, McGill University; Montreal, Canada
Abstract
In network music, latency is a common issue and can be caused by several factors. In this paper we present MIDI network streaming with Medusa, a distributed music environment. To ease the network connection for the end user, Medusa is implemented using different MIDI APIs: Portmidi, ALSA MIDI and JACK MIDI. We present the influence of the MIDI API choice in the system latency and jitter using the Medusa implementation.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850333
Zenodo URL: https://zenodo.org/record/850333
2013.71
Non-realtime Sonification of Motiongrams
Jensenius, Alexander Refsum fourMs Lab, Department of Musicology, University of Oslo; Oslo, Norway
Abstract
The paper presents a non-realtime implementation of the sonomotiongram method, a method for the sonification of motiongrams. Motiongrams are spatiotemporal displays of motion from video recordings, based on frame-differencing and reduction of the original video recording. The sonomotiongram implementation presented in this paper is based on turning these visual displays of motion into sound using FFT filtering of noise sources. The paper presents the application ImageSonifyer, accompanied by video examples showing the possibilities of the sonomotiongram method for both analytic and creative applications.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850335
Zenodo URL: https://zenodo.org/record/850335
2013.72
Observed Differences in Rhythm Between Performances of Classical and Jazz Violin Students
Guaus, Enric Escola Superior de Música de Catalunya (ESMUC); Barcelona, Spain
Saña, Oriol Escola Superior de Música de Catalunya (ESMUC); Barcelona, Spain
Llimona, Quim Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
The aim of this paper is to present a case study that highlights some differences between violin students from the classical and jazz traditions. This work is part of a broader interdisciplinary research that studies whether classical violin students with jazz music background have more control on the tempo in their performances. Because of the artistic nature of music, it is difficult to establish a unique criteria about what this control on the tempo means. The case study here presented quantifies this by analyzing which student performances are closer to some given references (i.e. professional violinists). We focus on the rhythmic relationships of multimodal data recorded in different sessions by different students, analyzed using traditional statistical and MIR techniques. In this paper, we show the criteria for collecting data, the low level descriptors computed for different streams, and the statistical techniques used to determine the performance comparisons. Finally, we provide some tendencies showing that, for this case study, the differences between performances from students from different traditions really exist.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850337
Zenodo URL: https://zenodo.org/record/850337
2013.73
On Finite Difference Schemes for the 3-D Wave Equation Using Non-cartesian Grids
Hamilton, Brian Acoustics and Audio Group, The University of Edinburgh; Edinburgh, United Kingdom
Bilbao, Stefan Acoustics and Audio Group, The University of Edinburgh; Edinburgh, United Kingdom
Abstract
In this paper, we investigate finite difference schemes for the 3-D wave equation using 27-point stencils on the cubic lattice, a 13-point stencil on the face-centered cubic (FCC) lattice, and a 9-point stencil on the body-centered cubic (BCC) lattice. The tiling of the wavenumber space for nonCartesian grids is considered in order to analyse numerical dispersion. Schemes are compared for computational efficiency in terms of minimising numerical wave speed error. It is shown that the 13-point scheme on the FCC lattice is more computationally efficient than 27-point schemes on the cubic lattice when less than 8\% error in the wave speed is desired.
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not available
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unknown
DOI: 10.5281/zenodo.850339
Zenodo URL: https://zenodo.org/record/850339
2013.74
PEVI: Interface for Retrieving and Analyzing Expressive Musical Performances With Scape Plots
Miki, Shota Kwansei Gakuin University; Osaka, Japan
Baba, Takashi Kwansei Gakuin University; Osaka, Japan
Katayose, Haruhiro Kwansei Gakuin University; Osaka, Japan
Abstract
been proposed so far, they are not always valid for retrieving classical music, a piece of which is recorded by many players. The lineup that current music retrieval systems suggest for a given musical piece is likely to be in order of sales. This is not always desired by classical music lovers, who are interested in various interpretations of a piece. In this paper, PEVI, a novel interface based on a scape plot for finding interpretations of classical music, is presented. The scape plot window, which visualizes the most similar performances of a specified scope (multiple layers) in a specified piece by using color tags, is used as the key to assigning a range of musical pieces to be referred to. Similar performances are displayed, on a different window, as their coordinates represent the similarity of two selected musical features in regard to tempo, dynamics, and delicate control within a beat. Users of PEVI are able to observe the transition of the indices of similar performances by changing the scope on the scape plot and each weight of the musical features. In this paper, the effectiveness of PEVI is discussed with an analysis of difference performances of “Romance de Amor.”
Keywords
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unknown
DOI: 10.5281/zenodo.850343
Zenodo URL: https://zenodo.org/record/850343
2013.75
PHENICX: Performances as Highly Enriched and Interactive Concert Experiences
Gómez, Emilia Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Grachten, Maarten Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Hanjalic, Alan Multimedia Computing Group, Technical University Delft; Delft, Netherlands
Janer, Jordi Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Jordà, Sergi Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Julià, Carles F. Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Liem, Cynthia Multimedia Computing Group, Technical University Delft; Delft, Netherlands
Martorell, Agustin Cistib Department, Pompeu Fabra University (UPF); Barcelona, Spain
Schedl, Markus Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria / Austrian Research Institute for Artificial Intelligence (OFAI); Vienna, Austria
Abstract
Modern digital multimedia and internet technology have radically changed the ways people find entertainment and discover new interests online, seemingly without any physical or social barriers. Such new access paradigms are in sharp contrast with the traditional means of entertainment. An illustrative example of this is live music concert performances that are largely being attended by dedicated audiences only. This papers introduces the PHENICX project, which aims at enriching traditional concert experiences by using state-of-the-art multimedia and internet technologies. The project focuses on classical music and its main goal is twofold: (a) to make live concerts appealing to potential new audience and (b) to maximize the quality of concert experience for everyone. Concerts will then become multimodal, multi-perspective and multilayer digital artifacts that can be easily explored, customized, personalized, (re)enjoyed and shared among the users. The paper presents the main scientific objectives on the project, provides a state of the art review on related research and presents the main challenges to be addressed.
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unknown
DOI: 10.5281/zenodo.850345
Zenodo URL: https://zenodo.org/record/850345
2013.76
Plucking Buttons: An Alternate Soft Button Input Method on Touch Screens for Musical Interaction
Lee, Edward Jangwon Audio and Interactive Media Lab, Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Yeo, Woon Seung Audio and Interactive Media Lab, Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Abstract
This article introduces plucking buttons, an alternate method of interacting with soft buttons on touch screens that can provide more sound parameters that are expected to enhance expressiveness in digital music. Rather than pushing buttons, users are required to start and end touches inside and outside of the button, respectively, in order to activate the button. This gesture is similar to flicking (swiping) gestures on touch screens and plucking strings on musical instruments. Advantages of this button and gesture include providing extra sound parameters, preventing accidental input, and not requiring additional screen space. The largest challenge of this gesture to be used in music is the possible delay and inaccuracy of input due to relatively complex interaction, and this is tested by comparing two input types: plucking vs. pushing buttons. Test results suggest that plucking can be used, but can be efficiently used after training. Melodic musical tasks are also executed, and users were able to successfully play a simple song.
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unknown
DOI: 10.5281/zenodo.850349
Zenodo URL: https://zenodo.org/record/850349
2013.77
Programming Interactive Music Scores With INScore
Fober, Dominique GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Bevilacqua, Frédéric Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
INSCORE is an environment for the design of interactive music scores that includes an original event-based interaction system and a scripting language for associating arbitrary messages to these events. We extended the previous version by supporting scripting languages offering a great flexibility in the description of scores and in the interactions with scores. The textual format is directly derived from the OSC message format that was defined in the original INS CORE version. This article presents the scripting language and illustrates its ability to describe interactions based on events, while remaining in the temporal space. It also introduces the IRCAM gesture follower and how it is embedded into INS CORE to provide gestural interaction capabilities.
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unknown
DOI: 10.5281/zenodo.850351
Zenodo URL: https://zenodo.org/record/850351
2013.78
Real, Foley or Synthetic? An Evaluation of Everyday Walking Sounds
De Götzen, Amalia Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Sikström, Erik Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Grani, Francesco Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Serafin, Stefania Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
The aim of this paper is to evaluate whether foley sounds, real recordings and low quality synthetic sounds can be distinguished when used to sonify a video and if foley sounds can be rated as more expressive than real sounds. The main idea is to find a motivation for having such a solid tradition in using foley sounds for a film track. In particular this work focuses on walking sounds: five different scenes of a walking person were video recorded and each video was then mixed with the three different kind of sounds mentioned above. Subjects were asked to recognise and describe the action performed, to evaluate their confidence, the realism of the action and its expressiveness. Early results shows that foley sounds and real sounds cannot be distinguished by the subjects. A preliminary audio-only test was performed with the sounds used in the audio-video test in order to assess the recognition rate without the visual help.
Keywords
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not available
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unknown
DOI: 10.5281/zenodo.850355
Zenodo URL: https://zenodo.org/record/850355
2013.79
Real Time Digital Audio Processing Using Arduino
Bianchi, André Jucovsky Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Abstract
In the search for low-cost, highly available devices for real time audio processing for scientific or artistic purposes, the Arduino platform comes in as a handy alternative for a chordless, versatile audio processor. Despite the fact that Arduinos are generally used for controlling and interfacing with other devices, its built-in ADC/DAC allows for capturing and emitting raw audio signals with very specific constraints. In this work we dive into the microcontroller’s structure to understand what can be done and what are the limits of the platform when working with real time digital signal processing. We evaluate the behaviour of some common DSP algorithms and expose limitations and possibilities of using the platform in this context.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850353
Zenodo URL: https://zenodo.org/record/850353
2013.80
Real-time Event Sequencing Without a Visual Interface
Tavares, Tiago Fernandes School of Electrical and Computer Engineering, University of Campinas (UNICAMP); Campinas, Brazil
Monteiro, Adriano Interdisciplinary Nucleus of Sound Communication, University of Campinas (UNICAMP); Campinas, Brazil
Barbedo, Jayme Garcia Arnal Agricultural Informatics, Brazilian Agricultural Research Corporation; Brasilia, Brazil
Attux, Romis School of Electrical and Computer Engineering, University of Campinas (UNICAMP); Campinas, Brazil
Manzolli, Jônatas Interdisciplinary Nucleus of Sound Communication, University of Campinas (UNICAMP); Campinas, Brazil
Abstract
In electronic music, it is often useful to build loops from discrete events, such as playing notes or triggering digital effects. This process generally requires using a visual interface, as well as pre-defining tempo and time quantization. We present a novel digital musical instrument capable of looping events without using visual interfaces or explicit knowledge about tempo or time quantization. The instrument is built based on a prediction algorithm that detects repetitive patterns over time, allowing the construction of rhythmic layers in real-time performances. It has been used in musical performances, where it showed to be adequate in contexts that allow improvisation.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850357
Zenodo URL: https://zenodo.org/record/850357
2013.81
Real-time Hallucatination Sonification and Simulation Through User-led Development of an iPad Augmented Reality Performance
Kirke, Alexis Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Eaton, Joel Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
The simulation of visual hallucinations has multiple applications. For example in helping diagnosis, in helping patients to express themselves and reduce their sense of isolation, for medical education, and in legal proceedings for damages due to eye / brain injuries. We present a new approach to hallucination simulation, which was developed initially for a performance but proved to have potential uses to sufferers of certain types of hallucinations. The system allows real-time audio and visual expression, using an iPad. An individual can overlay their hallucinations in real-time on the iPad screen over the iPad’s video camera image. The system has been developed focusing on the visual symptoms of Palinopsia, experienced by the first author, and hence has initially been user-led research. However such an approach can be utilized for other conditions and visual hallucination types. The system also allows the hallucinations to be converted into sound through visual sonification, providing another avenue for expression for the hallucinating individual. A musical performance is described which uses the system, and which has helped to raise awareness and to comfort some people who have Palinopsia symptoms. Although no formal experimentation was done outside of performance preparation, we report on a number of unsolicited informal responses to the simulator from palinopsia sufferers and a palinopsia charity.
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not available
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unknown
DOI: 10.5281/zenodo.850359
Zenodo URL: https://zenodo.org/record/850359
2013.82
Real-time Notation Using Brainwave Control
Eaton, Joel Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
We present a significant extension to our work in the field of Brain-Computer Music Interfacing (BCMI) through providing brainwave control over a musical score in real time. This new approach combines measuring Electroencephalogram (EEG) data, elicited via generating Steady State Visual Evoked Potentials (SSVEP), with mappings to allow a user to influence a score presented to a musician in a compositional and/or performance setting. Mind Trio is a generative BCMI composition based upon a musical game of 18 th century origin. It is designed to respond to the subjective decisions of a user allowing them to affect control over elements of notation, ultimately directing parameters that can influence musical dramaturgy and expression via the brain. We present the design of this piece alongside the practicalities of using such a system on low-cost and accessible equipment. Our work further demonstrates how such an approach can be used by multiple users and musicians, and provides a sound foundation for our upcoming work involving four BCMI subjects and a string quartet.
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unknown
DOI: 10.5281/zenodo.850361
Zenodo URL: https://zenodo.org/record/850361
2013.83
Reconfigurable Autonomous Novel Guitar Effects (RANGE)
Macconnell, Duncan Computer Science, University of Victoria; Victoria, Canada
Trail, Shawn Computer Science, University of Victoria; Victoria, Canada
Tzanetakis, George Computer Science, University of Victoria; Victoria, Canada
Driessen, Peter Electrical Engineering, University of Victoria; Victoria, Canada
Page, Wyatt Electrical Engineering, Massey University; Wellington, New Zealand
Abstract
The RANGE guitar is a minimally-invasive hyperinstrument incorporating electronic sensors and integrated digital signal processing (DSP). It introduces an open framework for autonomous music computing eschewing the use of the laptop on stage. The framework uses an embedded Linux microcomputer to provide sensor acquisition, analog-to-digital conversion (ADC) for audio input, DSP, and digital-to-analog conversion (DAC) for audio output. The DSP environment is built in Puredata (Pd). We chose Pd because it is free, widely supported, flexible, and robust. The sensors we selected can be mounted in a variety of ways without compromising traditional playing technique. Integration with a conventional guitar leverages established techniques and preserves the natural gestures of each player’s idiosyncratic performing style. The result is an easy to replicate, reconfigurable, idiomatic sensing and signal processing system for the electric guitar requiring little modification of the original instrument.
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unknown
DOI: 10.5281/zenodo.850365
Zenodo URL: https://zenodo.org/record/850365
2013.84
Refined Spectral Template Models for Score Following
Korzeniowski, Filip Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Abstract
Score followers often use spectral templates for notes and chords to estimate the similarity between positions in the score and the incoming audio stream. Here, we propose two methods on different modelling levels to improve the quality of these templates, and subsequently the quality of the alignment. The first method focuses on creating more informed templates for individual notes. This is achieved by estimating the template based on synthesised sounds rather than generic Gaussian mixtures, as used in current state-of-theart systems. The second method introduces an advanced approach to aggregate individual note templates into spectral templates representing a specific score position. In contrast to score chordification, the common procedure used by score followers to deal with polyphonic scores, we use weighting functions to weight notes, observing their temporal relationships. We evaluate both methods against a dataset of classical piano music to show their positive impact on the alignment quality.
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unknown
DOI: 10.5281/zenodo.850367
Zenodo URL: https://zenodo.org/record/850367
2013.85
Reinforcement Learning Models for Acquiring Emotional Musical Modes
Tanaka, Tsubasa Tokyo University of the Arts; Tokyo, Japan
Ohmura, Hidefumi RIKEN; Tokyo, Japan
Furukawa, Kiyoshi Tokyo University of the Arts; Tokyo, Japan
Abstract
Music is deeply related to emotions. The relationships between musical modes and emotions are especially strong. This has been recognized since the age of ancient Greece. However, finding a mode that represents a specific emotion well by psychological experiments is not easy because there are so many modes mathematically. To deal with this problem, we propose a method to generate modes that represent emotions with an engineering approach that uses reinforcement learning rather than a psychological approach. Since this method gradually adapts a mode to a target emotion, we can expect to obtain a desirable mode without enumerating all the possible modes one by one. However, this method needs a human evaluator who trains the mode. In consideration of reducing the burden on the evaluator, we have designed four function approximation models of the action-value function. As a result of a pilot experiment, the best model could acquire modes that represent “high” representational power of happiness, sadness and tenderness and “a little high” representational power of fear. Additionally, we propose a musicological concept “interval scale” that is derived from the second model and show a possibility of applying it to compose music.
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unknown
DOI: 10.5281/zenodo.850371
Zenodo URL: https://zenodo.org/record/850371
2013.86
Relationships Between Spectral Flux, Perceived Rhythmic Strength, and the Propensity to Move
Burger, Birgitta Department of Music, University of Jyväskylä; Jyväskylä, Finland
Ahokas, Riikka Department of Music, University of Jyväskylä; Jyväskylä, Finland
Keipi, Aaro Department of Music, University of Jyväskylä; Jyväskylä, Finland
Toiviainen, Petri Department of Music, University of Jyväskylä; Jyväskylä, Finland
Abstract
The tendency to move to music seems to be built into human nature. Previous studies have shown a relationship between movement and the degree of spectral flux in music, particularly in the lower sub-bands. In this study, listeners’ perceptions of a range of frequency-restricted musical stimuli were investigated in order to find relationships between perceived musical aspects (rhythm, melody, and fluctuation) and the spectral flux in three different frequency bands. Additionally, the relationship between the perception of features in specific frequency bands and participants’ desire to move was studied. Participants were presented with clips of frequency-restricted musical stimuli and answered four questions related to musical features. Both perceived strength of the rhythm and the propensity to move were found to correlate highly with low-frequency spectral flux. Additionally, a lower but still significant correlation was found between these perceived musical features and high-frequency spectral flux. This suggests that the spectral flux of both low and high frequency ranges can be utilized as a measure of perceived rhythm in music, and that the degree of spectral flux and the perceived rhythmic strength in high and low frequency bands are at least partly responsible for the extent to which listeners consciously desire to move when listening to music.
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unknown
DOI: 10.5281/zenodo.850373
Zenodo URL: https://zenodo.org/record/850373
2013.87
Robin: An Algorithmic Composer for Interactive Scenarios
Morreale, Fabio Università di Trento; Trento, Italy
Masu, Raul Università di Trento; Trento, Italy
De Angeli, Antonella Università di Trento; Trento, Italy
Abstract
The purpose of this paper is to present Robin, an algorithmic composer specifically designed for interactive situations. Users can interact in real time with the algorithmic composition by means of control strategies based on emotions. This study aims at providing a system for automatic music generation to be applied to interactive systems for music creation targeted at non-musicians. Robin adopts a rule-based approach to compose original tonal music in classical piano style. The first practical application of Robin is The Music Room, an interactive installation which enables people to compose tonal music in pairs by communicating emotion expressed by moving throughout a room.
Keywords
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unknown
DOI: 10.5281/zenodo.850375
Zenodo URL: https://zenodo.org/record/850375
2013.88
Segmentation and Timbre Similarity in Electronic Dance Music
Rocha, Bruno University of Amsterdam; Amsterdam, Netherlands
Bogaards, Niels Elephantcandy; Amsterdam, Netherlands
Honingh, Aline University of Amsterdam; Amsterdam, Netherlands
Abstract
In this paper we argue that the notion of music similarity should be expanded into sub-similarities, meaning that similarity of music has to be judged with respect to a certain context, such as melody, harmony, rhythm or timbre. We start by focusing on timbre similarity, restricted to the domain of Electronic Dance Music (EDM). We will assess the similarity of segments of music, thus we start by studying segmentation before we come to the topic of similarity. The segmentation algorithm performs well on an EDM dataset as well as on a standard MIREX dataset. Initial listening tests of the similarity model give promising results but will have to be further evaluated in future research.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850377
Zenodo URL: https://zenodo.org/record/850377
2013.89
Semi-automatic Melody Extraction Using Note Onset Time and Pitch Information From Users
Laaksonen, Antti Department of Computer Science, University of Helsinki; Helsinki, Finland
Abstract
Automatic melody extraction from music audio has proven to be challenging. In this paper we focus on semi-automatic melody extraction, where prior information produced by the user is used in the algorithm. Our experiment shows that users – even without a musical background – are able to produce useful approximations of both the note onset times and the pitches in the melody that is being extracted. We present a dynamic programming algorithm that takes this user-generated information and uses it for melody extraction. The algorithm is based on audio samples that are built around approximate note onset times. In addition to this, approximate note pitches can be used to constrain the set of possible melodies. We compare our algorithm with a state-of-the-art melody extraction algorithm using orchestral music material. In the evaluation we use simulated note approximations that could have been produced by a user without a musical background. In this setting, the accuracy of our algorithm is remarkably better than that of the automatic algorithm.
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not available
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unknown
DOI: 10.5281/zenodo.850379
Zenodo URL: https://zenodo.org/record/850379
2013.90
Sensitivity to Loudspeaker Permutations During an Eight-channel Array Reproduction of Piano Notes
Fontana, Federico Department of Mathematics and Computer Science, Università di Udine; Udine, Italy
De Pra, Yuri Department of Mathematics and Computer Science, Università di Udine; Udine, Italy
Amendola, Alberto Department of Industrial Engineering, Università di Parma; Parma, Italy
Abstract
An experiment has been conducted, in which ten pianists with different skill rated the sound realism and scene accuracy of a sequence of piano notes reproduced by a linear loudspeaker array, whose channel positions were changed during the test so to define different spatial patterns for the same sequence. Only exaggerated channel permutations produced significant downgrade of both qualities, furthermore without introducing appreciable changes of the apparent listening position. These results suggest that an accurate multi-channel reproduction of the frontal waves may not be crucial for determining the perceived quality of a digital piano.
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unknown
DOI: 10.5281/zenodo.850381
Zenodo URL: https://zenodo.org/record/850381
2013.91
Similarity Search of Freesound Environmental Sound Based on Their Enhanced Multiscale Fractal Dimension
Sunouchi, Motohiro Graduate School of Information Science and Technology, Hokkaido University; Sapporo, Japan
Tanaka, Yuzuru Meme Media Laboratory, Hokkaido University; Sapporo, Japan
Abstract
In this paper, we propose a new acoustic feature signature based on the multiscale fractal dimension extracted from sound signals for the content-based retrieval of environmental sounds such as field-recording sounds shared through Freesound. The multiscale fractal dimension de-rived from the fractal theory is known as a descriptor representing several features of the sound waveform. We report the basic characteristics of the enhanced multiscale fractal dimension (EMFD) extracted from each sound signal. Furthermore, we developed a similarity search system for environmental sounds using EMFD and Mel frequency cepstral coefficients 39 (MFCC39). We have compared the descriptiveness of EMFD signature and MFCC39 for the search purpose and found some competitive aspects of EMFD signature against MFCC39. These results show that EMFD signature is useful for describing the features of environmental sound and applicable to the search of large-scale sound databases.
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not available
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unknown
DOI: 10.5281/zenodo.850383
Zenodo URL: https://zenodo.org/record/850383
2013.92
Situating the Performer and the Instrument in a Rich Social Context With PESI Extended System
Goddard, Callum Dept. of Media, School of Arts, Design and Architecture, Aalto University; Espoo, Finland
Tahiroğlu, Koray Dept. of Media, School of Arts, Design and Architecture, Aalto University; Espoo, Finland
Abstract
In this paper we present our solutions to the design challenges of facilitating awareness of actions and development of self-identities within The notion of Participatory Enacting Sonic Interaction (PESI) project. The PESI system is a modular framework for participatory music making with three performers. We present a brief technical overview, design considerations and revisions resulting from a user study conducted during the system’s development. Through the development process of the PESI project a design approach we term: Non-Behaviourally Restrictive Digital Technology became apparent. In this approach, the shifting focus that embodied agents have in relation to the environment is accounted for and the development of sound-action relationships are encouraged. This is achieved through providing mappings relating to individual sensor values and movement information from motion tracking data. Our approach to the implementation of the PESI system can shift the collaborative music activity to a more engaging and active experience.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850385
Zenodo URL: https://zenodo.org/record/850385
2013.93
Skalldans, an Audiovisual Improvisation Framework
Lindborg, PerMagnus Nanyang Technological University; Singapore, Singapore
Abstract
Skalldans is an audiovisual improvisation framework for a solo laptop performer. The framework is an instrument for performance, developed in Max[2]. Sound and video syntheses are piloted with a MIDI interface, a camera, and a Wiimote; also, audiovisual streams influence each other. The present text discusses some of the hardware and software points of interest, for example, how audio and video syntheses are piloted, how the streams interact, and the camera tracking method with a linear regression stabiliser. It also touches upon the sources of inspiration for the piece.
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not available
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unknown
DOI: 10.5281/zenodo.850387
Zenodo URL: https://zenodo.org/record/850387
2013.94
SmartDJ, an Interactive Music Player for Music Discovery by Similarity Comparison
Aw, Si Ying (Maureen) Nanyang Technological University; Singapore, Singapore
Lim, Chung Sion (Michael) Nanyang Technological University; Singapore, Singapore
Lindborg, PerMagnus Nanyang Technological University; Singapore, Singapore
Abstract
In this digital music era, sorting and discovery of songs is getting harder and more time consuming than before, due to the large pool of songs out there. Many music recommendation system and other similar applications in the market make use of collaborative filtering and social recommendation to suggest music to listeners. However, the problem arises when there is not enough information collected for the song, which happens mostly to new and less popular music. Other issues include missing or inaccurate metadata, the need for Internet connection, etc. We present research on acoustic features to automatically classify songs according to user-friendly and highlevel concepts that indicate social contexts for music listening, and a prototype application called "SmartDJ". We aim to provide novel ways that the user can browse her/his music collection, with a player that enhances interaction via a visual feedback, personalised DJ trajectories, smooth mix transitions and so forth. SmartDJ sorts the songs based on similarity by extracting low level features, then reducing feature space dimensionality with principle component analysis (PCA) and multidimensional scaling (MDS) methods, and plotting songs in a GUI for manual or automatic browsing, where song similarity is given by Euclidian distance in a lower-dimension song space. Users are able to visualise their music library and select songs based on their similarity, or allow the system to perform automation, by selecting a list of songs based on the selection of the seed song. Users can maneuver with the high-level descriptor on the interactive interface to attain the different song space desired.
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unknown
DOI: 10.5281/zenodo.850389
Zenodo URL: https://zenodo.org/record/850389
2013.95
Smoothness Under Parameter Changes: Derivatives and Total Variation
Holopainen, Risto Independent; Sweden
Abstract
Apart from the sounds they make, synthesis models are distinguished by how the sound is controlled by synthesis parameters. Smoothness under parameter changes is often a desirable aspect of a synthesis model. The concept of smoothness can be made more accurate by regarding the synthesis model as a function that maps points in parameter space to points in a perceptual feature space. We introduce new conceptual tools for analyzing the smoothness related to the derivative and total variation of a function and apply them to FM synthesis and an ordinary differential equation. The proposed methods can be used to find well behaved regions in parameter space.
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unknown
DOI: missing
2013.96
Solving Interactions Between Nonlinear Resonators
Bensoam, Joël Instrumental Acoustics team, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Roze, David Instrumental Acoustics team, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In the context of musical acoustics, physical models of musical instruments have to be more and more sophisticated. For string models, realism is obtained by taking into account tension, flexion, shear, rotation and coupling phenomena but also nonlinear effects due to large displacements. The sound synthesis modal method is extended to the nonlinear case using Volterra series. The inverse problem of interaction between two acoustical objects is solved by finding the roots of a polynomial at each time step.
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not available
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unknown
DOI: 10.5281/zenodo.850391
Zenodo URL: https://zenodo.org/record/850391
2013.97
Sonification and Auditory Displays in Electronic Devices
Walker, Bruce N. Sonification Lab, Georgia Institute of Technology; Atlanta, United States
Abstract
Sonification is the intentional use of sound to represent data. As visual displays both shrink and grow, as datasets grow in size and complexity, and as mobile data access increases, sophisticated auditory displays become crucial. Computers and devices that support audio are widespread, but there remains relatively little knowledge and experience among user interface designers in how to use auditory displays effectively. This paper present a taxonomy of auditory display methods, and discusses implementation and design issues in multimodal interaction. Some examples of auditory displays developed by the author’s research group, the Georgia Tech Sonification Lab, are presented.
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unknown
DOI: 10.5281/zenodo.850393
Zenodo URL: https://zenodo.org/record/850393
2013.98
Sound Analysis Based on Phase Information That Connects Time and Frequency
Pabon, Peter Institute of Sonology, Royal Conservatory of The Hague; The Hague, Netherlands
van Velthoven, Jordy Institute of Sonology, Royal Conservatory of The Hague; The Hague, Netherlands
Abstract
This paper intends to reveal some of the properties and possibilities for sound analysis combining the Fourier and Mellin transform. First, the general transforms are defined and it is introduced how these signal and spectrum representations relate to each other. Second, a central property of Mellin-based form of the Fourier transform; its affine scaling, which leads to the concept of a joined, logarithmic time/frequency-axis is introduced. Third, the concept of a time-frequency continuum that is perpendicular to the logarithmic time-frequency axis is introduced. Next is discussed how information guides itself through the time-frequency continuum and how components link and move together depending on their spectrum and signal characteristics. Finally, an attempt is made to connect the special features that characterize this analysis method to other signal analysis methods.
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unknown
DOI: 10.5281/zenodo.850395
Zenodo URL: https://zenodo.org/record/850395
2013.99
SoundAnchoring: Content-based Exploration of Music Collections With Anchored Self-organized Maps
Collares, Leandro Department of Computer Science, University of Victoria; Victoria, Canada
Tavares, Tiago Fernandes School of Electrical and Computer Engineering, University of Campinas (UNICAMP); Campinas, Brazil
Feliciano, Joseph Department of Computer Science, University of Victoria; Victoria, Canada
Gao, Shelley Department of Computer Science, University of Victoria; Victoria, Canada
Tzanetakis, George Department of Computer Science, University of Victoria; Victoria, Canada
Gooch, Amy Department of Computer Science, University of Victoria; Victoria, Canada
Abstract
We present a content-based music collection exploration tool based on a variation of the Self-Organizing Map (SOM) algorithm. The tool, named SoundAnchoring, displays the music collection on a 2D frame and allows users to explicitly choose the locations of some data points known as anchors. By establishing the anchors’ locations, users determine where clusters containing acoustically similar pieces of music will be placed on the 2D frame. User evaluation showed that the cluster location control provided by the anchoring process improved the experience of building playlists and exploring the music collection.
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unknown
DOI: 10.5281/zenodo.850401
Zenodo URL: https://zenodo.org/record/850401
2013.100
Sound Hunter. Developing a Navigational HRTF-based Audio Game for People With Visual Impairments
Brieger, Sebastian Wolfgang School of Computer Science and Communication, Royal Institute of Technology; Stockholm, Sweden
Abstract
In this article, a framework is proposed for designing 3D-based audio-only games in which all navigation is based on perceiving the 3D-audio, as opposed to relying on other navigational aids or imagining the audio as being spatial, where additional sounds may be added later on in the development process. To test the framework, a game named Sound Hunter was developed in an iterative process together with both sighted and visually impaired participants. The results indicate that the suggested framework might be a successful guidance tool when wanting to develop faster perception-based 3D-audio games, and the learning curve for the navigation was approximately 15 minutes, after which the participants navigated with high precision. Furthermore, with only small alterations to game menus and the iPhone’s accelerometer function, both older and younger visually impaired people can navigate through 3D-audio environments by using simple hand movements. Finally, the results indicate that Sound Hunter may be used to train people’s spatial hearing in an entertaining way with full experimental control. Two main factors seem to affect the learning curve for adapting to a foreign HRTF during virtual interactive gaming experiences; the adaptation to the navigational controls, and the experience of front/back confusion, where control adaptation is promoted by having a strong default setting with customizable sensitivity, and the experience of front/back confusion can be greatly reduced by introducing complex distance-dependent meta-level communication in synthesized sounds.
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unknown
DOI: 10.5281/zenodo.850399
Zenodo URL: https://zenodo.org/record/850399
2013.101
Spatium, Tools for Sound Spatialization
Penha, Rui INET-MD, University of Aveiro; Aveiro, Portugal
Oliveira, João Pedro Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Abstract
In this paper we present spatium, a set of free, open source and modular software tools for sound spatialization, describing the creative and technical aspects considered during its development. The system is comprised of spatialization renderers, spatialization interfaces, DAW plugins and Max objects that communicate via OSC (Open Sound Control). They aim to: facilitate the exploration of different approaches to sound spatialization, ease the integration of sound spatialization into diverse compositional workflows, smooth the transition from the studio to different performance environments and be easily expandable to cater for growing needs.
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unknown
DOI: 10.5281/zenodo.850403
Zenodo URL: https://zenodo.org/record/850403
2013.102
Spectral Distortion Using Second-order Allpass Filters
Surges, Greg Department of Music, University California, San Diego (UCSD); San Diego, United States
Smyth, Tamara Department of Music, University California, San Diego (UCSD); San Diego, United States
Abstract
This work presents a technique for detuning or applying phase distortion to specific spectral components of an arbitrary signal using a cascade of parametric second-order allpass filters. The parametric second-order allpass provides control over the position and slope of the transition region of the phase response, and this control can be used to tune a phase distortion effect to a specific frequency range. We begin by presenting the phase response of a cascade of first-order filters, which we relate to that of the parametric second-order allpass. Time-varying parameters and the time-varying phase response are derived for the second-order case, and we provide examples demonstrating the frequency-selective phase distortion effect in the context of processing of instrumental sounds.
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unknown
DOI: 10.5281/zenodo.850405
Zenodo URL: https://zenodo.org/record/850405
2013.103
Study of the Tremolo Technique on the Acoustic Guitar: Experimental Setup and Preliminary Results on Regularity
Freire, Sérgio School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Nézio, Lucas School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Abstract
This paper presents an experimental setup for the study of right hand techniques on the acoustic guitar, and describes the main features of our apparatus regarding the extraction of audio descriptors. A preliminary case study on the tremolo technique is also discussed, where four different musicians played five versions of the same musical excerpt. These versions are compared on the basis of the regularity of the rhythmic pattern, the note durations, and the uniformity of the amplitudes. The comparison results suggest a direct relationship between rhythmic regularity and the player’s level of expertise. Nevertheless, this relationship does not apply to the note durations or the dynamic regularity. Finally, some concerns regarding the difficulties in listening to the discovered (ir)regularities are addressed, and some steps for further research are pointed out.
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unknown
DOI: 10.5281/zenodo.850407
Zenodo URL: https://zenodo.org/record/850407
2013.104
Tale Following: Real-time Speech Recognition Applied to Live Performance
Rouas, Jean-Luc LABRI, University Bordeaux I; Bordeaux, France
Mansencal, Boris LABRI, University Bordeaux I; Bordeaux, France
Larralde, Joseph LABRI, University Bordeaux I; Bordeaux, France
Abstract
This paper describes a system for tale following, that is to say speaker-independent but text-dependent speech recognition followed by automatic alignment. The aim of this system is to follow in real-time the progress of actors reading a text in order to automatically trigger audio events. The speech recognition engine used is the well known Sphinx from CMU. We used the real-time implementation pocketsphinx, based on sphinx II, with the French acoustic models developed at LIUM. Extensive testing using 21 speakers from the PFC corpus (excerpts in “standard french”) shows that decent performances are obtained by the system – around 30\% Word Error Rate (WER). However, testing using a recording during the rehearsals shows that in real conditions, the performance is a bit worse : the WER is 40\%. Thus, the strategy we devised for our final application includes the use of a constrained automatic alignment algorithm. The aligner is derived from a biological DNA sequences analysis algorithm. Using the whole system, the experiments report that events are triggered with an average delay of 9 s (± 8 s). The system is integrated into a widely used real-time sound processing software, Max/MSP, which is here used to trigger audio events, but could also be used to trigger other kinds of events such as lights, videos, etc.
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unknown
DOI: 10.5281/zenodo.850409
Zenodo URL: https://zenodo.org/record/850409
2013.105
Technical Report on a Short Live-action Film Whose Story With Soundtrack Is Selected in Real-time Based on Audience Arousal During Performance
Kirke, Alexis Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Williams, Duncan Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Bluglass, Amanda Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Whyte, Craig Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Pruthi, Rishi Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Eccleston, Andrew Interdisciplinary Centre for Computer Music Research, School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
‘many worlds’ is a short narrative live-action film written and directed so as to provide four optional linear routes through the plot and four endings. At two points during the fifteen minute film, decisions are made based on audience biosignals as to which plot route to take. The use of biosignals is to allow the audience to remain immersed in the film, rather than explicitly selecting plot direction, as done in most interactive films. Four audience members have a bio-signal measured, one sensor for each person: ECG (heart rate), EMG (muscle tension), EEG (“brain waves”) and Galvanic Skin Response (perspiration). The four are interpreted into a single average of emotional arousal. This is used to decide which route to select at each of the two plot selection points. The film starts with a binaural soundscape composed to relax the audience, and depending on which clip is selected at the decision points, a different soundtrack is played under the visual action as well. ‘many worlds’ is the first live action linear plotted film to be screened in a cinema in front of the general public which utilizes the above reactive approach.
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unknown
DOI: 10.5281/zenodo.850411
Zenodo URL: https://zenodo.org/record/850411
2013.106
The Actuated Guitar: A Platform Enabling Alternative Interaction Methods
Larsen, Jeppe Veirum Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Overholt, Daniel Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Moeslund, Thomas B. Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
Playing a guitar is normally only for people with fully functional hands. In this work we investigate alternative interaction concepts to enable or re-enable people with non-functional right hands or arms to play a guitar via actuated strumming. The functionality and complexity of right hand interaction with the guitar is immense. We therefore divided the right hand techniques into three main areas: Strumming, string picking / skipping, and string muting. This paper explores the first stage, strumming. We have developed an exploratory platform called the Actuated Guitar that utilizes a normal electrical guitar, sensors to capture the rhythmic motion of alternative fully functioning limbs, such as a foot, knee or the head, and a motorized fader moving a pick back and forth across the strings. A microcontroller is utilized for processing sensor data, which allows flexible mapping of user input to the actuation of the motorized fader. Our approach employs the flexibility of a programmable digital system, allowing us to scale and map different ranges of data from various sensors to the motion of the actuator – thereby making it easier adapt to individual users.
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unknown
DOI: 10.5281/zenodo.850413
Zenodo URL: https://zenodo.org/record/850413
2013.107
The AirSticks: A New Interface for Electronic Percussionists
Ilsar, Alon University of Technology Sydney; Sydney, Australia
Havryliv, Mark Australian Institute of Music (AIM); Sydney, Australia
Johnston, Andrew University of Technology Sydney; Sydney, Australia
Abstract
This paper documents the early developments of a new interface for electronic percussionists. The interface is designed to allow the composition, improvisation and performance of live percussive electronic music using hand, finger, foot and head movements captured by various controllers. This paper provides a background to the field of electronic percussion, outlines the artistic motivations behind the project, and describes the technical nature of the work completed so far. This includes the development of software, the combination of existing controllers and senses, and an example mapping of movement to sound.
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unknown
DOI: 10.5281/zenodo.850415
Zenodo URL: https://zenodo.org/record/850415
2013.108
The Importance of Amplitude Envelope: Surveying the Temporal Structure of Sounds in Perceptual Research
Gillard, Jessica Institute for Music and the Mind, McMaster University; Hamilton, Canada
Schutz, Michael Institute for Music and the Mind, McMaster University; Hamilton, Canada
Abstract
Our lab’s research has repeatedly documented significant differences in the outcomes of perception experiments using flat (i.e. sustained) vs. percussive (i.e. decaying) tones [1, 2]. Some of these findings contrast with well-established theories and models, and we suspect this discrepancy stems from a traditional focus on flat tones in psychophysical research on auditory perception. To explore this issue, we surveyed 94 articles published in Attention, Perception & Psychophysics, classifying the temporal structure (i.e. amplitude envelope) of each sound using five categories: flat (i.e. sustained with abruptly ending offsets), percussive (i.e. naturally decaying offsets), click train (i.e. a series of rapid sound-bursts), other, and not specified (i.e. insufficient specification with respect to temporal structure). The use of flat tones (31\%) clearly outnumbered percussive (4.5\%). This under-utilization of percussive sounds is intriguing, given their ecological prevalence outside the lab [3,4]. Interestingly, 55\% of the tones encountered fell within the not specified category. This is not indicative of general neglect, as these articles frequently specified other details such as spectral envelope, headphone model, and model of computer/synthesizer. This suggests that temporal structure’s full importance has not traditionally been recognized, and that it represents a rich area for future research and exploration.
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unknown
DOI: 10.5281/zenodo.850417
Zenodo URL: https://zenodo.org/record/850417
2013.109
The Influence of Graphical User Interface Design on Critical Listening Skills
Mycroft, Josh Center for Digital Music, Queen Mary University of London; London, United Kingdom
Reiss, Joshua Daniel Center for Digital Music, Queen Mary University of London; London, United Kingdom
Stockman, Tony Center for Digital Music, Queen Mary University of London; London, United Kingdom
Abstract
Current Digital Audio Workstations include increasingly complex visual interfaces which have been criticised for focusing user’s attention on visual rather than aural modalities. This study aims to investigate whether visual interface complexity has an influence on critical listening skills. Participants with experience mixing audio on computers were given critical listening tests while manipulating Graphical User interfaces of varying complexity. Results from the study suggest that interfaces requiring the use of a scroll bar have a significant negative effect on critical listening reaction times. We conclude that the use of scrolling interfaces, by requiring users to hold information in working memory, can interfere with simultaneous critical listening tasks. These results have implications for the design of Digital Audio Workstations especially when using small displays.
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unknown
DOI: 10.5281/zenodo.850419
Zenodo URL: https://zenodo.org/record/850419
2013.110
Towards a Discrete Electronic Transmission Line as a Musical Harmonic Oscillator
Buys, Kurijn Independent; Finland
Auvray, Roman Lutheries - Acoustique - Musique (LAM), Institut Jean Le Rond d'Alembert; Paris, France
Abstract
In analogy with strings and acoustic pipes as musical harmonic oscillators, a novice electronic oscillator is considered. The equivalent circuit of a discrete representation of strings and pipes, which takes the form of a discrete transmission line, is constructed with real electronic components. The proposed model includes the “equivalent series resistances”, which seems to be the only relevant default for both capacitors and inductors for this application. In an analytical approach, the complex wave number is derived, allowing the study of both the wave’s dispersion and attenuation in function of frequency and resulting in recommended and critical component values. Next, components are selected for a first eight-node prototype, which is numerically evaluated and then practically constructed and measured. The results prove a good match between theory and practice, with five distinguishable modes in the entrance impedance. A new prototype design is planned, which is expected to have much improved quality factors.
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unknown
DOI: 10.5281/zenodo.850421
Zenodo URL: https://zenodo.org/record/850421
2013.111
Towards Computable Procedures for Deriving Tree Structures in Music: Context Dependency in GTTM and Schenkerian Theory
Marsden, Alan Lancaster University; Lancaster, United Kingdom
Hirata, Keiji Future University Hakodate; Hakodate, Japan
Tojo, Satoshi Japan Advanced Institute of Science and Technology (JAIST); Kanazawa, Japan
Abstract
This paper addresses some issues arising from theories which represent musical structure in trees. The leaves of a tree represent the notes found in the score of a piece of music, while the branches represent the manner in which these notes are an elaboration of simpler underlying structures. The idea of multi-levelled elaboration is a central feature of the Generative Theory of Tonal Music (GTTM) of Lerdahl and Jackendoff, and is found also in Schenkerian theory and some other theoretical accounts of musical structure. In previous work we have developed computable procedures for deriving these tree structures from scores, with limited success. In this paper we examine issues arising from these theories, and some of the reasons limiting our previous success. We concentrate in particular on the issue of context dependency, and consider strategies for dealing with this. We stress the need to be explicit about data structures and algorithms to derive those structures. We conjecture that an expectationbased parser with look-ahead is likely to be most successful.
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unknown
DOI: 10.5281/zenodo.850423
Zenodo URL: https://zenodo.org/record/850423
2013.112
Urb: Urban Sound Analysis and Storage Project
Gomes, José Alberto Research Centre in Science and Technology of the Arts, Catholic University of Portugal; Porto, Portugal
Tudela, Diogo Research Centre in Science and Technology of the Arts, Catholic University of Portugal; Porto, Portugal
Abstract
This paper introduces Urb, a system for automated analysis and storing of an urban soundscape. Urb complements traditional sound maps, allowing the direct access of its features at any arbitrary moment since the system's boot, thus facilitating the study of the soundscape's evolution and the differences between specific timeframes, and facilitating artistic approaches to such data. In this paper, we will describe the creative and technical aspects considered during its early development, whilst addressing its three fundamental parts: the hardware and software for capturing and transmitting audio recordings, the software for analyzing the soundscape and the management of the database.
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unknown
DOI: 10.5281/zenodo.850425
Zenodo URL: https://zenodo.org/record/850425
2013.113
Using Semantic Layer Projection for Enhancing Music Mood Prediction With Audio Features
Saari, Pasi Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä; Jyväskylä, Finland
Eerola, Tuomas Finnish Centre of Excellence in Interdisciplinary Music Research, University of Jyväskylä; Jyväskylä, Finland
Fazekas, György Center for Digital Music, Queen Mary University of London; London, United Kingdom
Sandler, Mark Center for Digital Music, Queen Mary University of London; London, United Kingdom
Abstract
We propose a novel technique called Semantic Layer Projection (SLP) for predicting moods expressed by music based on audio features. In SLP, the predictive models are formed by a two-stage mapping from audio features to listener ratings of mood via a semantic mood layer. SLP differs from conventional techniques that produce a direct mapping from audio features to mood ratings. In this work, large social tag data from the Last.fm music service was analysed to produce a semantic layer that represents mood-related information in a low number of dimensions. The method is compared to baseline techniques at predicting the expressed Valence and Arousal in 600 popular music tracks. SLP clearly outperformed the baseline techniques at predicting Valence (R 2 = 0.334 vs. 0.245), and produced roughly equivalent performance in predicting Arousal (R 2 = 0.782 vs. 0.770). The difficulty of modelling Valence was highlighted by generally lower performance compared to Arousal. The improved prediction of Valence, and the increasingly abundant sources of social tags related to digital music make SLP a highly promising technique for future developments in modelling mood in music.
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unknown
DOI: 10.5281/zenodo.850427
Zenodo URL: https://zenodo.org/record/850427
2013.114
Virtual Conductor for String Quartet Practice
Baez Fernández, Raquel Victoria Department of Telecommunication Engineering, University of Málaga (UMA); Málaga, Spain
Barbancho, Ana Maria Department of Telecommunication Engineering, University of Málaga (UMA); Málaga, Spain
Rosa-Pujazón, Alejandro Department of Telecommunication Engineering, University of Málaga (UMA); Málaga, Spain
Barbancho, Isabel Department of Telecommunication Engineering, University of Málaga (UMA); Málaga, Spain
Tardón, Lorenzo José Department of Telecommunication Engineering, University of Málaga (UMA); Málaga, Spain
Abstract
This paper presents a system that emulates an ensemble conductor for string quartets. This application has been developed as a support tool for individual and group practice, so that users of any age range can use it to further hone their skills, both for regular musicians and students alike. The virtual conductor designed can offer similar indications to those given by a real ensemble conductor to potential users regarding beat times, dynamics, etc. The application developed allows the user to rehearse his/her performance without the need of having an actual conductor present, and also gives access to additional tools to further support the learning/practice process, such as a tuner or a melody evaluator. The system developed also allows for both solo practice and group practice. A set of tests were conducted to check the usefulness of the application as a practice support tool. A group of musicians from the Chamber Orchestra of Málaga including an ensemble conductor tested the system, and reported to have found it a very useful tool within an educational environment and that it helps to address the lack of this kind of educational tools in a self-learning environment.
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unknown
DOI: 10.5281/zenodo.850429
Zenodo URL: https://zenodo.org/record/850429
2013.115
Visions of Sound: The Centro Di Sonologia Computazionale, From Computer Music to Sound and Music Computing
Canazza, Sergio CSC, Department of Information Engineering, Università di Padova; Padova, Italy
De Poli, Giovanni CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Vidolin, Alvise CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Abstract
Centro di Sonologia Computazionale (CSC) scientific research was the premise for subsequent activities of musical informatics, and is still one of the main activities of the Centre. Today CSC activities rely on a composite group of people, which include the Center board of directors and personnel, guest researchers and musicians, and particularly on master students attending the course “Sound and Music Computing” at Dept. of Information Engineering (DEI), which is historically tightly linked to the CSC. The dissemination of scientific results as well as the relationship between art and science is hard and surely not trivial. With this aim, this paper describes an exhibition that illustrated the history of CSC, from the scientific, technological and artistic points of view. This exhibition is one of the first examples of “a museum” of Computer Music and SMC researches.
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unknown
DOI: 10.5281/zenodo.850431
Zenodo URL: https://zenodo.org/record/850431
2013.116
VocaRefiner: An Interactive Singing Recording System With Integration of Multiple Singing Recordings
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
This paper presents a singing recording system, VocaRefiner, that enables a singer to make a better singing recording by integrating multiple recordings of a song he or she has sung repeatedly. It features a function called clickable lyrics, with which the singer can click a word in the displayed lyrics to start recording from that word. Clickable lyrics facilitate efficient multiple recordings because the singer can easily and quickly repeat recordings of a phrase until satisfied. Each of the recordings is automatically aligned to the music-synchronized lyrics for comparison by using a phonetic alignment technique. Our system also features a function, called three-element decomposition, that analyzes each recording to decompose it into three essential elements: F 0 , power, and spectral envelope. This enables the singer to select good elements from different recordings and use them to synthesize a better recording by taking full advantage of the singer’s ability. Pitch correction and time stretching are also supported so that singers can overcome limitations in their singing skills. VocaRefiner was implemented by combining existing signal processing methods with new estimation methods for achieving high-accuracy robust F 0 and group delay, which we propose to improve the synthesized quality.
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unknown
DOI: 10.5281/zenodo.850433
Zenodo URL: https://zenodo.org/record/850433
2013.117
Warped Frames: Dispersive vs. Non-dispersive Sampling
Evangelista, Gianpaolo Media and Information Technology, Linköping University; Norrköping, Sweden
Abstract
Conventional Time-Frequency and Time-Scale Representations are often too rigid to capture fine details of sound or musical signals. Adaptation of ideal time-frequency tilings is often desirable in order to represent the signal in terms of components that are meaningful from a physical or perceptual point of view. Remapping of the time and frequency axes by means of time and frequency warping can help achieve the desired flexibility of the representation. However, in the general case, the conjugate variable is affected as well, so that the resulting representation plane is distorted. In this paper we show methods to redress the conjugate distortion introduced by warping, both in the unsampled case of the integral Short-Time Fourier Transform and in the sampled case of generalized Gabor frames. Ultimately, the methods illustrated in this paper allow for the construction and computation of Gabor-like nonuniform time frequency representations in which the new frames are obtained from uniform Gabor frames by frequency warping both the time variable and the time index. This provides a very general design procedure based on a prescribed warping map that can be derived, e.g., from a tonal scale.
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unknown
DOI: 10.5281/zenodo.850435
Zenodo URL: https://zenodo.org/record/850435
2013.118
Warped Low-order Modeling of Musical Tones
Mignot, Rémi Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Lehtonen, Heidi-Maria Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Välimäki, Vesa Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Abstract
Source-filter modeling of musical tones requires a filter model for the spectral envelope of the signal. Since the perceptual frequency resolution is best at low frequencies, frequency warping has been previously shown to improve spectral envelope estimation of audio signals. In this paper, considering low-order modeling for harmonic tones, we investigate the perceptual performance of three warped models which extend the filter models: Linear Prediction Coding (LPC), True-Envelope based Linear Prediction (TELPC), and Discrete All-Pole method (DAP). The respective warped methods allow a continuous control of the warping factor, and here we are interested in the perceptual quality of the envelope estimation according to the warping factor for all methods. Results of our listening tests show that the frequency warping which best approximates the Bark scale, does not always give the best results.
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unknown
DOI: 10.5281/zenodo.850437
Zenodo URL: https://zenodo.org/record/850437
2013.119
x-OSC: A Versatile Wireless I/O Device for Creative/Music Applications
Madgwick, Sebastian University of Bristol; Bristol, United Kingdom
Mitchell, Tom University of the West of England (UWE Bristol); Bristol, United Kingdom
Abstract
This paper introduces x-OSC: a WiFi-based I/O board intended to provide developers of digital musical instruments with a versatile tool for interfacing software to the physical world via OSC messages. x-OSC features 32 I/O channels supporting multiple modes including: 13-bit analogue inputs, 16-bit PWM outputs and serial communication. The optimised design enables a sustained throughput of up to 370 messages per second and latency of less than 3 ms. Access to settings via a web browser prevents the need for specific drivers or software for greater cross-platform compatibility. This paper describes key aspects x-OSC’s design, an evaluation of performance and three example applications.
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DOI: 10.5281/zenodo.850439
Zenodo URL: https://zenodo.org/record/850439
Sound and Music Computing Conference 2014 (ed. 11)
Dates: from September 14 to September 20, 2014
Place: Athens, Greece
Proceedings info: Proceedings ICMC|SMC|2014, ISBN 978-0-9845274-3-4
2014.1
3DMIN - Challenges and Interventions in Design, Development and Dissemination of New Musical Instruments
Bovermann, Till Berlin University of the Arts (UdK); Berlin, Germany
Egermann, Hauke Technische Universität Berlin (TU Berlin); Berlin, Germany
Foerstel, Alexander Technische Universität Berlin (TU Berlin); Berlin, Germany
Hardjowirogo, Sarah-Indriyati Technische Universität Berlin (TU Berlin); Berlin, Germany
Hinrichsen, Amelie Berlin University of the Arts (UdK); Berlin, Germany
Hildebrand Marques Lopes, Dominik Berlin University of the Arts (UdK); Berlin, Germany
Pysiewicz, Andreas Technische Universität Berlin (TU Berlin); Berlin, Germany
Weinzierl, Stefan Technische Universität Berlin (TU Berlin); Berlin, Germany
de Campo, Alberto Berlin University of the Arts (UdK); Berlin, Germany
Abstract
This paper presents challenges in the design, development and dissemination of electronic and digital musical instruments as they were identified within a newly established interdisciplinary research project. These challenges, covering a range of theoretical, artistic and practical perspectives, fall into the categories Embracing Technology, Musicology-informed Design, Researching and Integrating Embodiment and Aesthetics and Artistic Values. We illustrate, how the research project provides interventions and measures to the community that are related to these challenges. Furthermore we intend to investigate conditions for the success of new musical instruments with respect to their design and both their scientific and artistic values.
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DOI: 10.5281/zenodo.850945
Zenodo URL: https://zenodo.org/record/850945
2014.2
About the Different Types of Listeners for Rating the Overall Listening Experience
Schoeffler, Michael International Audio Laboratories Erlangen (AudioLabs); Erlangen, Germany
Herre, Jürgen International Audio Laboratories Erlangen (AudioLabs); Erlangen, Germany
Abstract
When the overall listening experience is rated, listeners are asked to take every aspect into account which seems important to them, including song, lyrics, mood and audio quality. The results of two previously conducted experiments revealed a significant influence of the signal bandwidth and the spatial reproduction format on the overall listening experience. In this work, a systematic analysis is applied to the results of these two experiments with the purpose to investigate listeners in more detail. Regarding rating the overall listening experience, the results show that listeners can rather be described by continuous variables which reflect their preferences than clear categorizations of different listener types. Furthermore, a regression model for predicting ratings was significantly improved by describing the listeners with such continuous variables.
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DOI: 10.5281/zenodo.850717
Zenodo URL: https://zenodo.org/record/850717
2014.3
A Bowed String Physical Model Including Finite-width Thermal Friction and Hair Dynamics
Maestre, Esteban CCRMA, Stanford University; Stanford, United States
Spa, Carlos Universidad Federico Santa Marı́a; Valparaíso, Chile
Smith, Julius Orion III CCRMA, Stanford University; Stanford, United States
Abstract
In light of the promising results obtained by driving a lowcomplexity digital waveguide (DW) violin model with synthetic bowing gestures 1 , we currently explore the possibilities of combining DW and finite-difference time-domain (FDTD) frameworks to construct refined, yet efficient physical models of string quartet instruments. We extend previous approaches by combining a finite-width bow-string interaction model with a dynamic friction model based on simulating heat diffusion along the width of the bow. Bow hair dynamics are incorporated in the bow-string interaction, which includes two transversal string polarizations. The bridge termination is realized using an efficient, passive digital reflectance matrix obtained from fitting admittance measurements. In this paper we present and discuss the current status and future directions of our modeling work.
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DOI: 10.5281/zenodo.850848
Zenodo URL: https://zenodo.org/record/850848
2014.4
A Computer-mediated Interface for Jazz Piano Comping
Dias, Rui University of Porto / INESC; Porto, Portugal
Guedes, Carlos New York University Abu Dhabi; Abu Dhabi, United Arab Emirates
Marques, Telmo Research Center for Science and Technology of the Arts (CITAR), Portuguese Catholic University; Porto, Portugal
Abstract
This paper presents a dynamic interface and voicing algorithm for real-time performance of jazz piano comping. Starting with a given song with a predefined harmonic progression, the algorithm calculates and maps an array of chord voicings to a virtual piano keyboard that can be played in real-time with any physical multi-touch input device like an iPad or computer keyboard. By taking care of the note selection for the voicings, the interface provides a simplified and intuitive way to play sophisticated voicings, while leaving the control over the performance aspects like timing, register, wideness and density to the user.
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DOI: 10.5281/zenodo.850615
Zenodo URL: https://zenodo.org/record/850615
2014.5
A Design Exploration on the Effectiveness of Vocal Imitations
Delle Monache, Stefano Department of Architecture and Arts, IUAV University of Venice; Venezia, Italy
Baldan, Stefano Department of Architecture and Arts, IUAV University of Venice; Venezia, Italy
Mauro, Davide Andrea Department of Architecture and Arts, IUAV University of Venice; Venezia, Italy
Rocchesso, Davide Department of Architecture and Arts, IUAV University of Venice; Venezia, Italy
Abstract
Among sonic interaction design practices a rising interest is given to the use of the voice as a tool for producing fast and rough sketches. Goal of the EU project SkAT-VG (Sketching Audio Technologies using Vocalization and Gestures, 2014-2016) is to develop vocal sketching as a reference practice for sound design by (i) improving our understanding on how sounds are communicated through vocalizations and gestures, (ii) looking for physical relations between vocal sounds and sound-producing phenomena, (iii) designing tools for converting vocalizations and gestures into parametrized sound models. We present the preliminary outcomes of a vocal sketching workshop held at the Conservatory of Padova, Italy. Research through design activities focused on how teams of potential designers make use of vocal imitations, and how morphological attributes of sound may inform the training of basic vocal techniques.
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DOI: 10.5281/zenodo.850947
Zenodo URL: https://zenodo.org/record/850947
2014.6
Affective Jukebox: A Confirmatory Study of EEG Emotional Correlates in Esponse to Musical Stimuli
Eaton, Joel Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Williams, Duncan Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Abstract
This paper presents a proof-of-concept pilot study investigating whether 2-dimensional arousal-valence correlates determined from electroencephalogram (EEG) readings can be used to select music based on the affective state of a user. Self-reported emotional states are used to evaluate a system for estimating arousal and valance from EEG by means of music selection from a real-time jukebox, with stimuli that have strong emotional connotations determined by a perceptual scaling analysis. Statistical analysis of participant responses suggests that this approach can provide a feasible platform for further experimentation in future work. This could include using affective correlations to EEG measurements in order to control real-time systems for musical applications such as arrangement, re-composition, re-mixing, and generative composition via a neurofeedback mechanism which responds to listener affective states.
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DOI: 10.5281/zenodo.850621
Zenodo URL: https://zenodo.org/record/850621
2014.7
A Flexible and Modular Crosslingual Voice Conversion System
Machado, Anderson Fraiha University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo University of São Paulo (USP); São Paulo, Brazil
Abstract
A cross-lingual voice conversion system aims at modifying the timbral structure of recorded sentences from a source speaker, in order to obtain processed sentences which are perceived as the same sentences uttered by a target speaker. This work presents the cross-lingual voice conversion problem as a network of related sub-problems and discuss several techniques for solving each of these sub-problems, in the context of a modular implementation that facilitates comparisons between competing techniques. The implemented system aims at high-quality cross-lingual voice conversion in a text-independent setting, i.e. where the training sets of sentences recorded by source and target speakers are not the same. New strategies are introduced, such as artificial phonetic maps, N -likelihood clustering and normalized frequency warping, which are evaluated through numerical experiments.
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DOI: 10.5281/zenodo.850850
Zenodo URL: https://zenodo.org/record/850850
2014.8
A Framework for Music Analysis/Resynthesis Based on Matrix Factorization
Burred, Juan José Independent Research, Independent; Paris, France
Abstract
Spectrogram factorization is a recent and promising alternative to sinusoidal or source/filter modeling for analysis/resynthesis systems aimed at musical creation. This paper presents a framework designed to perform a wide range of sound manipulations based on Non-negative Matrix Factorization (NMF), including a set of new techniques for creating artificial cross-components not present in the original analyzed sound. The system can process individual sounds by modifying their internal structure, or can be used for a flexible type of cross-synthesis between two input sounds. The different processing modules are illustrated by a collection of sound examples available on a companion website.
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DOI: 10.5281/zenodo.850852
Zenodo URL: https://zenodo.org/record/850852
2014.9
A Genetic Algorithm Approach to Collaborative Music Creation on a Multi-touch Table
Klügel, Niklas Technische Universität München (TUM); Garching, Germany
Lindström, Andreas KTH Royal Institute of Technology; Kista, Sweden
Groh, Georg Technische Universität München (TUM); Garching, Germany
Abstract
Multi-touch interfaces provide new opportunities for collaborative music composing. In this report, an approach using genetic algorithms to evolve musical beats in a collaborative setting is presented. A prototype using a multitouch interface is developed and evaluated.
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DOI: 10.5281/zenodo.850527
Zenodo URL: https://zenodo.org/record/850527
2014.10
A High-level Review of Mappings in Musical iOS Applications
Kell, Thor IDMIL / CIRMMT, McGill University; Montreal, Canada
Wanderley, Marcelo M. IDMIL / CIRMMT, McGill University; Montreal, Canada
Abstract
We present a high-level review of mappings in musical iOS applications. All of the 38,750 music applications on the iOS store were reviewed and classified, using their title and descriptive text. Fifty music-making categories were found, along with sixteen non-music-making categories. Summarized mappings for each music-making category were defined and enumerated, by downloading and examining the screenshots for each app in each category. We present the total mappings, across all fifty categories, in terms of pitch, trigger, time, volume, and timbre. The sixteen non-music making categories were overviewed, but not discussed in detail. We also discuss broad trends and underutilized mappings, as well as suggesting areas for innovation. Finally, we provide public access to the created dataset, in order to further research around both iOS applications and text classification. This dataset includes the title, URL, and descriptive text for all applications, and is available both classified and unclassifed.
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DOI: 10.5281/zenodo.850617
Zenodo URL: https://zenodo.org/record/850617
2014.11
A History of Emerging Paradigms in EEG for Music
Christopher, Kameron R. School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Kapur, Ajay School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Carnegie, Dale A. School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Grimshaw, Gina M. School of Psychology, Victoria University of Wellington; Wellington, New Zealand
Abstract
In recent years, strides made in the development of BrainComputer Interface (BCI) technology have foreseen a contemporary evolution in the way we create music with Electroencephalography (EEG). The development of new BCI technology has given musicians the freedom to take their work into new domains for music and art making. However, a fundamental challenge for artists using EEG in their work has been expressivity. In this paper, we demonstrate how emerging paradigms in EEG music are dealing with this issue, and discuss the outlook for the field moving forward.
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DOI: 10.5281/zenodo.850793
Zenodo URL: https://zenodo.org/record/850793
2014.12
A Hybrid Guitar Physical Model Controller: The BladeAxe
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Smith, Julius Orion III Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
The B LADE A XE is a guitar-like controller that uses “real world” audio excitations from six piezoelectric films (one per “string”) to drive a physical model of a guitar on a laptop. The B LADE A XE body is made out of laser cut acrylic sheets and can be easily reproduced. As a fully “plug and play” interface, it can be used on any computer to communicate with our open-source virtual-guitar software.
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DOI: 10.5281/zenodo.850619
Zenodo URL: https://zenodo.org/record/850619
2014.13
Alarm/will/sound: Perception, Characterization, Acoustic Modeling, and Design of Modified Car Alarms
Sigman, Alexander Department of Composition, Keimyung University, School of Music and Performing Arts; Daegu, South Korea
Misdariis, Nicolas Research and Development, Sound Perception and Design, STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This article outlines the salient phases, goals, and results of alarm/will/sound, a multidisciplinary musical research project carried out in the context of the IRCAM IRC (Interface Recherche-Création) Musical Residency Research program. 1 After the rationale for and motivations behind the project are presented, the following research and production milestones are described: 1) the elaboration and characterization of the sound corpus intended for the modified car alarm prototypes; 2) a sound perception experiment testing source typicality of a sub-category of sounds within the corpus; 3) an acoustic descriptor space in which a subset of the stimuli employed in the typicality experiment were situated; 4) the construction of synthetic auditory warnings from sound-sources within the descriptor space, prototypical environmental sound envelopes, and inter-onset intervals (IOI's) derived from extant car alarms; and 5) the design of a second experiment pertaining to levels of repulsion vs. attraction to the synthetic auditory warnings. Finally, short-, mid-, and long-term objectives and directions for the project are discussed.
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DOI: 10.5281/zenodo.850719
Zenodo URL: https://zenodo.org/record/850719
2014.14
Algebraic Mozart by Tree Synthesis
Hirata, Keiji Future University Hakodate; Hakodate, Japan
Tojo, Satoshi Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Hamanaka, Masatoshi Kyoto University; Kyoto, Japan
Abstract
Thus far, we have been automatizing the time-span analysis of Jackendoff and Lehrdahl’s Generative Theory of Tonal Music (GTTM). We have also introduced the distance between two time-span trees and verified by an experiment that the distance was properly supported by the psychological similarity. In this paper, we synthesize a new piece of music using the algebraic operations on timespan trees, with this notion of distance. For this process, we need an operation to retain a certain number of pitch events as well as reduction, then we employ join operation on two input pieces of music. But, the result of the join operation is not obvious as two or more pitch events may occupy the same position on a score in a conflicting way. Therefore, in this research, we distinguish the tree representation from actual music written on a score and define join and meet in the domain of the tree representation in the algebraic manner. Then, to demonstrate the validity of our approach, we compose artificial variations of K.265/300e by Wolfgang Amadeus Mozart by a morphing technique using join and meet. We examine the results with human intuitive similarity and show that algebraic operations such as join and meet suffices to produce viable Mozartoid variations.
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DOI: 10.5281/zenodo.850747
Zenodo URL: https://zenodo.org/record/850747
2014.15
Algorithmic Cross-mixing and Rhythmic Derangement
Baracskai, Zlatko University of the West of England (UWE Bristol); Bristol, United Kingdom
Abstract
This paper discusses the circumstances and the results in automating rhythmical derangement of popular music in order to render an odd-meter version of a tune. The resulting pieces will be performed in a late night concert of the International Computer Music Conference resembling a typical DJ performance setting. Created remixes often use two widely known tunes in parallel to bear the title of a cross-mix. The cross-mixes are made by firstly synchronising the tracks in their original timeflow by using audio stretching techniques. Secondly, the probabilistic splicing algorithms and further timestretching are employed to render the tracks within a different metric structure. Finally, DJ production and performance techniques provide appropriate ways of mastering and presenting the pieces in a club-type environment. The paper will further deal with the intentions behind using popular tunes, odd-meters and algorithms in the light of the motivation that yielded the currently presented system. The designed software plug-in will be briefly documented and made public as open-source development.
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DOI: 10.5281/zenodo.850749
Zenodo URL: https://zenodo.org/record/850749
2014.16
Ambient Culture: Coping Musically With the Environment
Maeder, Marcus Institute for Computer Music and Sound Technology ICST, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
Since its creation by the composer Brian Eno in 1976, the term ambient has undergone significant change. The musical style ambient has developed into a framework of reception and terminology within which digital electronic music as well as visual art are conceived and received. The term ambient opens up a context of artistic and social practices reflecting a reality that is increasingly transported via and created by media technologies. Using as point of departure biologist Jakob von Uexküll’s concept of »Umwelt« which postulates a world-generating context of body, cognition and environment, modern constructions of immanence are examined: Ambient as a sort of mimetic ceremony produces extremely complex yet coherent images of the world. The study develops a phenomenology of the sounds found in current ambient music as well as associations and meanings elicited by them. Ambient is a compound of spaces in which a reflection of the world takes place, created through artistic, social, geographical and increasingly virtual devices. The idea of space as the expansion of thought, enclosing its infinite movements as an absolute horizon is implied by the concept of the plane of immanence proposed by Gilles Deleuze and Félix Guattari. In Ambient, a soundtrack of immanence is created, a polyphonic sound of the environment as we experience it, which renders the world in its diversity imaginable and experienceable.
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DOI: 10.5281/zenodo.850951
Zenodo URL: https://zenodo.org/record/850951
2014.17
Ambisonics User Defined Opcodes for Csound
Neukom, Martin Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
This text describes the implementation of Ambisonics as user defined opcodes (UDOs) for Csound. The presented package of UDOs includes a basic encoder and a decoder up to 8th order, an encoder with distance correction, an in-phase decoder, opcodes for the two-dimensional equivalent of Ambisonics for any order, opcodes for Ambisonics equivalent panning (AEP) and several utilities such as coordinate converters, Doppler effect and more. Finally the usage of the UDOs is explained in some examples.
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DOI: 10.5281/zenodo.850693
Zenodo URL: https://zenodo.org/record/850693
2014.18
A Method of Timbre-Shape Synthesis Based on Summation of Spherical Curves
Putnam, Lance Department of Architecture, Design and Media Technology, Aalborg University; Aalborg, Denmark
Abstract
It is well-known that there is a rich correspondence between sound and visual curves, perhaps most widely explored through direct input of sound into an oscilloscope. However, there have been relatively few proposals on how to translate sound into three-dimensional curves. We present a novel method for simultaneous production of sonic tones and graphical curves based on additive synthesis of spherical curves. The spherical curves are generated from a sequence of elemental 3D rotations, similar to a Euler rotation. We show that this method can produce many important twoand three-dimensional curves directly from sine waves and thus provide a basic language for exploring timbre-shape relationships.
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DOI: 10.5281/zenodo.850856
Zenodo URL: https://zenodo.org/record/850856
2014.19
A Multi-agent Interactive Composing System for Creating "Expressive" Accompaniment
Spicer, Michael Independent; Finland
Abstract
This paper describes the approach and an application that the author has adopted for creating real time performance systems whose musical output is created by the interactions of a human performer and a multi-agent system that acts as an ensemble of software “performers”. The music produced typically consists of several distinct textural layers, where all the sounds produced are transformations of the sound made by the human performer. This type of system can be thought of as an “extended” instrument, where the performer effectively “plays” the ensemble. This approach has been used with notated compositions, improvisation performances and for creating installations. This paper focuses on a composition that utilises a notated score, and is concerned with how the score is interpreted in the context of the musical output of the agent ensemble.This system makes use of two broad categories of agent: performers and controllers. Performer agents transform the live sound in various ways, while controller agents’ work at a higher structural level. They specify goal states and determine which agents are currently heard. Each performer agent has a way of transforming the audio input, and has its own internal strategies for determining what it does. The complexity of the performer agents note choice strategies ranges from simple harmony generators, to algorithmic composition systems.
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DOI: 10.5281/zenodo.850826
Zenodo URL: https://zenodo.org/record/850826
2014.20
An Agent Based Approach to Interaction and Composition
Pearse, Stephen University of Sheffield; Sheffield, United Kingdom
Moore, David University of Sheffield; Sheffield, United Kingdom
Abstract
The Agent Tool [1] is a complex composition and performance environment that affords the scripting of abstract agents of varying complexity to control elements of synthesis and sound manipulation. The micro-threaded architecture of the system means that all scripts are written from the perspective of an agent/performer. Consequently, complex compositions, gestures and performances can be crafted in a simple and efficient manner. It is designed to be an open-ended framework whereby all data can be emitted via Open Sound Control (OSC) for external processing if required. User interaction with the system can come in a variety of forms. These include, but are not limited to graphical manipulation, scripting, real time video input and external control via OSC. The system was initially designed as an environment to allow dynamic and efficient graphic sound synthesis through extraction of data from static imagery, video playback or real time video input. The open scripting engine consequently allows the system to perform direct audification of image stimuli or conversely allow complex sonifications to take place. The Agent Tool is a cross-platform package that runs on various Linux distributions, Mac OSX and Windows operating systems. This paper seeks to discuss the agent based functionality the system offers and consequently the composition and interaction design that the system affords.
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DOI: 10.5281/zenodo.850695
Zenodo URL: https://zenodo.org/record/850695
2014.21
Analysis of the Simultaneity, Voice/layer Balance and Rhythmic Phrasing in Works for Guitar by Rodrigo, Brouwer and Villa-Lobos
Freire, Sérgio School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Nézio, Lucas Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
dos Reis, Anderson School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Abstract
The paper analyzes different right-hand guitar techniques, such as the use of block chords, the balance between independent musical voices and layers, and global rhythmic control. Three well-known musical excerpts were chosen from the twentieth-century repertoire for guitar and were played in three different renditions: the beginning of Rodrigo’s Entre Olivares, Brouwer’s Étude II and a phrase from Villa-Lobos’s Étude 8. The audio was recorded by means of an acoustic guitar with hexaphonic pickups, and data extraction was programmed in Max. Finer timing adjustments—down to 1 ms—were made manually. At this scale, we found that block chords are rarely played simultaneously; for the description of this quasi-simultaneity, we introduced the concepts of spread interval and spread pattern. The excerpts were analyzed also on the note/chord level and in terms of general rhythmic phrasing. Using these combined parameters enabled us to explore the technical difficulties and expressive choices in each rendition.
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DOI: 10.5281/zenodo.850753
Zenodo URL: https://zenodo.org/record/850753
2014.22
An Automatic Singing Impression Estimation Method Using Factor Analysis and Multiple Regression
Kanato, Ai Graduate School of Human Sciences, Waseda University; Tokyo, Japan
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Kikuchi, Hideaki Graduate School of Human Sciences, Waseda University; Tokyo, Japan
Abstract
This paper describes a method for estimating the impression of a singing voice via acoustic features. While much research has been conducted on singing impression, to date no method for determining appropriate words to represent the impressions created by a person’s singing has been developed, primarily due to the lack of a comprehensive evaluation scale. We followed two steps: construction of such an impression scale, and development of models for estimating the impression score of each word. In the scale construction, two experiments were carried out. Firstly, 44 words were selected as relevant words based on subjective evaluation. Secondly, 12 words were selected as an impression scale, and three factors (“powerful”, “cautious”, and “cheerful”) were extracted by factor analysis. To estimate impression scores, multiple regression models were constructed for each impression word with acoustic features. The models were tested by cross validation. The average R 2 value for the 12 words of the complete scale was 0.567, and the R 2 for the three factors were 0.863 (powerful), 0.381 (cautious), and 0.603 (cheerful).
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DOI: 10.5281/zenodo.850828
Zenodo URL: https://zenodo.org/record/850828
2014.23
An Experimental Classification of the Programing Patterns for Scheduling in Computer Music Programming
Nishino, Hiroki NUS Graduate School for Integrative Sciences & Engineering,, National University of Singapore; Singapore, Singapore
Abstract
How to schedule a desired temporal pattern is one of the most elementary issues to consider when implementing a computer music system, and there already exist several major programming patterns for scheduling. However, such computer music-specific programming patterns seem to not be discussed as frequently as general programming patterns, and thus there may still be some necessity for additional clarification. For instance, the programming pattern called temporal recursion may be better described as self-rescheduling, when contrasted with other programming patterns that perform similar tasks. In this paper, we describe four programming patterns that can be seen in the existing computer music languages and propose the names for these programming patterns. Such a discussion can benefit by initiating the discussion on the computer musicspecific programming patterns in our community, to avoid an unnecessary ambiguity in further investigation of the related programming patterns.
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DOI: 10.5281/zenodo.850797
Zenodo URL: https://zenodo.org/record/850797
2014.24
An Idiom-independent Representation of Chords for Computational Music Analysis and Generation
Cambouropoulos, Emilios Independent; Finland
Kaliakatsos-Papakostas, Maximos Independent; Finland
Tsougras, Costas Independent; Finland
Abstract
In this paper we focus on issues of harmonic representation and computational analysis. A new idiomindependent representation is proposed of chord types that is appropriate for encoding tone simultaneities in any harmonic context (such as tonal, modal, jazz, octatonic, atonal). The General Chord Type (GCT) representation, allows the re-arrangement of the notes of a harmonic simultaneity such that abstract idiom-specific types of chords may be derived; this encoding is inspired by the standard roman numeral chord type labeling, but is more general and flexible. Given a consonance-dissonance classification of intervals (that reflects culturallydependent notions of consonance/dissonance), and a scale, the GCT algorithm finds the maximal subset of notes of a given note simultaneity that contains only consonant intervals; this maximal subset forms the base upon which the chord type is built. The proposed representation is ideal for hierarchic harmonic systems such as the tonal system and its many variations, but adjusts to any other harmonic system such as post-tonal, atonal music, or traditional polyphonic systems. The GCT representation is applied to a small set of examples from diverse musical idioms, and its output is illustrated and analysed showing its potential, especially, for computational music analysis & music information retrieval.
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DOI: 10.5281/zenodo.850751
Zenodo URL: https://zenodo.org/record/850751
2014.25
Animating Timbre - A User Study
Soraghan, Sean Centre for Digital Entertainment, ROLI; London, United Kingdom
Abstract
The visualisation of musical timbre requires an effective mapping strategy. Auditory-visual perceptual correlates can be exploited to design appropriate mapping strategies. Various acoustic descriptors and verbal descriptors of timbre have been identified in the psychoacoustic literature. The studies suggest that the verbal descriptors of timbre usually refer to material properties of physical objects. Thus, a study was conducted to investigate the visualisation of acoustic timbre features using various visual features of a 3D rendered object. Participants were given coupled auditory-visual stimulations and asked to indicate their preferences. The first experiment involved participants rating audio-visual mappings in isolation. The second experiment involved participants observing multiple parameters at once and choosing an ‘optimal’ mapping strategy. The results of the first experiment suggest agreement on preferred mappings in the isolated case. The results of the second experiment suggest both that individual preferences change when multiple parameters are varied, and that there is no general consensus on preferred mappings in the multivariate case.
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not available
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unknown
DOI: 10.5281/zenodo.850623
Zenodo URL: https://zenodo.org/record/850623
2014.26
A Paradigm Shift for Modelling Sound Sensation
Mourjopoulos, Ioannis N. (John) Audio and Acoustic Technology Group, Department of Electrical & Computer Engineering, University of Patras; Patras, Greece
Abstract
How do we describe the exemplary acuity of humans to analyze and respond to sounds, particularly to music? Is our current knowledge sufficient to produce working computational models for such sensations? Has our perspective for the conceptual structure of such models changed and why is this important? This work attempts to provide brief answers to these questions, focusing on a recent comprehensive model of binaural listening which is directed towards engineering applications in audio and acoustics [1]. It is also discussed how such model can formally approach the concepts of quality and fidelity in sounds and how it may be employed to demystify experienced listener and audiophile perception. A brief discussion of the conceptual and philosophical implications of such a model is also given.
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unknown
DOI: 10.5281/zenodo.850715
Zenodo URL: https://zenodo.org/record/850715
2014.27
A Protocol for Creating Multiagent Systems in Ensemble With Pure Data
Bruel, Pedro University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo University of São Paulo (USP); São Paulo, Brazil
Abstract
This work presents a protocol for integration of two software platforms, the Ensemble framework for musical multiagent systems and the Pure Data programming environment. Ensemble is written in Java and requires knowledge of this language in order to access high-level features of the framework, such as creating customized agent reasonings, new event servers for non-supported data-types, or new physical models for the virtual world. On the other hand, Pure Data (Pd) is a very popular programming environment for real-time audio processing (among other things) and has an ever-growing community of users interested in sound and music applications. The protocol described here allows Pd users with no knowledge of Java to create musical multiagent applications in Ensemble with a high degree of flexibility, including configuration of parameters defining the virtual world, creation of agents and agent components (sensors, actuators, memories and knowledge base) and the definition of agent reasonings, which control agent behaviour and agent interactions in the virtual world, all from within Pd patches.
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unknown
DOI: 10.5281/zenodo.850907
Zenodo URL: https://zenodo.org/record/850907
2014.28
A Recursive Mapping System for Motion and Sound in a Robot Between Human Interaction Design
Bökesoy, Sinan sonicLAB; Istanbul, Turkey
Abstract
We present in this article an artistic human-robot interaction form, which allows us to engage and evolve new experiences through to use of artificial animate behavior, kinesis and generated sound in a feedback communication medium. This meta system, which could be regarded also as one total composed instrument, is a recursive interaction process between its agents; a robot arm, human body and a sound space being rendered artificially. The computational modeling of this embodied approach is explained and a proto-type of the experiment is shown as a real tool to test empirically this artistic concept.
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unknown
DOI: 10.5281/zenodo.850949
Zenodo URL: https://zenodo.org/record/850949
2014.29
A Research of Automatic Composition and Singing Voice Synthesis System for Taiwanese Popular Songs
Huang, Chih-Fang Department of Information Communications, Kainan University; Taoyuan, Taiwan
Hong, Wei-Gang Master Program of Sound and Music, National Chiao Tung University; Hsinchu, Taiwan
Li, Min-Hsuan Master Program of Sound and Music, National Chiao Tung University; Hsinchu, Taiwan
Abstract
The paper discussed the integration of the automatic composing and singing voice synthesis systems, to let the computer can compose a new song and sing in Taiwanese. First, the automatic composer system analyzes 10 Taiwanese popular songs through a first-order Markov chain and establishes the probability transition matrixes of the pitch and the duration. Second, the singing synthesis is based on STRAIGHT algorithm and 509 Taiwanese basic syllables are analyzed to build a text-to-singing (TTSI) synthesis system. Finally, the MIDI music files which are produced by automatic composer system and lyrics are fed into TTSI synthesis system to synthesis a new song. In order to improve naturalness, the pitch curve adds the vibrato and fine fluctuation.
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unknown
DOI: 10.5281/zenodo.850854
Zenodo URL: https://zenodo.org/record/850854
2014.30
ArmKeyBoard: A Mobile Keyboard Instrument Based on Chord-scale System and Tonal Hierarchy
Deng, Jun-qi The University of Hong Kong; Hong Kong, Hong Kong
Lau, Francis Chi Moon The University of Hong Kong; Hong Kong, Hong Kong
Kwok, Yu-kwong The University of Hong Kong; Hong Kong, Hong Kong
Abstract
Traditional keyboard instruments, with their sheer size and key anisotropy, although are versatile in musical expression, are difficult to learn and inconvenient to carry around; and its linear layout somewhat rules out the musical possibility of non-linearity. Trying to address this, we design a keyboard with both linear and non-linear layouts based on chord-scale system and tonal hierarchy. Several flipping mechanisms and mapping algorithms are devised to try to equip this small portable keyboard with as much musical expression capability as possible as compared with a traditional keyboard. Evaluation results show that both the musical outcome and user experience of ArmKeyBoard are satisfactory, although people may still prefer a linear keyboard to a non-linear one.
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unknown
DOI: 10.5281/zenodo.850625
Zenodo URL: https://zenodo.org/record/850625
2014.31
AscoGraph: A User Interface for Sequencing and Score Following for Interactive Music
Coffy, Thomas Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Cont, Arshia Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Giavitto, Jean-Louis Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Composing interactive music using score following, requires tight coordination and several round trips between many tools to write the score to follow, and to author the electronic actions, and assess their synchronisation. In addition, at performance time, the score-following must be monitored to ensure proper execution. Unifying composition and performance phases provides composers and electronic music designers a global approach with the best of both worlds. The AscoGraph interface is an incarnation of the need for unifying authorship and performance for Antescofo’s score following and reactive engines. AscoGraph provides high precision tools for textual and graphical authorship of complex dynamic interactive music pieces with intuitive and sustainable design. This article presents the design, challenges and integration of AscoGraph for edition and representation of mixed music scores using Antescofo by affording complex hierarchical constructions such as nested blocks and polyphony in electronic actions while maintaining readability and ease of authorship.
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unknown
DOI: 10.5281/zenodo.850627
Zenodo URL: https://zenodo.org/record/850627
2014.32
Association of Sound Movements in Space to Takete and Maluma
De Götzen, Amalia Sound and Music Computing, Department of Architecture, Design and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
This paper describes an experiment that has been performed to verify if the well known association between the words “takete” and “maluma” and the images of two shapes (one jagged and one rounded) could be replicated using two sound movements in space instead of the visual shapes. In this case the association is not cross-modal since both the stimuli are in the auditory domain, but the connection between words and sound movements is not trivial. A significant preference (twelve out of thirteen subjects) associated “takete” with the jagged sound movement and “maluma” with the round one. Colored noise was used as stimulus. The qualitative answers of the subjects suggest also a possible common expressive intention that could be conveyed by the two words/sound movements: an aggressive attitude to “takete” and a more calm and feminine one to “maluma”.
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unknown
DOI: 10.5281/zenodo.850953
Zenodo URL: https://zenodo.org/record/850953
2014.33
A Study on Cross-cultural and Cross-dataset Generalizability of Music Mood Regression Models
Hu, Xiao The University of Hong Kong; Hong Kong, Hong Kong
Yang, Yi-Hsuan Academia Sinica; Taipei, Taiwan
Abstract
The goal of music mood regression is to represent the emotional expression of music pieces as numerical values in a low-dimensional mood space and automatically predict those values for unseen music pieces. Existing studies on this topic usually train and test regression models using music datasets sampled from the same culture source, annotated by people with the same cultural background, or otherwise constructed by the same method. In this study, we explore whether and to what extent regression models trained with samples in one dataset can be applied to predicting valence and arousal values of samples in another dataset. Specifically, three datasets that differ in factors such as cultural backgrounds of stimuli (music) and subjects (annotators), stimulus types and annotation methods are evaluated and the results suggested that cross-cultural and cross-dataset predictions of both valence and arousal values could achieve comparable performance to within-dataset predictions. We also discuss how the generalizability of regression models can be affected by dataset characteristics. Findings of this study may provide valuable insights into music mood regression for nonWestern and other music where training data are scarce.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850795
Zenodo URL: https://zenodo.org/record/850795
2014.34
ATK Reaper: The Ambisonic Toolkit as JSFX Plugins
Lossius, Trond Bergen Center for Electronic Arts (BEK); Bergen, Norway
Anderson, Joseph DXARTS, University of Washington; Seattle, United States
Abstract
While there is a well-established workflow for stereo production in DAWs, options have been more limited when working with Ambisonics. The Ambisonic Toolkit (ATK) brings together a number of tools and transforms for working with first order Ambisonic surround sound, and includes intriguing possibilities for spatial soundfield imaging. These tools have previously only been available for public release via the SuperCollider real-time processing environment. Cockos Reaper is a reasonably priced and flexible DAW, popular among many composers and sonic artists working with spatial sound. Reaper’s versatile design conveniently supports the ATK’s Ambisonic workflow model. Using the JSFX text-based scripting language, the ATK has now been ported to plugins for Reaper; these include intuitive graphical user interfaces.
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unknown
DOI: 10.5281/zenodo.850858
Zenodo URL: https://zenodo.org/record/850858
2014.35
Audio-rate Modulation of Physical Model Parameters
Berdahl, Edgar 226 School of Music, Louisiana State University (LSU); Baton Rouge, United States
Abstract
Audio-rate modulation of the parameters of physical models is investigated. For example, the resonance frequency of a simple resonator can be modulated smoothly at an audio rate to produce a brighter tone. As with traditional frequency modulation (FM) signal models, complex spectra can be produced through variation of the resonator’s frequency. It is possible to create such hybrid physical/signal models in which the physical portion conserves energy despite the modulation of its parameters. However, most interesting hybrid models will have some nonpassive characteristics. Example models are developed, whose vibrations can be felt and interacted with using a haptic force-feedback device. This technique can make exotic systems tangible that would not normally be found in nature. Hence, if one considers the process of designing a physical model a kind of “dematerialization” process, then one could consider that the present technique is physically “rematerializing” novel audio-rate-modulated virtual objects.
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unknown
DOI: 10.5281/zenodo.850862
Zenodo URL: https://zenodo.org/record/850862
2014.36
Audio Rendering/Processing and Control Ubiquity? A Solution Built Using Faust Dynamic Compiler and JACK/NetJack
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Denoux, Sarah GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
We usually think of an audio application as a self-contained executable that will compute audio, allow user interface control, and render sound in a single process, on a unique machine. With the appearance of fast network and sophisticated, light and wireless control devices (such as tablets, smartphones...) the three different parts (that are audio computation, interface control and sound rendering) can naturally be decoupled to run on different processes on a given machine, or even on different machines (on a LAN or WAN network). We describe a solution to run and control audio DSP on different machines based on: • the F AUST audio DSP language which permits local and remote dynamic compilation, code migration and deployment (using libfaust, libfaustremote and LLVM) • local and remote control capabilities (via OSC and HTTP based control interfaces) • JACK/NetJack network audio real-time layer to handle remote audio processing and rendering.
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not available
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unknown
DOI: 10.5281/zenodo.850909
Zenodo URL: https://zenodo.org/record/850909
2014.37
Audio Signal Visualisation and Measurement
Gareus, Robin CICM EA 1572, University Paris VIII; Paris, France / linuxaudio.org, University Paris VIII; Paris, France
Goddard, Chris Freelance audio engineer, Independent; United Kingdom
Abstract
The authors offer an introductory walk-through of professional audio signal measurement and visualisation using free software. Many users of audio software at some time face problems that requires reliable measurement. The presentation focuses on the SiSco.lv2 (Simple Audio Signal Oscilloscope) and the Meters.lv2 (Audio Level Meters) LV2 plugins, which have been developed open-source since August 2013. The plugin bundle is a super-set, built upon existing tools adding novel GUIs (e.g ebur128, jmeters,..), and features new meter-types and visualisations unprecedented on GNU/Linux (e.g. true-peak, phase-wheel,..). Various meter-types are demonstrated and the motivation for using them explained. The accompanying documentation provides an overview of instrumentation tools and measurement standards in general, emphasising the requirement to provide a reliable and standardised way to measure signals. The talk is aimed at developers who validate DSP during development, as well as sound-engineers who mix and master according to commercial constraints.
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unknown
DOI: 10.5281/zenodo.850860
Zenodo URL: https://zenodo.org/record/850860
2014.38
Auditory Fusion and Holophonic Musical Texture in Xenakis's Pithoprakta
Kokoras, Panayiotis University of North Texas; Denton, United States
Abstract
One of the most important factors, which affect the perception of textures, depends on the fusion of separate components of the musical passage. The possibilities of such fusion occurring are almost certain in some cases. This is due to the way our auditory system is constructed and the way it functions. The main properties, which promote fusion in a music passage, include the high density of attacks and the timbral similarities of the sounds being played. The latter element includes various spectral features of the sounds. In addition the register of the instrumental parts and their dynamic range promotes textural fusion. This paper uses this set of properties to evaluate and quantify one instance in Iannis Xenakis’s Pithoprakta (1955-56) where two or more simultaneous sound streams are easily perceived as forming a coherent whole.
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unknown
DOI: 10.5281/zenodo.850465
Zenodo URL: https://zenodo.org/record/850465
2014.39
Augmented Exercise Biking With Virtual Environments for Elderly Users: Considerations on the Use of Auditory Feedback
Bruun-Pedersen, Jon Ram Aalborg University Copenhagen; Copenhagen, Denmark
Serafin, Stefania Aalborg University Copenhagen; Copenhagen, Denmark
Busk Kofoed, Lise Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
Virtual reality (VR) has been shown to function well as an assistive technology to physical therapy for elderly users. Elderly users, and more specifically retirement home residents, form a unique user group in this field, due to their characteristics and demands. In a case study, retirement home residents used an audio-visual virtual environment (VE) augmentation for an exercise bike. Besides a visual display, a soundscape was played to the subjects using headphones. The soundscape was not noticed wand the headphones were found to be obtrusive. In this paper, we consider and discuss possible approaches to alternative auditory and haptic delivery methods for future studies. These nonvisual displays need to fit the requirements and limitations of the retirement home subjects who are to exercise using the VE-based augmentation from the case study.
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unknown
DOI: 10.5281/zenodo.850955
Zenodo URL: https://zenodo.org/record/850955
2014.40
AutoChorusCreator: Four-part Chorus Generator With Musical Feature Control, Using Search Spaces Constructed From Rules of Music Theory
Evans, Benjamin Hokkaido University; Sapporo, Japan
Fukayama, Satoru National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Munekata, Nagisa Hokkaido University; Sapporo, Japan
Ono, Tetsuo Hokkaido University; Sapporo, Japan
Abstract
This paper describes AutoChorusCreator(ACC), a system capable of producing, in real-time, a variety of fourpart harmonies from lead sheet music. Current algorithms for generating four-part harmony have established a high standard in producing results following rules of harmony theories. However, it is still a challenging task to increase variation in the output. Detailed constraints for describing musical variation tend to complicate the rules and methods used to search for a solution. Reducing constraints to gain degrees of freedom in variation often lead to generating outputs which do not follow the rules of harmony theories. Our system ACC is based on a novel approach of generating four-part harmony with variations by incorporating two algorithms, statistical rule application and dynamic programming. This dual implementation enables the system to gain the positive aspects of both algorithms. Evaluations indicate that ACC is capable of generating four-part harmony arrangements of lead-music in realtime. We also confirmed that ACC achieved generating outputs with variations without neglecting to fulfil rules of harmony theories.
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unknown
DOI: 10.5281/zenodo.850755
Zenodo URL: https://zenodo.org/record/850755
2014.41
Automatic Competency Assessment of Rhythm Performances of Ninth-grade and Tenth-grade Pupils
Abeßer, Jakob Semantic Music Technologies, Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Hasselhorn, Johannes Hochschule für Musik Würzburg; Würzburg, Germany
Grollmisch, Sascha Semantic Music Technologies, Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Dittmar, Christian Semantic Music Technologies, Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Lehmann, Andreas Hochschule für Musik Würzburg; Würzburg, Germany
Abstract
In this paper, we introduce an approach for automated testing of music competency in rhythm production of ninthgrade and tenth-grade pupils. This work belongs in the larger context of modeling ratings of vocal and instrumental performances. Our approach relies on audio recordings from a specialized mobile application. Rhythmic features were extracted and used to train a machine-learning model which was targeted to approximate human ratings. Using two classes to assess the rhythmic performance, we obtained a mean class accuracy of 0.86.
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unknown
DOI: 10.5281/zenodo.850830
Zenodo URL: https://zenodo.org/record/850830
2014.42
Automatic Singer Identification for Improvisational Styles Based on Vibrato, Timbre and Statistical Performance Descriptors
Kroher, Nadine Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Automatically detecting the singer by analyzing audio is a challenging task which gains in complexity for polyphonic material. Related approaches in the context of Western commercial music use machine learning models which mainly rely on low-level timbre descriptors. Such systems are prone to misclassifications when spectral distortions are present, since the timbre of the singer cannot be accurately modeled. For improvisational styles, where the performance is strongly determined by spontaneous interpretation characteristic for the singer, a more robust system can be achieved by additionally modeling the singer’s typical performance style. In addition to timbre and vibrato descriptors we therefore extract highlevel features related to the performance character from the predominant fundamental frequency envelope and automatic symbolic transcriptions. In a case study on flamenco singing, we observe an increase in accuracy for monophonic performances when classifying on this combined feature set. We furthermore compare the performance of the proposed approach for opera singing and investigate the influence of the album effect.
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unknown
DOI: 10.5281/zenodo.850799
Zenodo URL: https://zenodo.org/record/850799
2014.43
AutoRhythmGuitar: Computer-aided Composition for Rhythm Guitar in the Tab Space
McVicar, Matt National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Fukayama, Satoru National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
We present AutoRhythmGuitar, a simple computer-aided composition model which algorithmically composes realistic rhythm guitar tablature. AutoRhythmGuitar takes as input a downbeat-synchronised chord sequence and generates a digital score in both traditional notation and tablature. Our model is data-driven, trained from digital tablatures obtained from the internet. By varying this training data, we are able to model individual rhythm guitarists’ rhythmic and melodic styles. Algorithmic evaluation of our system reveals that it effectively models style, whilst a qualitative analysis by the authors confirms that the resulting tablatures are realistic and, for the most part, playable.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850529
Zenodo URL: https://zenodo.org/record/850529
2014.44
Bassline Pitch Prediction for Real-time Performance Systems
Robertson, Andrew Centre for Digital Music, School of Electronic Engineering and Computer Science, Queen Mary University of London; London, United Kingdom
Abstract
This paper presents a methodology for predicting the pitch of bass notes by utilising their metrical position within the bar. Our system assumes two separate audio channels for drums and bass. We make use of onset detection and beat tracking algorithms to determine the onset times for each bass note and the beat locations. A monophonic bass track is analysed for repetitive structures relative to the beat grid, enabling the system to make a prediction of the pitch of each bass note prior to any pitch-related analysis. We present an analysis on a small collection of studio recordings.
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not available
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unknown
DOI: 10.5281/zenodo.850587
Zenodo URL: https://zenodo.org/record/850587
2014.45
Being There & Being With: The Philosophical and Cognitive Notions of Presence and Embodiment in Virtual Instruments
Luciani, Annie ACROE & Laboratoire ICA, Ministère de la Culture et de la Communication, Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
In this paper, we will discuss two main concepts, associated with the development of Virtual Worlds, which are “Presence” and “Embodiment”. Presence is stamped as the sense of “Being there”, that has to be reconstructed in Local world to render Distant Worlds accessible by networked or mediated communications. “Embodiment” could be the property of a Virtual entity to be incorporated by human as a second nature. We will show then, how (1) the first situation can be seen as a definition of “immateriality” and its correlative concept of infinity, (2) the second situation can be seen as a definition of “tangibility” with its correlative concept of instrumental embodiment. After exploring the complementary properties of these situations in detail, we will focus on the second one, identified as “the instrumental situation”. We will propose some of its relevant properties, those that are able to trigger the sense of embodiment, as the main property supported in the real physical world by the feature of “tangibility”. Consequently, we estimate that “embodiment” is more important than the tangibility in itself and we examine some criteria able to help us to recreate them in digital representations.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850629
Zenodo URL: https://zenodo.org/record/850629
2014.46
Beyond the Beat: Towards Metre, Rhythm and Melody Modelling With Hybrid Oscillator Networks
Lambert, Andrew City University London; London, United Kingdom
Weyde, Tillman City University London; London, United Kingdom
Armstrong, Newton City University London; London, United Kingdom
Abstract
In this paper we take a connectionist machine learning approach to the problem of metre perception and learning in musical signals. We present a hybrid network consisting of a nonlinear oscillator network and a recurrent neural network. The oscillator network acts as an entrained resonant filter to the musical signal. It ‘perceives’ metre by resonating nonlinearly to the inherent periodicities within the signal, creating a hierarchy of strong and weak periods. The neural network learns the long-term temporal structures present in this signal. We show that this hybrid network outperforms our previous approach of a single layer recurrent neural network in a melody prediction task. We hypothesise that our hybrid system is enabled to make use of the relatively long temporal resonance in the oscillator network output, and therefore model more coherent long-term structures. A system such as this could be used in a multitude of analytic and generative scenarios, including live performance applications.
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not available
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unknown
DOI: 10.5281/zenodo.850589
Zenodo URL: https://zenodo.org/record/850589
2014.47
Broadening Telematic Electroacoustic Music by Affective Rendering and Embodied Real-time Data Sonification
Whalley, Ian University of Waikato; Hamilton, New Zealand
Abstract
Often played in traditional music performance formats, much recent telematic electroacoustic music focuses on the relationships between people/machines and geographically distributed cultures/spaces/players, and/or it adopts electroacoustic music’s historical concerns with natural environmental sound art or space manipulation. But a more suitable environment for telematic art works is perhaps found in the inter-relationship between ‘players’ and broader contemporary networked life – one embedded in multiple real-time informational data streams. While these streams are often rendered visually, they are also partly interpreted through embodied cognition that can be similar to music and sonic art interpretation. A fruitful meeting point for telematic electroacoustic music and real-time data sonification is in using affective composition/performance and an affective/embodied means of data sonification. To illustrate this, one means of rendering affective telematic electroacoustic music is outlined, and a bridge to one form of real-time data stream representing collective embodiment put forward – forex data rendering – as an example. Amalgamating these approaches in telematic electroacoustic music allows dialectic between networked performers/composers and clusters of collective behaviors. Artistically, this facilitates the notion of how small groups of individuals might plot course(s) of action that are often altered by external pressures, therefore demonstrating a means of exploring participants’ placement in contemporary environments.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850531
Zenodo URL: https://zenodo.org/record/850531
2014.48
Building a Gamelan From Bricks
Ngiao, Tzu-En (Ernest) New Zealand School of Music (NZSM); Wellington, New Zealand
Abstract
The composition process of the acousmatic piece Gazelle Rain Petals began with the construction of the elemental pitch and rhythmic modules – the organogeometric brick modules, as a musical metaphor to Dubuffet’s lithographic series Les Murs. These brick modules are 4-pitch series (tetrachords) that cover all possible pitch permutations to represent 4-sided geometric as well as organo-geometric structures. For the harmonic conception based on the monochromatic hue of the brick wall, 12-tone rows were constructed out of those brick modules (tetrachords). The 12-tone rows were selected based on the characteristic profiles of their constituent modules and were subsequently deployed in an intricate rhythmic/contrapuntal structure of the musical “wall” scored for pitched instruments, resulting in a gamelan sounding musical passage. The brick analogy provided an intermodal (graphical and musical) link between graphical abstraction and musical abstraction, and also a method of configuring the 12-tone pitch-space. The profiles of tetrachords and their relationships with each other in a tone row governed how the 12-tone pitch-space could be traversed. Further development of techniques investigated here could be realised in a computational system that allows for the creative control of a visual pitch-space beyond geometric or organo-geometric abstractions for the purpose of creative composition.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850631
Zenodo URL: https://zenodo.org/record/850631
2014.49
cage: A High-level Library for Real-time Computer-aided Composition
Agostini, Andrea HES-SO University of Applied Sciences and Arts Western Switzerland; Geneva, Switzerland
Daubresse, Éric HES-SO University of Applied Sciences and Arts Western Switzerland; Geneva, Switzerland
Ghisi, Daniele HES-SO University of Applied Sciences and Arts Western Switzerland; Geneva, Switzerland
Abstract
This paper is an introduction to cage, a library for the Max environment 1 including a number of high-level modules for algorithmic and computer-aided composition (CAC). The library, in the alpha development phase at the time of writing, is composed by a set of tools aimed to ease manipulation of symbolic musical data and solve typical CAC problems, such as generation of pitches, generation and processing of melodic profiles, symbolic processes inspired by digital signal processing, harmonic and rhythmic interpolations, automata and L-systems, tools for musical set theory, tools for score generation and handling. This project, supported by the Haute École de Musique in Geneva, has a chiefly pedagogical vocation: all the modules in the library are abstractions, lending themselves to be easily analyzed and modified.
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unknown
DOI: 10.5281/zenodo.850533
Zenodo URL: https://zenodo.org/record/850533
2014.50
CeMFI and Earquake: (Epi-)Centers for Experimental Music, Media and Research
Hadjakos, Aristotelis Center of Music and Film Informatics (CeMFI), Hochschule für Musik Detmold (HfM Detmold) / Technische Hochschule Ostwestfalen-Lippe (TH OWL); Detmold, Germany
Bock, Steffen Center of Music and Film Informatics (CeMFI), Hochschule für Musik Detmold (HfM Detmold) / Technische Hochschule Ostwestfalen-Lippe (TH OWL); Detmold, Germany
Lévy, Fabien Earquake, Hochschule für Musik Detmold (HfM Detmold); Detmold, Germany
Abstract
The Center of Music and Film Informatics (CeMFI) is a joint institution of two universities: the HfM Detmold and the HS OWL. The CeMFI extends existing activities of the founding universities in the area of music and film informatics. It was founded in April 2013. Earquake, the epicenter of experimental music, was founded in October 2013 to bundle and intensify existing activities at HfM Detmold in the area of experimental music: studies of composition, ensembles for new music, organization of concerts and events, sound installations, improvisation, studios for electroacoustic music, sound research & design.
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unknown
DOI: 10.5281/zenodo.851011
Zenodo URL: https://zenodo.org/record/851011
2014.51
Chorale Synthesis by the Multidimensional Scaling of Pitches
Barlow, Clarence University of California, Santa Barbara (UCSB); Santa Barbara, United States
Abstract
This paper outlines a unique algorithmic model of chorale synthesis based on mathematics, speci cally on algebra and geometry. There were four distinct stages in its development, 1. algebraic formulæ (1978) for the quanti cation of the harmonicity of pitch intervals and of the rhythmic relevance or indispensability of the pulses in a multiplicative meter, 2. the computer program package Autobusk (1986) using the harmonicity formula for the interpretation of a pitch set or musical scale as a ratio matrix, 3. multidimensionally scaling (2001) a scale ratio matrix into a Cartesian chart of two or more dimensions and 4. chorale synthesis (2012) by rules based on the multidimensional scaling of pitch sets and on the pulse indispensability formula. These four stages will each be outlined in a separate section.
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unknown
DOI: 10.5281/zenodo.850451
Zenodo URL: https://zenodo.org/record/850451
2014.52
Chronotope: The Mutual Dependency of Time and Space in Visual Music
Zavada, Ivan Sydney Conservatorium of Music, The University of Sydney; Sydney, Australia
Abstract
This article proposes an interdisciplinary and multimodal approach on visual music presenting three different perspectives relating to audiovisual chronotopes; the abstract notion of artistic consciousness in non-representational art, the space-time relationship between sonic and visual elements in the visual music idiom and finally, the notion of emotional intent versus response proposed in recent cognitive science studies. Three recent examples of my own visual music works are described in relation to multisensory stimuli and audiovisual chronotopes, defined in this text.
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unknown
DOI: 10.5281/zenodo.850467
Zenodo URL: https://zenodo.org/record/850467
2014.53
Citygram One: One Year Later ...
Park, Tae Hong Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Musick, Michael Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Turner, John Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Mydlarz, Charlie Center for Urban Science and Progress (CUSP), New York University (NYU); New York, United States
Lee, Jun Hee Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
You, Jaeseong Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
DuBois, Luke Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Abstract
Citygram is a multidisciplinary project that seeks to measure, stream, archive, analyze, and visualize spatiotemporal soundscapes. The infrastructure is built on a cyber-physical system that captures spatio-acoustic data via deployment of a flexible and scalable sensor network. This paper outlines recent project developments which includes updates on our sensor network comprised of crowd-sourced remote sensing, as well as inexpensive and high quality outdoor remote sensing solutions; development of a number of software tools for analysis, visualization, and development of machine learning; and an updated web-based exploration portal with real-time animation overlays for Google Maps. This paper also includes a summary of technologies and strategies that engage citizen scientist initiatives to measure New York City’s spatio-acoustic noise pollution in collaboration with the Center for Urban Science and Progress (CUSP).
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unknown
DOI: 10.5281/zenodo.850591
Zenodo URL: https://zenodo.org/record/850591
2014.54
Color and Emotion Caused by Auditory Stimuli
Partesotti, Elena Department of Didactics of Musical, Bodily and Plastic Expression, University of Valladolid; Valladolid, Spain
Tavares, Tiago Fernandes Interdisciplinary Nucleus of Sound Communication, Department of Music, University of Campinas (UNICAMP); Campinas, Brazil
Abstract
Recent studies have shown correlations between perceived colors and aspects of a musical piece such as tonality, tempo and musical articulation. Other studies have demonstrated that major and minor tonalities of music trigger people to perceived a different hue of colors. The purpose of this study is to investigate the correlation between musical aspects and the attribution of colors and emotions, as well as to observe if a specific correlation exists in the population tested. Furthermore, the results of this experiment will be considered for a therapeutic application. We conducted an Internet-based experiment evaluating whether musical stimuli would be consistently linked to perceived emotions and colors. The stimuli consisted of short sound excerpts containing a variety of musical phrases played in different styles and on different instruments. Thus, we were able to gather more data than that obtained by similar past studies, because we tested with a larger variety of music. The result analysis shows that the combination of sound and ascribed emotion forms a more reliable prediction of color perception than emotion alone or sound alone. In addition, we found a number of correlations between perceived emotions and the spectrum of selected colors; however, these results have shown to be insufficient for a precise prediction.
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unknown
DOI: 10.5281/zenodo.850721
Zenodo URL: https://zenodo.org/record/850721
2014.55
Comparing Models of Symbolic Music Using Probabilistic Grammars and Probabilistic Programming
Abdallah, Samer A. University College London; London, United Kingdom
Gold, Nicolas E. University College London; London, United Kingdom
Abstract
We conduct a systematic comparison of several probabilistic models of symbolic music, including zeroth and first order Markov models over pitches and intervals, a hidden Markov model over pitches, and a probabilistic context free grammar with two parameterisations, all implemented uniformly using a probabilistic programming language (PRISM). This allows us to take advantage of variational Bayesian methods for learning parameters and assessing the goodness of fit of the models in a principled way. When applied to a corpus of Bach chorales and the Essen folk song collection, we show that, depending on various parameters, the probabilistic grammars sometimes but not always out-perform the simple Markov models. On looking for evidence of overfitting of complex models to small datasets, we find that even the smallest dataset is sufficient to support the richest parameterisation of the probabilistic grammars. However, examining how the models perform on smaller subsets of pieces, we find that the simpler Markov models do indeed out-perform the best grammar-based model at the small end of the scale.
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unknown
DOI: 10.5281/zenodo.850911
Zenodo URL: https://zenodo.org/record/850911
2014.56
Computational Ethnomusicology: A Music Information Retrieval Perspective
Tzanetakis, George Department of Computer Science, University of Victoria; Victoria, Canada
Abstract
Computational ethnomusicology (CE) refers to the use of computational techniques for the study of musics from around the world. It has been a growing field that has benefited from the the many advances that have been made in music information retrieval (MIR). The historical development of CE and the types of tasks that have been addressed so far, is traced in this paper. The use of computational techniques enables types of analysis and processing that would be either impossible or very hard to perform using only audio recordings and human listening. The small but growing subset of music cultures that have been investigated is also overviewed. Research in computational ethnomusicology is still at early stage and the engagement of musicologists and musicians is still limited. The paper ends with interesting directions for future work and suggestions for how to engange musicologists and musicians. The material presented formed the basis of an invited talk by the author presented at the 2014 joint International Computer Music/Sound and Music Computing conference in Athens, Greece, 2014.
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unknown
DOI: 10.5281/zenodo.850463
Zenodo URL: https://zenodo.org/record/850463
2014.57
Computer, Formalisms, Intuition and Metaphors. Α Xenakian and Post-Xenakian Approach
Besada, José Luis University Paris VIII; Saint-Denis, France / Universidad Complutense de Madrid; Madrid, Spain
Abstract
Xenakis played an outstanding role as a pioneer in the development of algorithmic and computer music. His theoretical approaches and interviews often link those aspects of his career with philosophical and cognitive topics: these clues reveal an attitude far away from a blind use of technology. The aim of this paper is to discuss how intuition is fruitful to set the necessary and sufficient conditions in order to hold up a robust modeling of certain compositional practices aided with technological tools. We will support our arguments with the help of logics, epistemology of sciences, contemporary theories of metaphor –rather from a cognitive perspective than a hermeneutic one– and pragmatic philosophy. Some examples borrowed from Xenakis will be summoned from a critical point of view for this purpose, specially his personal exploitation –both electronic and instrumental– of Brownian motion. The paper will also finish with a genetic criticism of a post-xenakian approach: we’ve assisted Alberto Posadas (Valladolid, 1967) with an eye to help him out to transpose the Bezier curves from computeraided design into musical patterns.
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unknown
DOI: 10.5281/zenodo.850471
Zenodo URL: https://zenodo.org/record/850471
2014.58
Computer Game Piece: Exploring Video Games as Means for Controlled Improvisation
Jackowski, Dariusz CeTA - Audiovisual Technology Centre; Wrocław, Poland
Meléndez, Francho CeTA - Audiovisual Technology Centre; Wrocław, Poland
Bauer, Andrzej The Fryderyk Chopin University of Music; Warsaw, Poland
Hendrich, Paweł The Karol Lipiński Academy of Music in Wrocław; Wrocław, Poland
Duchnowski, Cezary The Karol Lipiński Academy of Music in Wrocław; Wrocław, Poland
Abstract
Video games provide an interesting framework of rules, actions, events, and user interaction for the exploration of music expression. In this paper we describe a set of computer games designed for group improvisation and controlled by playing musical instruments. The main contribution of our work is the two-way interaction between music and video games, as opposed to the more commonly explored one-way interaction. We investigate the different challenges involved, such as finding adequate game controlling events, provide enough expressive freedom to musicians, correct playing speed and game complexity, and different artistic expression forms. We also present the problems encountered, design considerations, and different proposed and tested solutions. The games developed in this project were used in a concert and a set of workshops.
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unknown
DOI: 10.5281/zenodo.850469
Zenodo URL: https://zenodo.org/record/850469
2014.59
Computing Musical Meter - an Approach to an Integrated Formal Description
Härpfer, Bernd IMWI Institute for Musicology and Music Informatics, Hochschule für Musik Karlsruhe; Karlsruhe, Germany
Abstract
Musical meter is described as an abstract temporal template for the timing of concrete musical events. The essential structural properties of meter are specified to prepare the development of an analytic method for the formalisation of meter in terms of numeric structures. An elaborated notion of the hierarchic architecture of meter supports an integrated numerical description of multiplicative and additive meters which may serve as a consistent resource for advanced computer-aided research on meter and for algorithmic composition. Likewise aiming at theoretic validity and implementability a set of underlying formal principles is suggested to guide the method of description. It is supposed as one possible axiomatic approach in order to avoid limitations on systematic flexibility and expandability as well as on artistic usability.
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unknown
DOI: 10.5281/zenodo.850757
Zenodo URL: https://zenodo.org/record/850757
2014.60
Conceptual Blending in Biomusic Composition Space: The "Brainswarm" Paradigm
Hadjileontiadis, Leontios J. Department of Electrical and Computer Engineering, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
Conceptual blending and biomusic composition spaces are approached in this work, in an effort to identify in them any creative potentialities as new compositional trajectories. The basic ideas and objectives of these two spaces are approached through a paradigm, consisting of a relevant, compositional work of the author, namely “Brainswarm”, which employs real-time acquisition of the body/hands gestural information along with the brain activity of the so-called bio-conductor. The latter acts as a mediator between the real (instrumental ensemble) and the virtual (consisting of swarm ontologies) worlds. The nature of the work allows for exploration and discussion upon specific realization, organization and aesthetic issues, surfacing the main conceptual blending axons involved. The proposed compositional trajectory calls for further understanding of the functional mechanisms of the human body and brain, so to be creatively used in a shared, yet blended, aesthetic expression.
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unknown
DOI: 10.5281/zenodo.850633
Zenodo URL: https://zenodo.org/record/850633
2014.61
Connecting SUM With Computer-assisted Composition in PWGL: Recreating the Graphic Scores of Anestis Logothetis
Adhitya, Sara Universal Composition Laboratory, University College London; London, United Kingdom
Kuuskankare, Mika Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Abstract
This paper describes further developments of the SUM tool, initially developed for the sonification of images, towards the composition and execution of graphic scores. Closer integration of the SUM user library within the computer-aided composition environment of PWGL has allowed the composition and realization of more complex graphic scores. After first explaining the existing structure and sonification approach of the SUM tool, we introduce its new macro-structure utilising PWGL’s VIUHKA texture generator, which supports higher structural levels and thus the generation of more complex sonic events. As a proof-of-concept demonstration of SUM’s new macro scheme, we attempt to reproduce the graphic scores of Greek composer Anestis Logothetis, notable for his extensive graphic-sound taxonomy. We thus demonstrate the combined capabilities of PWGL and the SUM tool to support the computer-aided composition of graphic scores.
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unknown
DOI: 10.5281/zenodo.850913
Zenodo URL: https://zenodo.org/record/850913
2014.62
Considering Roughness to Describe and Generate Vertical Musical Structure in Content-based Algorithmic-assisted Audio Composition
Bernardes, Gilberto Faculty of Engineering, University of Porto; Porto, Portugal
Davies, Matthew E. P. INESC TEC; Porto, Portugal
Guedes, Carlos New York University Abu Dhabi; Abu Dhabi, United Arab Emirates
Pennycook, Bruce UT Austin; Austin, United States
Abstract
This paper examines the correlation between musical dissonance and auditory roughness—the most significant factor of psychoacoustic dissonance—and the contribution of the latter to algorithmic composition. We designed an empirical study to assess how auditory roughness correlates with human judgments of dissonance in natural musical stimuli on the sound object time scale. The results showed a statistically significant correlation between roughness and listeners’ judgments of dissonance for quasi-harmonic sounds. This paper concludes by presenting two musical applications of auditory roughness in algorithmic composition, in particular to supervise the vertical recombination of sound objects in the software earGram.
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unknown
DOI: 10.5281/zenodo.850537
Zenodo URL: https://zenodo.org/record/850537
2014.63
Contemporary Practices in the Performance and Sustainability of Computer Music Repertoire
Baguyos, Jeremy C. University of Nebraska Omaha; Omaha, United States
Abstract
An UnConference UnSession on Computer Music Performance was hosted on June 5, 2010 at the International Computer Music Conference in New York to initiate a dialog regarding the past practices, current state, challenges, and future opportunities for the field of computer music performance. Reflecting the inherently eclectic make-up of computer music, the unsession attracted a diverse group of performers, composers, researchers, computer scientists, sound engineers, and technicians. The event provided a rare and honest peek into what is on the minds of those who are focused on computer music performance, which, relative to computer music research and composition, is a largely undeveloped sub-discipline of computer music. What follows in the main text of this paper and main content of the corresponding poster presentation is a brief and organized list of takeaways from the unsession unconference along with appropriately summarized elaboration. The takeaways centered on recurring interdependent themes: effective notation of computer music, sustainability, the role and responsibility of the performer and performer-engineer, and ultimately, the rationale and final authority governing sustainability. Sustainability was the unifying theme that tied together most of the discussion. This paper will be of interest to computer musicians whose primary creative activity is live performance/interpretation/realization, performers who specialize in contemporary music, composers who want to facilitate effective communication and collaboration with performers, concert producers, virtual instrument designers, music technology educators, and musicologists. More specifically, this paper delves into the salient points regarding the preservation of computer music repertoire and discusses the best practices for the facilitation of repeated performances.
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unknown
DOI: 10.5281/zenodo.850473
Zenodo URL: https://zenodo.org/record/850473
2014.64
Corpora for Music Information Research in Indian Art Music
Srinivasamurthy, Ajay Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Koduri, Gopala Krishna Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Gulati, Sankalp Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Ishwar, Vignesh Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Research corpora are representative collections of data and are essential to develop data-driven approaches in Music Information Research (MIR). We address the problem of building research corpora for MIR in Indian art music traditions of Hindustani and Carnatic music, considering several relevant criteria for building such corpora. We also discuss a methodology to assess the corpora based on these criteria and present an evaluation of the corpora in their coverage and completeness. In addition to the corpora, we briefly describe the test datasets that we have built for use in many research tasks. In specific, we describe the tonic dataset, the Carnatic rhythm dataset, the Carnatic varṇaṁ dataset, and the Mridangam stroke dataset. The criteria and the evaluation methodology discussed in this article can be used to systematically build a representative and comprehensive research corpus. The corpora and the datasets are accessible to the research community from a central online repository.
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unknown
DOI: 10.5281/zenodo.850759
Zenodo URL: https://zenodo.org/record/850759
2014.65
Corporeality, Actions and Perceptions in Gestural Performance of Digital Music
Schacher, Jan C. Institute for Computer Music and Sound Technology ICST, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
What is the relationship between the performer’s body, the instrument, the musical actions and their perception by an audience? And how do they relate when the music is generated by abstract digital processes controlled through actions on technical control surfaces, or gestural, tangible interfaces? This article investigates these questions by examining elements and concepts from physiology, the cognitive sciences with an ‘enactive’ and phenomenological perspective and from the point of view of an artistic performance practice, which brings these elements together on stage. In a broad arc the investigation covers instrumental and perceptual affordances, the physical senses of the body, different levels of awareness, corporeal states and modes of awareness, the senses of agency and intentionality, and the sense of movement inherent to music. Based on these insights, the contradiction between the corporeal space of performance and the abstract, codified domain of the digital sound processes is revealed. By looking at the prevalent metaphors, but also the interaction concepts and models of control and their shortcomings, it becomes evident that they need to be refined, possibly based on the perceptual and corporeal criteria developed here.
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unknown
DOI: 10.5281/zenodo.850635
Zenodo URL: https://zenodo.org/record/850635
2014.66
Could the Endless Progressions in James Tenney's Music Be Viewed as Sonic Koans?
Féron, François-Xavier LaBRI, UMR 5800, Université Bordeaux-I; Talence, France
Abstract
In Zen practice, a koan is an enigmatic spiritual question that doesn’t suppose a rational answer. Koan is also the name of a solo violin piece composed by James Tenney in 1971 that presents an endless melodic progression. Koan is actually derived from the electronic piece For Ann (rising) composed two years prior. This paper focuses on both pieces. It examines how this American composer drew his inspiration from both a Buddhist philosophical idea and from Shepard and Risset’s investigations in the field of auditory computer-generated illusions.
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unknown
DOI: 10.5281/zenodo.850475
Zenodo URL: https://zenodo.org/record/850475
2014.67
Creating a Place as a Medium for Musical Communication Using Multiple Electroencephalography
Hamano, Takayuki Okanoya Emotional Information Project, ERATO, Japan Science and Technology Agency (JST); Kawaguchi, Japan
Ohmura, Hidefumi Okanoya Emotional Information Project, ERATO, Japan Science and Technology Agency (JST); Kawaguchi, Japan
Nakagawa, Ryu Okanoya Emotional Information Project, ERATO, Japan Science and Technology Agency (JST); Kawaguchi, Japan
Terasawa, Hiroko PRESTO, Japan Science and Technology Agency (JST); Kawaguchi, Japan / University of Tsukuba; Tsukuba, Japan
Hoshi-Shiba, Reiko BSI, RIKEN; Wako, Japan
Okanoya, Kazuo The University of Tokyo; Tokyo, Japan
Furukawa, Kiyoshi Tokyo University of the Arts; Tokyo, Japan
Abstract
Music is an activity that expresses human thoughts and emotions, for which human brain takes a central role. Meanwhile, music offers an emotionally compelling experience when multiple persons lively participate. We hypothesize that brain activities would exhibit specific responses and patterns to music in a situation where multiple persons gather and perform the music. Upon these premises, we created an installation piece, which attempts to represent the interconnection of people’s minds by capturing the characteristics of brain activities associated with music. The system for the installation handles Electroencephalography (EEG) data acquisition, data analysis, sonification, and visualization. The system analyzes EEG of multiple participants when they respond to given stimuli, such as acoustically played musical notes or simple visual elements. The result of spectral analysis and the averaged responses of brain activities of all the participants are represented with musical notes and visual images. The system has been devised to be compact and reproducible by making good use of devices that are commercially available. With this system, we created an installation piece focusing on the human brain to constitutively form a space where musical communication arises.
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not available
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unknown
DOI: 10.5281/zenodo.850637
Zenodo URL: https://zenodo.org/record/850637
2014.68
Creative Symbolic Interaction
Assayag, Gérard STMS Lab, CNRS UPMC, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Creative Symbolic Interaction brings together the advantages from the worlds of interactive real-time com-puting and intelligent, content-level analysis and proc-essing, in order to enhance and humanize man-machine communication. Performers improvising along with Symbolic Interaction systems experiment a unique ar-tistic situation where they interact with musical (and possibly multi-modal) agents which develop themselves in their own ways while keeping in style. Symbolic in-teraction aims at defining a new artificial creativity paradigm in computer music, and extends to other fields as well : The idea to bring together composition and improvisation through modeling cognitive structures and processes is a general idea that makes sense in many artistic and non-artistic domains.
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not available
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unknown
DOI: 10.5281/zenodo.850441
Zenodo URL: https://zenodo.org/record/850441
2014.69
Creativity Through Technology and Science in Xenakis
Paparrigopoulos, Kostas Technological Educational Institute of Crete; Crete, Greece
Abstract
Nowadays it is common for creativity to be linked to technological advancement and there is a widely held impression that new ideas and concepts emerge daily as a result of technology. However, technology and even science and progress are often criticized leading towards a tendency for simplification and more human and natural consideration of reality. This issue is much discussed in music and one of the field’s most representative figures is Iannis Xenakis. His work with technology is well known and widely studied; and allowed him to create a number of highly original and creative artistic compositions. However, he was always aware of the danger of being "trapped by tools". So let us begin by looking at how, and to what purpose Xenakis used technology. In his work we encounter his desire to justify the world through philosophy. His philosophical considerations touched on different domains and proved extremely fertile in his music, such as, for example, the interpenetration of determinism and indeterminism, or of inference and revelation. This paper endeavors to highlight certain aspects of his creative process, beginning with his technological realizations and philosophical considerations that touch his music and other work and his relationship with a philosophy of technology.
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unknown
DOI: 10.5281/zenodo.850477
Zenodo URL: https://zenodo.org/record/850477
2014.70
CriticalEd: A Tool for Assisting with the Creation of Critical Commentaries
Kjellberg, Caspar Mølholt Aalborg University; Aalborg, Denmark
Meredith, David Aalborg University; Aalborg, Denmark
Abstract
The best text method is commonly applied among music scholars engaged in producing critical editions. In this method, a comment list is compiled, consisting of variant readings and editorial emendations. This list is maintained by inserting the comments into a document as the changes are made. Since the comments are not input sequentially, with regard to position, but in arbitrary order, this list must be sorted by copy/pasting the rows into place—an errorprone and time-consuming process. Scholars who produce critical editions typically use off-the-shelf music notation software such as Sibelius or Finale. It was hypothesized that it would be possible to develop a Sibelius plugin, written in Manuscript 6, that would improve the critical editing work flow, but it was found that the capabilities of this scripting language were insufficient. Instead, a 3-part system was designed and built, consisting of a Sibelius plug-in, a cross-platform application, called CriticalEd, and a REST-based solution, which handles data storage/retrieval. A prototype has been tested at the Danish Centre for Music Publication, and the results suggest that the system could greatly improve the efficiency of the critical editing work flow.
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not available
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unknown
DOI: 10.5281/zenodo.850639
Zenodo URL: https://zenodo.org/record/850639
2014.71
Data Auditorio: Towards Intense Interaction, an Interactive Hyper-Directional Sound for Play and Ubiquity
Misawa, Daichi Interface Cultures, Kunstuniversität Linz (UFG); Linz, Austria
Odai, Kiyomitsu Independent research; Tokyo, Japan
Abstract
This paper presents the playful and ubiquitous interaction of sound: intense interaction. It aims to realise, in other words, an interactive sound produced in a certain space. It enables audience to participate in a game called performance play (e.g. playing piano, playing music, being a play actor, etc.) in order to significantly change and overcome the existing patterns of reality in the space by their own various activities. An interactive hyper-directional sound environment Data Auditorio was created to realise the concept. The interactive sound software processes the feedback signals between the microphone and the hyperdirectional speaker keeping it under control. It aims to ultimately give rise to a kind of sonic organism; the sound is, in fact, an algorithmic composition entirely derived from the feedback signals in a real-time sonic environment. The installation utilises the format of a performance stage and encourages the audience to interact in a natural fashion with the interactive sound, thereby making the game of Data Auditorio a more active endeavour. The result of it can be applied to a hyper-directional sound interface design, as well as works of art and music.
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not available
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unknown
DOI: 10.5281/zenodo.850957
Zenodo URL: https://zenodo.org/record/850957
2014.72
December Variations (on a Theme by Earle Brown)
Hoadley, Richard Anglia Ruskin University; Cambridge, United Kingdom
Abstract
Earle Brown’s December 1952 is a score characterised by the use of 31 abstract graphical elements. Brown later reimagined it as a Calderesque orrery in which “elements would actually physically be moving in front of the pianist” [1]. Although there are many more recent examples of graphic, open and animated scores, for the purposes of this practice-led research the simplicity and grace of Brown’s score makes it a pragmatic choice as it is significantly easier to follow the “translations” being applied. This composition involves research into the construction of a software system allowing multiple automatic ‘variations’ of the piece, live and in real-time, using common practice notations. Each variation is created by mapping a uniquely generated version of Brown’s original score according to a series of settings - the size and shape of the elements, the ‘route’ taken through the score: right to left, top to bottom or vice versa, etc. In its current form there is no interaction between performer and score. The notation provided, although detailed, is intended to be used as a foundation for performance rather than as precise instructions. In this way the project also helps explore the nature or intuition and improvisation through technology and notation.
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unknown
DOI: 10.5281/zenodo.850479
Zenodo URL: https://zenodo.org/record/850479
2014.73
Declarative Composition and Reactive Control in Marsyas
Leben, Jakob Department of Computer Science, University of Victoria; Victoria, Canada
Tzanetakis, George Department of Computer Science, University of Victoria; Victoria, Canada
Abstract
We present a new coordination language for audio processing applications, designed for the dynamic dataflow capabilities of the Marsyas C++ framework. We refer to the language as Marsyas Script. It is a declarative coordination language that enables intuitive and quick composition of dataflow networks and reactive processing control. It separates the tasks of dataflow coordination and computation, while increasing the expressivity of the coordination level. This allows more dynamic dataflow behavior and more powerful interaction with other multimedia applications and the physical world. It also increases code portability and allows multiple tools to operate on the same network definition with the purpose of real-time or nonreal-time execution, network visualization, operational inspection and debugging, etc. This naturally enhances and extends the functionality within the domain of the Marsyas framework and makes it more accessible to users of other audio software frameworks and languages.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850539
Zenodo URL: https://zenodo.org/record/850539
2014.74
Degrees of Interpretation in Computer Aided Algorithmic Composition
Aslan, Jessica The University of Edinburgh; Edinburgh, United Kingdom
Abstract
In 2012 Michael Edwards introduced his open-source composition system, Slippery Chicken (sc). Since then I have been working with the software, experimenting with the possibilities and limits of its output and identifying its constants and mutations. In this paper I will analyse some of the different compositional methodologies that sc offers, tracing its digital fingerprint and examining its persistent presence through degrees of composer and performer interpretation. I will include a discussion of the broad spectrum of opportunities for the parallel generation of ideas and maintenance of each user’s compositional voice, not only through choice of input material but flexibility of output formats from the software. Summarising some current thought on Computer Aided and Algorithmic composition I will attempt to unpick some of sc’s design mechanisms, with particular attention to the relationship between form and process of composition when using the software. I will then examine case studies from my compositions with specific reference to degrees of interpretation. Firstly, I will present my experiences using the software in a first degree approach, which represents unmediated algorithms. Following this I will look at hybrid mediation, second degree usage. In this case study sc is still directly present through sound file organisation in a fixed-media part, however the notated score is created through aural interpretation of the fixed-media. Finally I will outline the compositional methodology in a third degree, fully mediated composition in which I place myself directly in front of the information flow between algorithm and score, meaning no digital (only a perceptual) trace of the software can be found.
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unknown
DOI: 10.5281/zenodo.850481
Zenodo URL: https://zenodo.org/record/850481
2014.75
Demo: Using Jamama's MVC Features to Design an Audio Effect Interface
Lossius, Trond Bergen Center for Electronic Arts (BEK); Bergen, Norway
Wolek, Nathan Stetson University; DeLand, United States
de la Hogue, Théo Centre National de Creation Musicale (GMEA); Albi, France
Baltazar, Pascal L’Arboretum, Independent; France
Abstract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, and views that can be dynamically loaded, repurposed, and disposed. The use of MVC is widespread in web applications, but is far less common in interactive computer music programming environments. Jamoma 0.6 enables MVC separation in Cycling’74 Max, as presented in [1]. This demonstration will examine the development of a multi-band equaliser using these recent additions to Jamoma. This review of the design process will serve to highlight many of the benefits of MVC separation.
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unknown
DOI: 10.5281/zenodo.850995
Zenodo URL: https://zenodo.org/record/850995
2014.76
Design Process for Interactive Sound Installations: The Designer, the Interactor and the System
Le Prado, Cécile Conservatoire national des arts et métiers (CNAM); Paris, France
Natkin, Stéphane Conservatoire national des arts et métiers (CNAM); Paris, France
Abstract
In the design process of interactive sound walk art installations, the composer must think his sound design in a real or a virtual space according to the listener’s promenade. For a given piece, the sound designer leaves to the interactor a certain amount of freedom and to the system, according to its level of self-sufficiency, a certain amount of autonomy. This paper presents an analysis of this fundamental composition choice between determinism, emergence and interactivity. In the first part, this problem is stated as the position of an art piece in the D.I.S. (Designer/Interactor/System) triangle. We analyze from this point of view several interactive pieces. The second part concerns mainly the design process of The Listening Walker scripted version. This interactive sound walk relies on the technology and the design principle of video games. In the scripting style, the designer takes the point of view of the interactor, who becomes the narrator. We conclude by an introduction to the second version of the same piece written according to the emergent style. In this case the designer takes the point of view of Non Player Characters controlled by the system.
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unknown
DOI: 10.5281/zenodo.850593
Zenodo URL: https://zenodo.org/record/850593
2014.77
Detection of Random Spectral Alterations of Sustained Musical Instrument Tones in Repeated Note Contexts
Lee, Chung The Information Systems Technology and Design Pillar, Singapore University of Technology and Design; Singapore, Singapore
Horner, Andrew Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Abstract
Eight sustained musical instrument sounds were randomly altered by a time-invariant process to determine how well spectral alteration could be detected on repeated notes. Sounds were resynthesized in a series of eight 0.25-second repeated notes and spectrally altered with average spectral alterations of 8, 16, 24, 32, and 48%. Listeners were asked to discriminate each randomly altered repeated note sequence from the original unaltered sequence. The results showed that spectrally altered repeated note sequences were significantly more discriminable than single tones in comparisons of the same duration (two seconds). Non-uniform repeated note sequences were more discriminable than uniform sequences that simply repeated the same random instance.
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unknown
DOI: 10.5281/zenodo.850864
Zenodo URL: https://zenodo.org/record/850864
2014.78
Diffusing Diffusion: A History of the Technological Advances in Spatial Performance
Johnson, Bridget New Zealand School of Music (NZSM); Wellington, New Zealand
Norris, Michael New Zealand School of Music (NZSM); Wellington, New Zealand
Kapur, Ajay Victoria University of Wellington; Wellington, New Zealand
Abstract
This paper assesses current trends in diffusion performance practice. It aims to identify the most important stages of development in diffusion and its related fields, and how historical events have continued to influence modern diffusion practice. The main focus is on advancements in spatialisation techniques and the way they helped catalyze new movements in diffusion. A split in two schools of thought within diffusion is recognized and each of these is discussed. The paper also looks at the way both stems of diffusion have more recently, embraced the design of custom interfaces focusing on the ways they aim to increase spatial expressivity in performance. Three main areas of diffusion interface design are discussed in depth and examples from each category are given.
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unknown
DOI: 10.5281/zenodo.850483
Zenodo URL: https://zenodo.org/record/850483
2014.79
Digitally Extending the Optical Soundtrack
Dupuis, Alexander Brown University; Providence, United States
Dominguez, Carlos Dartmouth College; Hanover, United States
Abstract
The optical soundtrack has a long history in experimental film as a means of image sonification. The technique translates image luminance into amplitude along the vertical axis, enabling the sonification of a wide variety of filmed patterns. While the technical challenges of working with film preclude casual exploration of the technique, digital implementation of optical image sonification allows interested users with skill sets outside of film to access this process as a means of sonifying video input. This paper presents an overview of the workings of optical image sonification, as well as a basic implementation in the Max/MSP/Jitter environment. The benefits and drawbacks of the technique in its digital and analog forms are discussed, as well as the greatly improved control over the sonification process afforded by digital image processing. An example of these expanded possibilities in the context of audiovisual composition is presented, and supplementary code is given to provide a basis for users to test and apply the technique.
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not available
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unknown
DOI: 10.5281/zenodo.850485
Zenodo URL: https://zenodo.org/record/850485
2014.80
DIMI-6000: An Early Musical Microcomputer by Erkki Kurenniemi
Lassfolk, Kai Musicology, Department of Philosophy, History, Culture and Art Studies, University of Helsinki; Helsinki, Finland
Suominen, Jari Independent research, Independent; Finland
Ojanen, Mikko Musicology, Department of Philosophy, History, Culture and Art Studies, University of Helsinki; Helsinki, Finland
Abstract
DIMI-6000 is an early microcomputer-based synthesizer designed in the mid-1970s by the Finnish inventor Erkki Kurenniemi. Designed as a hub for electronic music studios, DIMI-6000 featured a computer-controlled analog sound synthesis circuitry and a modular design. Despite its innovative design, only two units were built, one for Finland's national broadcasting company Yle and the other for Swedish composer Ralph Lundsten. This paper presents an overview of the instrument and its use, especially of the unit built for the Experimental Studio of Yle.
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unknown
DOI: 10.5281/zenodo.850915
Zenodo URL: https://zenodo.org/record/850915
2014.81
Directed Transitional Composition for Gaming and Adaptive Music Using Q-Learning
Cullimore, Jason Interdisciplinary Studies, University of Regina; Regina, Canada
Hamilton, Howard Computer Science, University of Regina; Regina, Canada
Gerhard, David Computer Science, University of Regina; Regina, Canada
Abstract
One challenge relating to the creation of adaptive music involves generating transitions between musical ideas. This paper proposes a solution to this problem based on a modification of the Q-Learning framework described by Reese, Yampolskiy and Elmaghraby. The proposed solution represents chords as states in a domain and generates a transition between any two major or minor chords by finding a pathway through the domain in a manner based on a Q-Learning framework. To ensure that the transitional chords conform to the tonalities defined by the start and goal chords, only chords that contain notes that are found in combined pentatonic scales built from the start and goal chords are included within the domain. This restriction increases the speed of pathfinding and improves the conformation of the transitions to desirable tonal spaces (in particular the keys most closely related to the start and goal chords). This framework represents an improvement over previous music generation systems in that it supports transitions from any point in a musical cue to any point in another, and these transitions can be rendered in real time. A general method for implementing this solution in a video game is also discussed.
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unknown
DOI: 10.5281/zenodo.850541
Zenodo URL: https://zenodo.org/record/850541
2014.82
Distance in Pitch Sensitive Time-span Tree
Matsubara, Masaki University of Tsukuba; Tsukuba, Japan
Hirata, Keiji Future University Hakodate; Hakodate, Japan
Tojo, Satoshi Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Abstract
The time-span tree of Jackendoff and Lehrdahl’s Generative Theory of Tonal Music is one of the most promising representations of human cognition of music. In order to show this, we compare the distance in trees and psychological dissimilarity by using variations of Ah vous dirais-je, maman by Mozart. Since pitch and chord sequence also affect the time spans, we amend the time-span analysis to include pitch information. Then, we introduce a pitch distance based on Lerdahl’s theory and revise the tree distance. We compare analyses with and without the pitch information and show the efficacy of our method.
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unknown
DOI: 10.5281/zenodo.850802
Zenodo URL: https://zenodo.org/record/850802
2014.83
Easter Eggs: Hidden Tracks and Messages in Musical Mediums
Weinel, Jonathan Creative & Applied Research for the Digital Society (CARDS), Glyndŵr University; Wrexham, United Kingdom
Griffiths, Darryl Creative & Applied Research for the Digital Society (CARDS), Glyndŵr University; Wrexham, United Kingdom
Cunningham, Stuart Creative & Applied Research for the Digital Society (CARDS), Glyndŵr University; Wrexham, United Kingdom
Abstract
‘Easter eggs’ are hidden components that can be found in computer software and various other media including music. In this paper the concept is explained, and various examples are discussed from a variety of mediums including analogue and digital audio formats. Through this discussion, the purpose of including easter eggs in musical mediums is considered. We propose that easter eggs can serve to provide comic amusement within a work, but can also serve to support the artistic message of the artwork. Concealing easter eggs in music is partly dependent on the properties of the chosen medium; vinyl records may use techniques such as double grooves, while digital formats such as CD may feature hidden tracks that follow long periods of empty space. Approaches such as these and others are discussed. Lastly, we discuss some software components we have developed ourselves in Max/MSP, which facilitate the production of easter eggs by performing certain sequences of notes, or as a result of time-based events. We therefore argue that computer music performances present unique opportunities for the incorporation of easter eggs. These may occur to the surprise of audiences, performers and composers, and may support the artistic purpose of compositions as a whole.
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unknown
DOI: 10.5281/zenodo.850487
Zenodo URL: https://zenodo.org/record/850487
2014.84
Echoes in Plato's Cave: Ontology of Sound Objects in Computer Music and Analysis
Marsden, Alan Lancaster University; Lancaster, United Kingdom
Abstract
The sonic aspects of Plato’s analogy of the cave is taken as a starting point for thought experiments to investigate the objective nature of sound, and the idea of quasiPlatonic forms in music. Sounds are found to be objects in a way that sights or appearances are not, and it is only in the presence of technology that they become artificial. When recognition, control and communication about sound come into play, abstract concepts emerge, but there is no reason to give these the priority status Plato affords to forms. Similar issues arise in discussion of the ontology of musical works, where the ideas of extension and intension prove useful for clarity about the nature of musical objects. They are also useful for strategies in the development of music software. Musical concepts are not fixed but arise from complex cultural interactions with sound. Music software should aim to use abstract concepts with are useful rather than correct.
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unknown
DOI: 10.5281/zenodo.850455
Zenodo URL: https://zenodo.org/record/850455
2014.85
Ecologically Grounded Multimodal Design: The Palafito 1.0 Study
Keller, Damián NAP, Federal University of Acre; Rio Branco, Brazil
Timoney, Joseph National University of Ireland Maynooth; Maynooth, Ireland
Constalonga, Leandro L. Federal University of Espirito Santo; Vitória, Brazil
Capasso, Ariadna Independent Artist, Independent; New York, United States
Tinajero, Patricia Independent Artist, Independent; Quito, Ecuador
Lazzarini, Victor National University of Ireland Maynooth; Maynooth, Ireland
Pimenta, Marcelo Soares Federal University of Rio Grande do Sul; Porto Alegre, Brazil
de Lima, Maria Helena Federal University of Rio Grande do Sul; Porto Alegre, Brazil
Johann, Marcelo Federal University of Rio Grande do Sul; Porto Alegre, Brazil
Abstract
We present results of a ten-month design study targeting the observation of creative artistic practice by a video-ar tist, a sculptor and a composer. The study yielded the multimedia installation Palafito/Palafita/Home-on-stilts 1.0, featuring 19:30 minutes of sonic material and video footage, and three 5x8x3-meter raw-wood sculptures. This paper focuses on the procedural dimensions of the asynchronous, ubiquitous group activities carried out by the three subjects through light-weight, off-the-shelf in frastructure. Data was extracted from a virtual forum and a file repository. The analysis of the creative exchange in dicated cycles of activity alternating between reflection, exploratory action and product-oriented action. The parti cipants were engaged in reflective activities 63% of the time, epistemic activities spanned 33% of the study and product-oriented activities accounted for only 4% of the creative design cycle. Dialogic activities did not follow a regular pattern, but a relationship between enactive and dialogic activities was observed. We discuss the implica tions of these results for embedded-embodied approaches to sound art.
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unknown
DOI: 10.5281/zenodo.850959
Zenodo URL: https://zenodo.org/record/850959
2014.86
Effects of Different Bow Stroke Styles on Body Movements of a Viola Player: An Exploratory Study
Visi, Federico Interdisciplinary Centre for Computer Music research (ICCMR), University of Plymouth; Devon, United Kingdom
Coorevits, Esther IPEM – Institute for Psychoacoustics and Electronic Music, Ghent University; Ghent, Belgium
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music research (ICCMR), University of Plymouth; Devon, United Kingdom
Leman, Marc IPEM – Institute for Psychoacoustics and Electronic Music, Ghent University; Ghent, Belgium
Abstract
This paper describes an exploratory study of different gestures and body movements of a viola player resulting from the variation of bow strokes length and quantity. Within the theoretical framework of embodied music cognition and the study of musical gestures, we aim to observe how the variation of a musical feature within the piece affects the body movements of the performer. Two brief pieces were performed in four different versions, each one with different directions regarding the bow strokes. The performances were recorded using a multimodal recording platform that included audio, video and motion capture data obtained from high-speed tracking of reflective markers placed on the body of the performer and on the instrument. We extracted measurements of quantity of motion and velocity of different parts of the body, the bow and the viola. Results indicate that an increased activity in soundproducing and instrumental gestures does not always resonate proportionally in the rest of the body and the outcome in terms of ancillary gestures may vary across upper body and lower body.
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unknown
DOI: 10.5281/zenodo.850866
Zenodo URL: https://zenodo.org/record/850866
2014.87
EmbodiComp: Embodied Interaction for Mixing and Composition
El-Shimy, Dalia Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Cowan, Steve Professional Guitarist and Composer, Independent; Canada
Cooperstock, Jeremy R. Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Abstract
We introduce EmbodiComp, a novel system that leverages simple and common gestures to allow for simultaneous mixing and composition. Through the use of a “band performance” metaphor that offers users the illusion of being part of an ensemble, musicians are able to play and mix their instruments with pre-recorded tracks in real-time through embodied interactions. Using five unique features, our system allows musicians to experiment seamlessly with volume and reverb levels, as well as the degree to which instruments are mixed, as they simply move about their space. As such, users can easily explore various settings and arrangements during composition, and determine how an instrument might best fit with others in the final piece. The system evolved, in part, as a result of a collaboration between an engineer and a composer that is also described in this paper. The outcomes of this participatory design cycle indicate that EmbodiComp could prove beneficial for musicians seeking to facilitate the process of composition through alternatives to traditional mixing tools.
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unknown
DOI: 10.5281/zenodo.850543
Zenodo URL: https://zenodo.org/record/850543
2014.88
Eroticism and Time in Computer Music: Juliana Hodkinson and Niels Rønsholdt's Fish & Fowl
Sofer, Danielle University of Music and Performing Arts (KUG); Graz, Austria
Abstract
Music analysts often default to alternate forms of visualization when dealing with electroacoustic music for which no score exists, thus sound becomes situated within the limitations of a visual system. In this paper I show that visual models do not always convey the varied possible hearings of multiple listeners, particularly in music with an erotic tinge. Coupled with clicking heels and a cracking whip, Fish & Fowl (2011) by Juliana Hodkinson and Niels Rønsholdt is an electroacoustic work rife for suggestive inferences. The sexualized breathing of the female “protagonist” in Fish & Fowl is an allusion to a territory typically, if tacitly, forbidden as an expression of sonic “art,” but it is precisely in this transgression to normative hearing that Fish & Fowl is potentially interesting for analysis. Unfolding with temporal and spatial changes in the music are variable structures of listening that mediate our perceptions of, for example, the instrumentation, performance space, and semantic meaning of what we hear. In employing Gilles Deleuze’s philosophy of time, this paper offers an alternative to visualized analytical models by elaborating on the experience of erotic sound through multiple and synchronic temporalities.
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unknown
DOI: 10.5281/zenodo.850489
Zenodo URL: https://zenodo.org/record/850489
2014.89
Estimation of Vocal Duration in Monaural Mixtures
Elowsson, Anders KTH Royal Institute of Technology; Stockholm, Sweden
Schön, Ragnar KTH Royal Institute of Technology; Stockholm, Sweden
Höglund, Matts KTH Royal Institute of Technology; Stockholm, Sweden
Zea, Elias KTH Royal Institute of Technology; Stockholm, Sweden
Friberg, Anders KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
In this study, the task of vocal duration estimation in monaural music mixtures is explored. We show how presently available algorithms for source separation and predominant f0 estimation can be used as a front end from which features can be extracted. A large set of features is presented, devised to connect different vocal cues to the presence of vocals. Two main cues are utilized; the voice is neither stable in pitch nor in timbre. We evaluate the performance of the model by estimating the length of the vocal regions of the mixtures. To facilitate this, a new set of annotations to a widely adopted data set is developed and made available to the community. The proposed model is able to explain about 78 % of the variance in vocal region length. In a classification task, where the excerpts are classified as either vocal or non-vocal, the model has an accuracy of about 0.94.
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unknown
DOI: 10.5281/zenodo.850804
Zenodo URL: https://zenodo.org/record/850804
2014.90
Ethos in Sound Design for Brand Advertisement
Toppano, Elio Dipartimento di Informatica, Università di Udine; Udine, Italy
Toppano, Alessandro EdgyLab, Università di Udine; Udine, Italy
Abstract
Traditionally advertising has aimed to influence purchasing by affecting beliefs about the consequences of consuming a product. With the rise of brand marketing, the focus shifted from products to brands viewed as symbolic universes endowed with values and meanings that circulate in the imagination of a society. The paper explores the use of sound in syncretic multimodal advertising product as a bearer of brand and rhetorical meanings. A conceptual framework is proposed that addresses this issues by integrating the perspective of Design Theory and Transmedia Storytelling. In this context, two different senses of Ethos emerged and are discussed. A selected set of video commercials produced by Lancôme in the period 1990-2010 is used as a concrete example to show how the proposed framework can be used to analyze how sound features have been consistently exploited to communicate symbolic meanings.
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unknown
DOI: 10.5281/zenodo.850961
Zenodo URL: https://zenodo.org/record/850961
2014.91
Evaluating HRTF Similarity Through Subjective Assessments: Factors That Can Affect Judgment
Andreopoulou, Areti Laboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur (LIMSI), Audio Acoustics Group, Université Paris-Sud XI; Orsay, France
Roginska, Agnieszka Music and Audio Research Lab, New York University (NYU); New York, United States
Abstract
This work investigates the associations between objectively measured distance metrics and subjective assessments of similarity in HRTF data. For this purpose two different means of matching users to HRTF sets were compared: a simple system computing correlations between personally collected HRTF data and a repository of 111 measured binaural datasets, and an HRTF user-preference study assessing the spatial quality of a subset of this data based on certain attributes. The purpose of this comparison is twofold: first, to investigate the presence of an association between HRTF distance and perceived spatial quality, and second, to identify factors that can affect subjective judgment. The results primarily highlighted the importance of binaural reproduction exposure and training for the appreciation and understanding of a virtual auditory scene. In addition, they offered a means of assessing the effectiveness of the utilized evaluation criteria as a function of user expertise.
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unknown
DOI: 10.5281/zenodo.850868
Zenodo URL: https://zenodo.org/record/850868
2014.92
Evaluating Perceptual Separation in a Pilot System for Affective Composition
Williams, Duncan Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Kirke, Alexis Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Daly, Ian Brain Embodiments Laboratory, University of Reading; Reading, United Kingdom
Roesch, Etienne B. Brain Embodiments Laboratory, University of Reading; Reading, United Kingdom
Weaver, James C. E. Brain Embodiments Laboratory, University of Reading; Reading, United Kingdom
Nasuto, Slawomir J. Brain Embodiments Laboratory, University of Reading; Reading, United Kingdom
Abstract
Research evaluating perceptual responses to music has identified many structural features as correlates that might be incorporated in computer music systems for affectively charged algorithmic composition and/or expressive music performance. In order to investigate the possible integration of isolated musical features to such a system, a discrete feature known to correlate some with emotional responses – rhythmic density – was selected from a literature review and incorporated into a prototype system. This system produces variation in rhythm density via a transformative process. A stimulus set created using this system was then subjected to a perceptual evaluation. Pairwise comparisons were used to scale differences between 48 stimuli. Listener responses were analysed with Multidimensional scaling (MDS). The 2-Dimensional solution was then rotated to place the stimuli with the largest range of variation across the horizontal plane. Stimuli with variation in rhythmic density were placed further from the source material than stimuli that were generated by random permutation. This, combined with the striking similarity between the MDS scaling and that of the 2-dimensional emotional model used by some affective algorithmic composition systems, suggests that isolated musical feature manipulation can now be used to parametrically control affectively charged automated composition in a larger system.
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unknown
DOI: 10.5281/zenodo.850723
Zenodo URL: https://zenodo.org/record/850723
2014.93
Examining the Analysis of Dynamical Sonic Ecosystems: In Light of a Criterion for Evaluating Theories
Musick, Michael MARL (Music and Audio Research Lab), New York University (NYU); New York, United States
Abstract
This paper presents two possible approaches used in analyzing electroacoustic music works as applied to a special type of interactive performance system: the dynamical sonic ecosystem, which can be considered ‘ecosystemic’. These theories of analysis are then examined in relation to Matthew Brown’s ‘six criterion for evaluating theories’ and their usefulness for analysis, in regards to their ability to qualify a work as ecosystemic. Although both approaches are shown to have merit in their ability to increase understanding of a particular work, only the technique that analyzes the process of composing interactions is found to be capable of the necessary requirements needed to work towards building a theory of ecosystemics, in the same way that there exists a theory of tonality.
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unknown
DOI: 10.5281/zenodo.850491
Zenodo URL: https://zenodo.org/record/850491
2014.94
Expanding the Vocalist's Role Through the Use of Live Electronics in Real-time Improvisation
Åse, Tone Institute of Music, Norwegian University of Science and Technology (NTNU); Trondheim, Norway
Abstract
This paper presents reflections on research where artistic practice has been a main focus. As an improvising singer, it has been my experience that the use of new interfaces for controlling sound processing can open up new roles and possibilities in improvised vocalist/technology interplay. I focus here on two main facets of such interplay: (1) the distance from natural voice sound created by sound processing; and (2) the organization of voice sound through sampling techniques. I point at how these (relatively) new musical possibilities open up for the roles that I call “soundmaker” and “soundsinger.” I will point out how these roles are relevant in my own practice, as well as how they can be combined with the more traditional performative roles of “the singer” and “the speaker.” Further, I discuss some of the challenges experienced in my work with live electronics.
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unknown
DOI: 10.5281/zenodo.850493
Zenodo URL: https://zenodo.org/record/850493
2014.95
Experimence: Considerations for Composing a Rock Song for Interactive Audience Participation
Hödl, Oliver Human-Computer Interaction Group, Vienna University of Technology (TU Wien); Vienna, Austria
Fitzpatrick, Geraldine Human-Computer Interaction Group, Vienna University of Technology (TU Wien); Vienna, Austria
Holland, Simon Music Computing Lab, Open University; Milton Keynes, United Kingdom
Abstract
In popular music genres, typical songs are pre-composed and leave little or no space for improvisation during a live performance. That applies for the performing musicians as well as for the spectators in terms of interactive audience participation. In this study we question these improvisational limits and try to identify strategies for involving the audience as an additional and unpredictable factor in a pre-composed rock song. To do so we composed “Experimence” guided by the standard practice of song writing. The song was premiered at a public live concert where the audience could collaboratively participate in real-time by playing with a balloon together throughout the song. Using a wizard of oz technique, the movements of the balloon influenced the live music played by the pianist. We reflect across this experience and present notable issues raised during the composition, rehearsals and the actual performance. We then classify these aspects as abstract variables of consideration for a composition meant to promote such audience participation. We propose this proof of concept as a starting point for further discussion, suggesting that a song such as Experimence can be a unique and individual piece of music every time it is played although largely pre-composed.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850495
Zenodo URL: https://zenodo.org/record/850495
2014.96
Exploring a Visual/Sonic Representational Continuum
Vickery, Lindsay Edith Cowan University; Perth, Australia
Abstract
This paper explores the relationships between sound and its visualisation, focussing upon the issues surrounding representation and interpretation of music through both performative and machine processes. The discussion proceeds in the context of five recent works by the author exploring the representation of sound and musical notation and their relationship to and with performance: unhörbares wird hörbar (the inaudible becomes audible) [2013], EVP [2012], Lyrebird: environment player [2014], Nature Forms I [2014] and sacrificial zones [2014]. Issues examined include: re-sonification of spectrograms, visualisation of spectral analysis data, control of spatialisation and audio processing using spectral analysis data, and reading issues related to scrolling screen score notation.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850497
Zenodo URL: https://zenodo.org/record/850497
2014.97
Extending Aura With Csound Opcodes
Yi, Steven Department of Music, National University of Ireland Maynooth; Maynooth, Ireland
Dannenberg, Roger B. Carnegie Mellon University; Pittsburgh, United States
Lazzarini, Victor Department of Music, National University of Ireland Maynooth; Maynooth, Ireland
Fitch, John Department of Computer Science, University of Bath; Bath, United Kingdom
Abstract
Languages for music audio processing typically offer a large assortment of unit generators. There is great duplication among different language implementations, as each language must implement many of the same (or nearly the same) unit generators. Csound has a large library of unit generators and could be a useful source of reusable unit generators for other languages or for direct use in applications. In this study, we consider how Csound unit generators can be exposed to direct access by other audio processing languages. Using Aura as an example, we modified Csound to allow efficient, dynamic allocation of individual unit generators without using the Csound compiler or writing Csound instruments. We then extended Aura using automatic code generation so that Csound unit generators can be accessed in the normal way from within Aura. In this scheme, Csound details are completely hidden from Aura users. We suggest that these techniques might eliminate most of the effort of building unit generator libraries and could help with the implementation of embedded audio systems where unit generators are needed but a full embedded Csound engine is not required.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850917
Zenodo URL: https://zenodo.org/record/850917
2014.98
Fine-tuned Control of Concatenative Synthesis With CataRT Using the Bach Library for Max
Einbond, Aaron HUSEAC, Harvard University; Cambridge, United States
Trapani, Christopher CMC, Columbia University; Manhattan, United States
Agostini, Andrea HES-SO University of Applied Sciences and Arts Western Switzerland; Geneva, Switzerland
Ghisi, Daniele HES-SO University of Applied Sciences and Arts Western Switzerland; Geneva, Switzerland
Schwarz, Diemo Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
The electronic musician’s toolkit is increasingly characterized by fluidity between software, techniques, and genres. By combining two of the most exciting recent packages for M AX , C ATA RT corpus-based concatenative synthesis (CBCS) and BACH : AUTOMATED COMPOSER ’ S HELPER , we propose a rich tool for real-time creation, storage, editing, re-synthesis, and transcription of concatenative sound. The modular structures of both packages can be advantageously recombined to exploit the best of their real-time and computer-assisted composition (CAC) capabilities. After loading a sample corpus in C ATA RT, each grain, or unit, played from C ATA RT is stored as a notehead in the bach.roll object along with its descriptor data and granular synthesis parameters including envelope and spatialization. The data is attached to the note itself (pitch, velocity, duration) or stored in user-defined slots than can be adjusted by hand or batch-edited using lambda-loops. Once stored, the contents of bach.roll can be dynamically edited and auditioned using C ATA RT for playback. The results can be output as a sequence for synthesis, or used for CAC score-generation through a process termed Corpus-Based Transcription: rhythms are output with bach.quantize and further edited in bach.roll before export as a M USIC XML file to a notation program to produce a performer-readable score. Together these techniques look toward a concatenative DAW with promising capabilities for composers, improvisers, installation artists, and performers.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850761
Zenodo URL: https://zenodo.org/record/850761
2014.99
Flocking: A Framework for Declarative Music-making on the Web
Clark, Colin Ontario College of Art and Design (OCAD); Ontario, Canada
Tindale, Adam Ontario College of Art and Design (OCAD); Ontario, Canada
Abstract
Flocking 1 is a framework for audio synthesis and music composition written in JavaScript. It takes a unique approach to solving several of the common architectural problems faced by computer music environments, emphasizing a declarative style that is closely aligned with the principles of the web. Flocking’s goal is to enable the growth of an ecosystem of tools that can easily parse and understand the logic and semantics of digital instruments by representing the basic building blocks of synthesis declaratively. This is particularly useful for supporting generative composition (where programs generate new instruments and scores algorithmically), graphical tools (for programmers and nonprogrammers alike to collaborate), and new modes of social programming that allow musicians to easily adapt, extend, and rework existing instruments without having to “fork” their code. Flocking provides a robust, optimized, and well-tested architecture that explicitly supports extensibility and longterm growth. Flocking runs in nearly any modern JavaScript environment, including desktop and mobile browsers (Chrome, Firefox, and Safari), as well as on embedded devices with Node.js.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850919
Zenodo URL: https://zenodo.org/record/850919
2014.100
From Automatic Sound Analysis of Gameplay Footage [Echos] to the Understanding of Player Experience [Ethos]: An Interdisciplinary Approach to Feedback-based Gameplay Metrics
Marczak, Raphaël School of Arts, University of Waikato; Hamilton, New Zealand
Hanna, Pierre LaBRI, University Bordeaux I; Bordeaux, France
Rouas, Jean-Luc LaBRI, University Bordeaux I; Bordeaux, France
van Vught, Jasper School of Arts, University of Waikato; Hamilton, New Zealand
Schott, Gareth School of Arts, University of Waikato; Hamilton, New Zealand
Abstract
In line with the ICMC|SMC|2014 conference theme “from digital echos to virtual ethos”, and the conference interdisciplinary main objective; the present paper is seeking to demonstrate that the sound feedback stream produced by videogames when activated by players (echos) can be automatically analyzed in order to study how sound can, not only, describe a gameplay performance, but also help to understand player experience and emotions (ethos). To do so, the present paper illustrates how sound processing algorithms can be applied in the game studies discipline in order to assess and understand better how players engage with videogames. The present paper proposes to adapt the Feedback-based Gameplay Metrics method, successfully applied to the analysis of gameplay footage video stream [17], to the sound stream, via the automatic detection of musical sequences and speech segment.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850499
Zenodo URL: https://zenodo.org/record/850499
2014.101
From Digital 'Echos' to Virtual 'Ethos': Ethical Aspects of Music Technology
Kosteletos, George Department of Philosophy, University of Athens; Athens, Greece
Georgaki, Anastasia Department of Music, University of Athens; Athens, Greece
Abstract
In the present paper we aim to examine Music Technology through the lens of the ethical issues typically raised in the field of Philosophy of Technology regarding technological practices other than music composition, performance, reproduction and distribution. With this analysis we will try not only to highlight several ethical facts about the practice of developing and using digital tools for music but also to stress on the fact that Music Technology can be a platform for vigorous philosophical meditation.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850501
Zenodo URL: https://zenodo.org/record/850501
2014.102
From Technological Investigation and Software Emulation to Music Analysis: An Integrated Approach to Barry Truax's Riverrun
Clarke, Michael CeReNeM, University of Huddersfield; Huddersfield, United Kingdom
Dufeu, Frédéric CeReNeM, University of Huddersfield; Huddersfield, United Kingdom
Manning, Peter Durham University; Durham, United Kingdom
Abstract
This paper presents an approach to studying Barry Truax’s Riverrun as it is being carried out within the TaCEM project (Technology and Creativity in Electroacoustic Music), a collaboration between the Universities of Huddersfield and Durham funded for 30 months (2012-2015) by the Arts and Humanities Research Council in the United Kingdom. This approach aims at realising an Interactive Aural Analysis with which the user can explore the creative and technological environment used by the composer to build his oeuvre, as well as navigate aurally through the results of the musicological study. It involves an important technological investigation of Truax’s GSX program for digital granular synthesis, leading to the implementation, in the Max environment, of emulation software allowing for the live recreation of each of Riverrun’s sequences, along with further tools dedicated to the musical analysis of the piece. This paper presents the technological investigation and its issues, the pieces of software for the Interactive Aural Analysis of the work, and musicological observations drawn from such an approach.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850503
Zenodo URL: https://zenodo.org/record/850503
2014.103
FugueGenerator - Collaborative Melody Composition Based on a Generative Approach for Conveying Emotion in Music
Klügel, Niklas Technische Universität München (TUM); Garching, Germany
Hagerer, Gerhard Technische Universität München (TUM); Garching, Germany
Groh, Georg Technische Universität München (TUM); Garching, Germany
Abstract
This paper exemplifies an approach for generative music software. Therefore new operational principles are used, i.e. drawing melody contours and changing their emotional expression by making use of valence and arousal. Known connections between music, emotions and algorithms out of existing literature are used to deliver a software experience that augments the skills of individuals to make music according to the emotions they want. A user-study lateron shows the soundness of the implementation in this regard. A comprehensive analysis of in-game statistics makes it possible to measure the music produced by testers so that connections between valence, arousal, melody properties and contours and emotions will be depicted. In addition, temporal sequences of reaction patterns between music making individuals during their creative interaction are made visible. A questionnaire filled out by the testers puts the results on a solid foundation and shows that the incorporated methods are appreciated by the users to apply emotions musically as well as for being creative in a free and joyful manner.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850763
Zenodo URL: https://zenodo.org/record/850763
2014.104
Gamma: A C++ Sound Synthesis Library Further Abstracting the Unit Generator
Putnam, Lance Department of Architecture, Design and Media Technology, Aalborg University; Aalborg, Denmark
Abstract
Gamma is a C++ library for sound synthesis that was created to address some of the limitations of existing sound synthesis libraries. The first limitation is that unit generators cannot easily be organized into separate sampling domains. This makes it difficult to use unit generators with different sample rates and in other domains, namely the frequency domain. The second limitation is that certain internal unit generator algorithms, such as interpolation, cannot be customized. This tends to lead to closed architectures consisting of multiple unit generators with only slight algorithmic differences. Gamma makes explicit two novel abstractions—assignable sampling domains and algorithm Strategies—to help overcome these limitations and extend the application range of its unit generators.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850870
Zenodo URL: https://zenodo.org/record/850870
2014.105
Gene Expression Synthesis
Allik, Alo http://tehis.net, Independent; Estonia
Abstract
Gene expression programming offers an alternative approach in the evolutionary computation paradigm evolving populations of candidate solutions as valid computer programs that can be used for a potentially wide range of problem solving tasks, including sound synthesis. This paper proposes Gene Expression Synthesis (GES) as a method to evolve sound synthesis functions as nested graphs of unit generators. These functions are encoded into linear chromosomes according to the principles of gene expression programming and evolved by subjecting the functions to genetic operations and evaluating fitness. The design of the fitness functions involves statistical methods and machine listening algorithms in an attempt to automate the supervision of the synthesis process. Synthesis parameters for the population of candidate functions are designed exploring artificial co-evolution, a parallel population of functions that compute parameter values for the synthesis functions share their fitness values, while being subjected to genetic operations including recombination separately.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850872
Zenodo URL: https://zenodo.org/record/850872
2014.106
GenoMeMeMusic: A Memetic-based Framework for Discovering the Musical Genome
Velardo, Valerio University of Huddersfield; Huddersfield, United Kingdom
Vallati, Mauro University of Huddersfield; Huddersfield, United Kingdom
Abstract
The paper introduces G3M, a framework that aims to outline the musical genome through a memetic analysis of large musical databases. The generated knowledge provides meaningful information about the evolution of musical structures, styles and compositional techniques over time and space. Researchers interested in music and sociocultural evolution can fruitfully use the proposed system to perform extensive inter-opus analysis of musical works as well as to understand the evolution occurring within the musical domain.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850921
Zenodo URL: https://zenodo.org/record/850921
2014.107
Griddy: A Drawing Based Music Composition System With Multi-layered Structure
Kim, Keunhyoung Luke Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Yeo, Woon Seung Ewha Womans University; Seoul, South Korea
Abstract
This paper suggests a novel approach to drawing interfaces for music composition, which provides multilayered interface with different levels of abstraction and constraints. By reviewing previous drawing based composition systems, a common problem is discovered: insufficient support for creative exploration due to limited perspectives on compositional processes. Addressing importance of multi-layered design of composition software, three layers and corresponding interfaces are designed, for overall flow, chord map, and stylistic features respectively. The prototype application is implemented with HTML5 canvas element and Gibberish.js, providing easy accessibility on web.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850545
Zenodo URL: https://zenodo.org/record/850545
2014.108
HMM-based Automatic Arrangement for Guitars With Transposition and Its Implementation
Hori, Gen Faculty of Business Administration, Asia University; Tokyo, Japan
Sagayama, Shigeki School of Interdisciplinary Mathematical Sciences, Meiji University; Tokyo, Japan
Abstract
Automatic generation of guitar tablatures for given songs has been one of research interests in music information processing. Furthermore, some of recent studies have attempted automatic arrangement of given songs before tablature generation for producing guitar scores for songs composed for other instruments. In our previous work, we have formulated “fingering decision” and “arrangement” in a unified framework based on hidden Markov model (HMM) whose hidden states are the left hand forms on the fingerboard and an observed sequence is a note sequence of a given song. The purpose of the present paper is to extend the HMM-based automatic arrangement to “arrangement with transposition” and introduce a web application that implements the arrangement with transposition. The optimal transposition for arrangement of a given song is obtained through a full search for all the possible keys where the resulting arrangements are evaluated based on the probabilities of the sequences of the left hand forms.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850832
Zenodo URL: https://zenodo.org/record/850832
2014.109
How Blue Is Mozart? Non Verbal Sensory Scales for Describing Music Qualities
Murari, Maddalena Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Da Pos, Osvaldo Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
De Poli, Giovanni Università di Padova; Padova, Italy
Sandri, Marta Università di Padova; Padova, Italy
Abstract
Studies on the perception of musical qualities (such as induced or perceived emotions, performance styles, or timbre nuances) make a large use of verbal descriptors. Although many authors noted that particular musical qualities can hardly be described by means of verbal labels, few studies have tried alternatives. This paper aims at exploring the use of non verbal sensory labels, in order to represent different perceived qualities in Western classical music. Musically trained and untrained listeners were required to listen to 6 musical excerpts in major key and to evaluate them from a sensorial and semantic point of view (Experiment 1). The same experiment (Experiment 2) was proposed to musically trained and untrained listeners who were required to listen to 6 musical excerpts all in minor key. The overall findings indicate that subjects’ rates on non verbal sensory scales are throughout consistent and the results support the hypothesis that sensory scales can convey some specific sensations that cannot be described verbally, offering interesting insights to deepen our knowledge on the relationship between music and other sensorial experiences.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850505
Zenodo URL: https://zenodo.org/record/850505
2014.110
Human Perception of the Soundscape in a Metropolis Through the Phenomenology of Neural Networks
Santucci, Enrica Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Ludovico, Luca Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Abstract
The aim of this work is providing a quantitative description of the evolution from a hi-fi to a lo-fi soundscape in a metropolis, according to the definition given by R. Murray Schafer. Our theoretical approach has a statistical mechanical foundation and is based on order/disorder transitions. We will show that a system formed by C citizens and by the sound sources related to the K neighborhoods of the metropolis is thermodynamically equivalent to the fully connected network of interacting citizens described by the Hamiltonian of the Hopfield model. The application of statistical-mechanics models to the soundscape will confer an original interpretation to the concepts of ferromagnetic and spin-glass phases: such phases will be associated to different models of society (ordered vs. frustrated system). Transitions will be regulated by the variation of the control parameter, here defined as the ratio between the number of sound sources and the number of citizens.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850725
Zenodo URL: https://zenodo.org/record/850725
2014.111
ICE - Towards Distributed Networked Computer Music Ensemble
Ritsch, Winfried Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
The deployment of distributed loudspeaker systems in the context of computermusic ensembles is explored in this paper, expanding the vision of a computermusic ensembles to a flexible dynamic musicians network. With the IEM Computermusic Ensemble (ICE) the idea of playing in a virtual concert hall over network, rendered to one ore more real or simulated concert-halls has been explored: Each musician in the network is using virtual 3Daudio space to render and therefore position his/her musical contribution in this virtual concert hall, which can be rendered to the local loudspeaker system, like an Ambisonics spatial audio system, a binaural decoder, useful for remote musicians and monitoring and/or a projection of this in other spaces as audio installation. The musicians communicate with each other via musical audio data using the same network. In contradiction to most computermusic ensembles, ICE forms a distributed networked computermusic ensemble, able to play parallel and time synchronous in several spaces. As an example the composition “All Under One Net” for ICE will be discussed and technical details, like the use of a audio message system, are explained.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850597
Zenodo URL: https://zenodo.org/record/850597
2014.112
ImmLib - a New Library for Immersive Spatial Composition
Negrão, Miguel Cerdeira Marreiros Sonic Arts Research Centre, Queen’s University Belfast; Belfast, United Kingdom
Abstract
ImmLib is a new software library for spatial composition with grid-based loudspeaker systems in the context of computer sound synthesis and audio processing which places emphasis on immersiveness and a global approach to space. It implements techniques for dealing with multiple decorrelated, but perceptually similar, sound streams spatialized at different locations in space with the aim of creating an expanded, broad or diffuse sound source with interesting musical spatial properties. The tool, implemented in SuperCollider, automates the process of creating decorrelated streams from a synthesis definition and provides mechanisms to create and control spatial patterns in a virtual surface by modulating synthesis parameters of the sound processes using different (but coherent) signals for each of the running instances. The main abstraction is the parameter field which defines ways to control the spatial patterns across space based on mathematical functions defined on a surface. We present here motivation for the library, the general algorithm and abstractions and a brief overview of the implementation, syntax and empirical evaluation.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850697
Zenodo URL: https://zenodo.org/record/850697
2014.113
Implementation and Evaluation of Real-time Interactive User Interface Design in Self-learning Singing Pitch Training Apps
Lin, Kin Wah Edward Singapore University of Technology and Design; Singapore, Singapore
Anderson, Hans Singapore University of Technology and Design; Singapore, Singapore
Hameem, M. Hamzeen M. Singapore University of Technology and Design; Singapore, Singapore
Lui, Simon Singapore University of Technology and Design; Singapore, Singapore
Abstract
We present a self-learning singing pitch training tool on the smart-phone to evaluate the efficacy of the real-time interaction mechanism for improving users’ intonation and timing, which are the most essential techniques in singing. It consists of (1) an intonation level classifier, (2) a scoring mechanism to help the users know how well they perform, and (3) an interactive pitch training mechanism. We stress the importance of our app’s practicality, such that it serves as a guideline for implementing and enhancing similar singing training apps. Experimental results show that the synthesized singing demonstration and the visual feedback design are helpful and natural to comprehend. Our performance evaluation method shows that the score of user intonation improved by an average of 94.81% after training with our tool.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850963
Zenodo URL: https://zenodo.org/record/850963
2014.114
Implementations of the Leap Motion in Sound Synthesis, Effects Modulation and Assistive Performance Tools
Hantrakul, Lamtharn Department of Music, Yale University; New Haven, United States
Kaczmarek, Konrad Department of Music, Yale University; New Haven, United States
Abstract
The Leap Motion opens new possibilities for mapping the various degrees of motion of the human hand with musical expression. The Leap Motion is a computer peripheral released in mid 2013 that uses IR cameras to track hand and finger location with unprecedented accuracy. In this paper, we explore implementations of the device in sound synthesis and effects control. The device is interfaced with Max/MSP to provide motion and finger-based control over multiple parameters in a software synthesizer. Next, we implement a 5-grain granular synthesizer where users trigger individual grains by depressing their fingers in mid-air. While triggering grains, users can simultaneously move their hands to dynamically modulate grain length and scrub the sample. The benefits and limitations are discussed in light of recent compositions and performances. The Leap Motion is also used to spatialize the synthesized sound produced from a 6-channel hemispherical speaker. Applications to music composition and music therapy are discussed.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850641
Zenodo URL: https://zenodo.org/record/850641
2014.115
Improving Accompanied Flamenco Singing Voice Transcription by Combining Vocal Detection and Predominant Melody Extraction
Kroher, Nadine Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
While recent approaches to automatic voice melody transcription of accompanied flamenco singing give promising results regarding pitch accuracy, mistakenly transcribed guitar sections represent a major limitation for the obtained overall precision. With the aim of reducing the amount of false positives in the voicing detection, we propose a fundamental frequency contour estimation method which extends the pitch-salience based predominant melody extraction [3] with a vocal detection classifier based on timbre and pitch contour characteristics. Pitch contour segments estimated by the predominant melody extraction algorithm containing a high percentage of frames classified as non-vocal are rejected. After estimating the tuning frequency, the remaining pitch contour is segmented into single note events in an iterative approach. The resulting symbolic representations are evaluated with respect to manually corrected transcriptions on a frame-by-frame level. For two small flamenco dataset covering a variety of singers and audio quality, we observe a significant reduction of the voicing false alarm rate and an improved voicing F-Measure as well as an increased overall transcription accuracy. We furthermore demonstrate the advantage of vocal detection model trained on genre-specific material. The presented case study is limited to the transcription of Flamenco singing, but the general framework can be extended to other styles with genre-specific instrumentation.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850765
Zenodo URL: https://zenodo.org/record/850765
2014.116
Influence of Expressive Coupling in Ensemble Performance on Musicians' Body Movement
Mota, Davi CEGeME - School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Loureiro, Maurício CEGeME - School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Laboissière, Rafael Psychology and Neurocognition Laboratory, Université Pierre-Mendès-France - Grenoble (UPMF); Grenoble, France
Abstract
This study aims at investigating if movements executed by musicians during musical performances are related to their expressive intentions. We tested the hypothesis by identifying information patterns on body movement data collected in performances of clarinet duos under different experimental conditions. First, we identified information patterns recurrent enough for the recognition of musicians who performed the excerpts. Then, we found evidence for a change in the “gestural signature” of the instrumentalist follower imposed by the leader, across the different performance conditions.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850599
Zenodo URL: https://zenodo.org/record/850599
2014.117
Infrared vs. Ultrasonic Finger Detection on a Virtual Piano Keyboard
De Pra, Yuri Department of Computer Science, Università di Verona; Verona, Italy
Fontana, Federico Department of Mathematics and Computer Science, Università di Udine; Udine, Italy
Tao, Linmi Department of Computer Science and Technology, Tsinghua University; Beijing, China
Abstract
An immaterial digital keyboard is presented, aiming at testing possibilities to substitute physical with augmented piano keys during the performance. The main effort has been made around the realization of an accurate meanwhile fast detection of the hands movement. To achieve this goal we have tested low-cost infrared as well as ultrasonic capture devices, whose current pros and cons are presented in either cases. Multimodal feedback has been realized by filming the hands’ action with the rear camera of a consumer’s tablet PC, and then projecting this action on its screen; furthermore this projection has been layered over the image of a piano keyboard reacting to the hands’ action. Especially in connection with a Leap Motion system in charge of doing the infrared-based detection, and other light hardware for the sonic and vibrotactile rendering of the feedback, the proposed prototype promises potential application as an inexpensive mobile music interface transforming a normal table in an augmented reality scenario, where a pianist can perform simple musical tasks by relying on reasonably accurate and realistic feedback even in absence of a hardware keyboard.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850643
Zenodo URL: https://zenodo.org/record/850643
2014.118
Instantaneous Detection and Classification of Impact Sound: Turning Simple Objects Into Powerful Musical Control Interfaces
Stefanakis, Nikolaos Institute of Computer Science, Foundation for Research and Technology - Hellas (FORTH); Heraklion, Greece
Mastorakis, Yannis Institute of Computer Science, Foundation for Research and Technology - Hellas (FORTH); Heraklion, Greece / Department of Computer Science, University of Crete; Heraklion, Greece
Mouchtari, Athanasios Institute of Computer Science, Foundation for Research and Technology - Hellas (FORTH); Heraklion, Greece / Department of Computer Science, University of Crete; Heraklion, Greece
Abstract
This paper demonstrates an approach for achieving instantaneous detection and classification of impact sounds that the user produces while interacting with simple daily objects. Using a single microphone, the system is trained to recognize the differences in the resonant behavior of a plastic bucket, a box made of paper and an empty bottle of beer, as these objects are struck at different locations. The method employs a first-nearest neighbour classifier which is based on simple spectral features extracted from a very short segment of the acoustic signal. Tests performed illustrate that classification rates above 90% may be achieved with a system response around 5 ms or even less. While still perfectible, the presented work illustrates the potential in creating a generic system which would enable the users to turn costless objects into powerful music controllers and percussive instruments into Hyper-instruments, by training the system to respond to their disposable instruments and audio equipment.
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not available
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unknown
DOI: 10.5281/zenodo.850806
Zenodo URL: https://zenodo.org/record/850806
2014.119
Intelligent Exploration of Sound Spaces Using Decision Trees and Evolutionary Approach
Kreković, Gordan Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Petrinović, Davor Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Abstract
This paper describes Synthbee, an assistive tool for sound design which enables musicians to achieve desired sounds without managing parameters of a sound synthesizer manually. The system allows musicians to specify desired sound characteristics using attributes and explore the space of producible sounds by controlling the interactive evolutionary algorithm extended to take into account specified attributes. Using the interactive evolutionary approach, musicians can recombine and mutate patches towards a satisfactory result. While performing recombination of patches, the algorithm tries to maintain values of synthesis parameters which are relevant for achieving desired sound characteristics. Synthbee thereby enables efficient creation of novel sounds which possess characteristics described by input attributes. The method for finding and maintaining relevant synthesis parameters during an interactive exploration is our original algorithm which uniquely combines machine learning techniques with evolutionary computing. The results of the initial subjective evaluation of Synthbee showed that the users were generally satisfied with generated sounds, but also indicated some opportunities for improvement.
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unknown
DOI: 10.5281/zenodo.850836
Zenodo URL: https://zenodo.org/record/850836
2014.120
Interactive Performance Systems: Conceptual Interacting Strategies in Forming Electroacoustic Sound Identities
Kalodiki, Georgia Goldsmiths, University of London; London, United Kingdom
Abstract
This paper is a research study, concerning an effort to investigate the specific steps during the process of forming electroacoustic sound identities through the performer’s interaction with degrees of noisy spectrums through the use of philosophical concepts like fragmentation and abstraction. Before starting, I think is useful to clarify some aspects of the main concepts that I am willing to approach in order to create some useful tools for our discussion.When experiencing music for instrumental live and electronics with signal processing, I have the feeling that the actual part, that means the act of instrumental performing is there to ‘justify’, to remind us in a way the existence of the human element with sonic hints of virtuosic, idiomatic gestural patterns, like flute trills or pompous percussive action, showing rather a guilt attitude towards the presence and involvement of electronic means to the creative process.
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unknown
DOI: 10.5281/zenodo.850535
Zenodo URL: https://zenodo.org/record/850535
2014.121
Interval Scale as Group Generators
Tanaka, Tsubasa Tokyo University of the Arts; Tokyo, Japan
Furukawa, Kiyoshi Tokyo University of the Arts; Tokyo, Japan
Abstract
The purpose of this paper is to propose “interval scale,” a new concept defined as a set of ordered pitch-class intervals. Unlike an ordinary scale, this concept restricts usable intervals and doesn’t restrict pitch classes directly. This provides possibilities that interval scales can be used in atonal music that uses all pitch classes and can be used to express some differences in a similar way to ordinary scales, depending on the selection of the elements. In this paper, we first present two existing musical pieces that can be interpreted as being based on interval scales, and see the possible effectiveness of this concept to express some senses of tonality. Next, we show that an interval scale is a generating set of a mathematical group and prove the necessary and sufficient condition for an interval scale to generate all pitch classes as a condition of atonality. Furthermore, the relationship between tone row and interval scale is examined, and the necessary and sufficient condition for an interval scale to be preserved by several tonerow transformations is proved. These results will provide a basic understanding and some criteria of selecting interval scales for composers who create music based on this concept.
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unknown
DOI: 10.5281/zenodo.850767
Zenodo URL: https://zenodo.org/record/850767
2014.122
Introducing the Zirkonium MK2 System for Spatial Composition
Wagner, David Institute for Music and Acoustics, Zentrum für Kunst und Medien (ZKM); Karlsruhe, Germany
Brümmer, Ludger Institute for Music and Acoustics, Zentrum für Kunst und Medien (ZKM); Karlsruhe, Germany
Dipper, Götz Institute for Music and Acoustics, Zentrum für Kunst und Medien (ZKM); Karlsruhe, Germany
Otto, Jochen Arne Institute for Music and Acoustics, Zentrum für Kunst und Medien (ZKM); Karlsruhe, Germany
Abstract
The Institute for Music and Acoustics is a production and research facility of the ZKM | Center for Art and Media Karlsruhe. It is well known for the ”Klangdom”, a multi-loudspeaker facility for spatial sound diffusion with the aim to provide artists and composers with new possibilities. In this paper we present the overall revised and extended software solution for controlling the Klangdom, the Zirkonium MK2. Its origins in the previous version are briefly outlined and the advances are thoroughly described. Due to a very flexible client-server architecture, a hybrid spatial rendering engine and a very gestural trajectory editor it is already a useful toolkit for the institute’s guest composers.
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unknown
DOI: 10.5281/zenodo.850699
Zenodo URL: https://zenodo.org/record/850699
2014.123
i-score, an Interactive Sequencer for the Intermedia Arts
Baltazar, Pascal L’Arboretum, Independent; France
de la Hogue, Théo Centre National de Creation Musicale (GMEA); Albi, France
Desainte-Catherine, Myriam Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Abstract
The i-score intermedia sequencer allows to design complex interactive scenarios by coordinating heterogeneous and distributed media systems. Based on software frameworks issued by several long-term research iniatives, this application does not produce any media of its own, but rather controls other environments parameters, by creating snapshots and automations, and organizing them in time in a multi-linear way. In this article, we describe the main features of the software, in order to guide the workshop participants towards actual creation of interactive scenarios by controlling their favorite software environment.
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not available
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unknown
DOI: 10.5281/zenodo.851005
Zenodo URL: https://zenodo.org/record/851005
2014.124
Kara: A BCI Approach to Composition
Cádiz, Rodrigo F. Center for Research in Audio Technologies, Music Institute, Pontificia Universidad Católica de Chile; Santiago, Chile
de la Cuadra, Patricio Center for Research in Audio Technologies, Music Institute, Pontificia Universidad Católica de Chile; Santiago, Chile
Abstract
Kara is a greek word that could be translated as head. In the Kara series of pieces, the musicians wear braincomputer interfaces (BCI) in order to capture their EEG waves while performing. The information from these waves is sent to a computer, where it is processed in order to generate a real-time score, computer generated sounds and a visual display of the data. A closed-loop is formed between the musicians mental activity and the music they generate. As they perform the real-time score generated by their EEG waves, more mental activity is generated, which in turn generates the next portion of the score, and so on. This loop continues for the whole piece, although the score generation algorithms vary along different sections of the musical discourse. This article is presented for the piece+paper modality.
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unknown
DOI: 10.5281/zenodo.850547
Zenodo URL: https://zenodo.org/record/850547
2014.125
Kuatro: A Motion-based Framework for Interactive Music Installations
Johnson, David Departments of Computer Science and Music, College of Charleston; Charleston, United States
Manaris, Bill Departments of Computer Science and Music, College of Charleston; Charleston, United States
Vassilandonakis, Yiorgos Departments of Computer Science and Music, College of Charleston; Charleston, United States
Stoudenmier, Seth Departments of Computer Science and Music, College of Charleston; Charleston, United States
Abstract
Kuatro is a development framework for motion-based interactive virtual environments. Using a Model-ViewController (MVC) architecture and the Open Sound Control (OSC) protocol, the Kuatro offers composers, artists, and interaction designers an environment that makes it easy to develop installations utilizing motion sensors, such as the Kinect, Asus Xtion, Leap Motion, and smartphones. The framework allows tracking multiple users to help designers create collaborative (or competitive) interactive experiences. The main components of the framework are described, as well as the messaging protocol. Through OSC messaging, developers and artists are able to create any number visual and audio interfaces as well as add any number of motion sensors to the environment. The Kuatro framework is conceived as an extension of the jythonMusic audio-visual programming environment. Herein we present the Kuatro framework in the context of the interactive multimedia art installation, Time Jitters. We also discuss a follow-up music composition project, called Pythagorean Tetraktys.
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unknown
DOI: 10.5281/zenodo.850549
Zenodo URL: https://zenodo.org/record/850549
2014.126
Laminae: A Stochastic Modeling-based Autonomous Performance Rendering System That Elucidates Performer Characteristics
Okumura, Kenta Nagoya Institute of Technology; Nagoya, Japan
Sako, Shinji Nagoya Institute of Technology; Nagoya, Japan
Kitamura, Tadashi Nagoya Institute of Technology; Nagoya, Japan
Abstract
This paper proposes a system for performance rendering of keyboard instruments. The goal is fully autonomous rendition of a performance with musical smoothness without losing any of the characteristics of the actual performer. The system is based on a method that systematizes combinations of constraints and thereby elucidates the rendering process of the performer’s performance by defining stochastic models that associate artistic deviations observed in a performance with the contextual information notated in its musical score. The proposed system can be used to search for a sequence of optimum cases from the combination of all existing cases of the existing performance observed to render an unseen performance efficiently. Evaluations conducted indicate that musical features expected in existing performances are transcribed appropriately in the performances rendered by the system. The evaluations also demonstrate that the system is able to render performances with natural expressions stably, even for compositions with unconventional styles. Consequently, performances rendered via the proposed system have won first prize in the autonomous section of a performance rendering contest for computer systems.
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unknown
DOI: 10.5281/zenodo.850838
Zenodo URL: https://zenodo.org/record/850838
2014.127
Landmark Detection in Hindustani Music Melodies
Gulati, Sankalp Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Serrà, Joan Artificial Intelligence Research Institute (IIIA-CSIC); Barcelona, Spain
Ganguli, Kaustuv Kanti DAP Lab, Indian Institute of Technology Bombay (IITB); Mumbai, India
Serra, Xavier Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Musical melodies contain hierarchically organized events, where some events are more salient than others, acting as melodic landmarks. In Hindustani music melodies, an important landmark is the occurrence of a nyās. Occurrence of nyās is crucial to build and sustain the format of a rāg and mark the boundaries of melodic motifs. Detection of nyās segments is relevant to tasks such as melody segmentation, motif discovery and rāg recognition. However, detection of nyās segments is challenging as these segments do not follow explicit set of rules in terms of segment length, contour characteristics, and melodic context. In this paper we propose a method for the automatic detection of nyās segments in Hindustani music melodies. It consists of two main steps: a segmentation step that incorporates domain knowledge in order to facilitate the placement of nyās boundaries, and a segment classification step that is based on a series of musically motivated pitch contour features. The proposed method obtains significant accuracies for a heterogeneous data set of 20 audio music recordings containing 1257 nyās svar occurrences and total duration of 1.5 hours. Further, we show that the proposed segmentation strategy significantly improves over a classical piece-wise linear segmentation approach.
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unknown
DOI: 10.5281/zenodo.850769
Zenodo URL: https://zenodo.org/record/850769
2014.128
LC: A New Computer Music Programming Language With Three Core Features
Nishino, Hiroki NUS Graduate School for Integrative Sciences & Engineering, National University of Singapore; Singapore, Singapore
Osaka, Naotoshi Department of Information Systems & Multimedia Design, Tokyo Denki University; Tokyo, Japan
Nakatsu, Ryohei Interactive and Digital Media Institute, National University of Singapore; Singapore, Singapore
Abstract
This paper gives a brief overview of the three core features of LC, a new computer music programming language we prototyped: (1) prototype-based programming at both levels of compositional algorithms and sound synthesis, (2) the mostly-strongly-timed programming concept and other features with respect to time, and (3) the integration of objects and functions that can directly represent microsounds and the related manipulations for microsound synthesis. As these features correspond to issues in computer music language design raised by recent creative practices, such a language design can benefit both the research on computer music language design and the creative practices of our time, as a design exemplar.
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unknown
DOI: 10.5281/zenodo.850923
Zenodo URL: https://zenodo.org/record/850923
2014.129
Leap Motion as Expressive Gestural Interface
Ritter, Martin The University of British Columbia (UBC); Vancouver, Canada
Aska, Alyssa University of Calgary; Calgary, Canada
Abstract
Motion-capture is a popular tool used in musically expressive performance systems. Several motion-tracking systems have been used in laptop orchestras, alongside acoustic instruments, and for other musically related purposes such as score following. Some examples of such systems include camera tracking, Kinect for Xbox, and computer vision algorithms. However, these systems lack the ability to track at high resolutions and primarily track larger body motions. The Leap Motion, released in 2013, allows for high resolution tracking of very fine and specific finger and hand gestures, thus presenting an alternative option for composers, performers, and programmers seeking tracking of finer, more specialized movements. Current third party externals for the device are noncustomizable; MRLeap is an external, programmed by one of the authors of this paper, that allows for diverse and customizable interfacing between the Leap Motion and Max/MSP, enabling a user of the software to select and apply data streams to any musical, visual, or other parameters. This customization, coupled with the specific type of motion-tracking capabilities of the Leap, make the object an ideal environment for designers of gestural controllers or performance systems.
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unknown
DOI: 10.5281/zenodo.850645
Zenodo URL: https://zenodo.org/record/850645
2014.130
Learning Musical Contour on a Tabletop
Franceschini, Andrea The Open University; Milton Keynes, United Kingdom
Laney, Robin Charles The Open University; Milton Keynes, United Kingdom
Dobbyn, Chris The Open University; Milton Keynes, United Kingdom
Abstract
Many successful tabletop applications for music making have been developed, and the technology has been investigated from different perspectives. Yet, to date, despite optimistic claims regarding their potential as learning tools, their role in helping people to explore, acquire, and reason about musical concepts has been sparsely researched. We have developed an exploratory study around a simple tabletop application that allows people to make music using a visual representation of melodic contour. Our aim is to understand whether and how such system might help people to reason about music in terms of contour while at the same time affording an enjoyable music making experience to musically untrained people. Our findings suggest that the system has potential as a learning tool, especially for beginners, but tutoring is still necessary to acquire, use, and express concepts precisely.
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unknown
DOI: 10.5281/zenodo.850983
Zenodo URL: https://zenodo.org/record/850983
2014.131
Listening Otherwise: Playing With Sound Vibration
Criton, Pascale Lutheries - Acoustique - Musique (LAM), Institut Jean Le Rond d'Alembert; Paris, France
Abstract
What does « listening otherwise » mean without ears? How to access and put into practice the vibratory domain, for persons who are either handicapped or not? The devices for “listening through touch” transmit sound signals via materials thanks to a custom-designed computer program and adapted interfaces. Henceforth, one can hear sounds through the body. Listening by touch modifies sound and space representations and thus questions perceptual standards of sound signals transmission by air. How to put the practical and technical conditions which favours a sensorial elaboration and provides access to creative practices accessible to all sensory dis/abilities? I will present several aspects of an artistic and pedagogic project which has been realized at the National Institute of Deaf Youth (in Paris).
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unknown
DOI: 10.5281/zenodo.851001
Zenodo URL: https://zenodo.org/record/851001
2014.132
Little Drummer Bot: Building, Testing, and Interfacing With a New Expressive Mechatronic Drum System
Murphy, Jim NZSM, School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Carnegie, Dale A. School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Kapur, Ajay NZSM, MTIID, School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Abstract
While a large number of mechatronic and robotic musical instruments feature actuated drum strikers, the majority of these percussion instruments are mechanically and electronically quite simple. This article presents Nudge, a new mechatronic drum beater with more degrees of freedom than is typical of most robotic percussion instruments. Nudge can rotate to a variety of positions above one or more percussive objects with the use of a closed-loop servomotor. Additionally, the height from which the drumstick hits the drum can be adjusted on the fly. Though designed to be inexpensive and easy to build, Nudge is intended to afford composers, installation artists, and other users more compositional flexibility than with many previous mechatronic drum systems. A systems overview, evaluation, and discussion of usage applications are presented along with a short history of related work in robotic percussion systems.
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unknown
DOI: 10.5281/zenodo.850647
Zenodo URL: https://zenodo.org/record/850647
2014.133
Lose Control, Gain Influence - Concepts for Metacontrol
de Campo, Alberto Berlin University of the Arts (UdK); Berlin, Germany
Abstract
The ideas explored here are based on questioning some common assumptions in the usual conceptual models of hybrid (NIME-style) instrument design, and thinking and playing through the implications of these alternate strategies in theory and implementation. They include: varying the mappings between controller input and changing them on the fly in performance, e.g. by gradually entangling or disentangling process parameters; recording instrument parameter state presets and control data (gesture) loops, and reusing them as flexible performance material; and creating networks of cross-influence between gestural input from multiple human players, other gestural sources, and multiple sound generating processes, which can be modified as part of the performance. In effect, this can be described as ’Lose Control, Gain Influence’ (LCGI): gracefully relinquishing full control of the processes involved, in order to gain higher-order forms influence on their behavior. These heuristics may lead both to finding non-obvious but interesting mapping strategies which can be built into more traditionally well-controlled instruments, and to new concepts for playing single-person instruments or multiplayer instrument ensembles based on networks of influence. Many of these ideas can be played with using software libraries written in SuperCollider.
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unknown
DOI: 10.5281/zenodo.850507
Zenodo URL: https://zenodo.org/record/850507
2014.134
Loudness Normalization: Paradigm Shift or Placebo for the Use of Hyper-Compression in Pop Music?
Ronan, Malachy University of Limerick; Limerick, Ireland
Sazdov, Robert University of Limerick; Limerick, Ireland
Ward, Nicholas University of Limerick; Limerick, Ireland
Abstract
Loudness normalisation has been heralded as a tonic for the loudness wars. In this paper we propose that a side effect of its implementation may be a greater awareness of sound quality. This side effect is explored through an analysis of the manner in which music is listened to under this new paradigm. It is concluded that the conditions necessary for sound quality judgments have been provided but that the existing preference for hypercompression may affect the de-escalation of its use in the pop music industry. The aesthetic concerns of hypercompression are examined in order to determine the sonic trade-offs or perceived benefits inherent in the application of hyper-compression. Factors considered include: (i) loss of excitement or emotion, (ii) audition bias in listening environments, (iii) hyper-compression as an aesthetic preference, (iv) the increased cognitive load of hyper-compression, and (v) the ability of loudness variation to define musical structures. The findings suggest that while loudness normalisation may help de-escalate the loudness wars, listener preference for hyper-compressed music may be more complex than simply a competitive advantage relating to loudness bias.
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unknown
DOI: 10.5281/zenodo.850727
Zenodo URL: https://zenodo.org/record/850727
2014.135
Machine Improvisation With Formal Specifications
Donzé, Alexandre EECS Department, University of California, Berkeley; Berkeley, United States
Valle, Rafael EECS Department, University of California, Berkeley; Berkeley, United States / Music Department and CNMAT, University of California, Berkeley; Berkeley, United States
Akkaya, Ilge EECS Department, University of California, Berkeley; Berkeley, United States
Libkind, Sophie Swarthmore College; Swarthmore, United States
Seshia, Sanjit A. EECS Department, University of California, Berkeley; Berkeley, United States
Wessel, David EECS Department, University of California, Berkeley; Berkeley, United States / Music Department and CNMAT, University of California, Berkeley; Berkeley, United States
Abstract
We define the problem of machine improvisation of music with formal specifications. In this problem, one seeks to create a random improvisation of a given reference melody that however satisfies a “specification” encoding constraints that the generated melody must satisfy. We consider the scenario of generating a monophonic Jazz melody (solo) on a given song harmonization. The music is encoded symbolically, with the improviser generating a sequence of note symbols comprising pairs of pitches (frequencies) and discrete durations. Our approach can be decomposed roughly into two phases: a generalization phase, that learns from a training sequence (e.g., obtained from a human) an automaton generating similar sequences, and a supervision phase that enforces a specification on the generated sequence, imposing constraints on the music in both the pitch and rhythmic domains. The supervision uses a measure adapted from Normalized Compression Distances (NCD) to estimate the divergence between generated melodies and the training melody and employs strategies to bound this divergence. An empirical evaluation is presented on a sample set of Jazz music.
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unknown
DOI: 10.5281/zenodo.850840
Zenodo URL: https://zenodo.org/record/850840
2014.136
Making People Move: Dynamic Musical Notations
Hoadley, Richard Anglia Ruskin University; Cambridge, United Kingdom
Abstract
In Treatise Handbook, Cornelius Cardew noted that “[musical] notation is a way of making people move” [1]. This paper describes and demonstrates new methods for the dynamic generation and display of augmented musical notation. The Fluxus Tree and Quantum Canticorum are the most recent in a sequence of musical compositions by the author in which dance and music interact using body-tracking technologies and bespoke sensing devices. Movement is converted into data which trigger and modulate expressive algorithms. Uniquely, these generate in real-time audio material as well as detailed common practice music notation to be performed live. Other techniques allow for the conversion from (and potentially to) graphic images and text. This paper demonstrates the techniques behind these inventions and explains how such techniques may be used to enhance the musical experience of performers and audiences. Quantum Canticorum is based on a sequence originally commissioned for Quantum 2 , an Arts Council UK funded project led by Jane Turner of the Turning Worlds dance company.
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unknown
DOI: 10.5281/zenodo.850999
Zenodo URL: https://zenodo.org/record/850999
2014.137
Mapping Motion to Timbre: Orientation, FM Synthesis and Spectral Filtering
Neuman, Israel Department of Computer Science, The University of Iowa; Iowa City, United States
Okpala, Charles Department of Computer Science, The University of Iowa; Iowa City, United States
Bonezzi, Cesar Department of Computer Science, The University of Iowa; Iowa City, United States
Abstract
Motion is a time-based event situated in threedimensional space. In the performance of most musical instruments, the musician associates physical motion with audible results. In some instruments, physical motion is used to change the timbre of the instrument. Digital techniques of analysis and re-synthesis have paved the way for the understanding of timbre as a distribution of energy among spectral frequencies in a three-dimensional space bounded by axes representing time, frequency and amplitude. In this paper, we present a musical performance system that explores the correlation between motion and sound, more specifically, timbre. A mobile device and its motion sensors function as a control element in the performance system that creates new timbres in real time.
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unknown
DOI: 10.5281/zenodo.850649
Zenodo URL: https://zenodo.org/record/850649
2014.138
Mathews' Diagram and Euclid's Line - Fifty Years Ago
Chowning, John CCRMA, Stanford University; Stanford, United States
Abstract
Making the science and technology of computer music comprehensible to musicians and composers who had little or no background therein was a part of Max Mathews’ genius. In this presentation I will show how a simple diagram led to the essential understanding of Claude Shannon’s sampling theorem, which in turn opened up a conceptual path to composing music for loudspeakers that had nothing to do with wires, cables and electronic devices, but led to learning how to program a computer—to write code. The change from device-determined output (analog) to program-determined output (digital) was a major change in paradigm that led to my realization of an integral sound spatialization system that would have been impossible for me to achieve in any other medium. Along the way, the discovery of FM Synthesis provided not only a means of creating diverse spectra but coupled with a ratio from Euclid’s Elements produced an unusual and productive connection between spectral space and pitch space and a path that leads ...?
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unknown
DOI: 10.5281/zenodo.850443
Zenodo URL: https://zenodo.org/record/850443
2014.139
Mechatronic Keyboard Music: Design, Evaluation, and Use of a New Mechatronic Harmonium
Murphy, Jim NZSM, School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Kapur, Ajay NZSM, School of Engineering and Computer Science, Victoria University of Wellington, CalArts; Wellington, New Zealand
Carnegie, Dale A. School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Abstract
This paper describes the design, building, evaluation, and use of Kritaanjli, a new mechatronic harmonium. The harmonium, an instrument popular in Indian folk and devotional music, is augmented herein in a manner that does not permanently affect the instrument. Capable of playing 44 simultaneous notes and variable-intensity bellows pumping events, Kritaanjli is able to play harmonicallyand dynamically-complicated compositions. This paper presents Kritaanjli from a systems perspective, providing an overview of the design challenges faced in the implementation of each of the instrument’s subsystems, as well as the means by which the subsystems are interfaced with one another and with a composer. Implementation detail is provided, as well as a presentation of the systems’ performance characteristics.
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unknown
DOI: 10.5281/zenodo.850651
Zenodo URL: https://zenodo.org/record/850651
2014.140
Merged-output Hidden Markov Model for Score Following of MIDI Performance With Ornaments, Desynchronized Voices, Repeats and Skips
Nakamura, Eita National Institute of Informatics; Tokyo, Japan
Saito, Yasuyuki Kisarazu National College of Technology; Chiba, Japan
Ono, Nobutaka National Institute of Informatics; Tokyo, Japan
Sagayama, Shigeki Meiji University; Tokyo, Japan
Abstract
A score-following algorithm for polyphonic MIDI performances is presented that can handle performance mistakes, ornaments, desynchronized voices, arbitrary repeats and skips. The algorithm is derived from a stochastic performance model based on hidden Markov model (HMM), and we review the recent development of model construction. In this paper, the model is further extended to capture the multi-voice structure, which is necessary to handle note reorderings by desynchronized voices and widely stretched ornaments in polyphony. For this, we propose mergedoutput HMM, which describes performed notes as merged outputs from multiple HMMs, each corresponding to a voice part. It is confirmed that the model yields a score-following algorithm which is effective under frequent note reorderings across voices and complicated ornaments.
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unknown
DOI: 10.5281/zenodo.850810
Zenodo URL: https://zenodo.org/record/850810
2014.141
Method to Detect GTTM Local Grouping Boundaries Based on Clustering and Statistical Learning
Kanamori, Kouhei University of Tsukuba; Tsukuba, Japan
Hamanaka, Masatoshi Kyoto University; Kyoto, Japan
Hoshino, Junichi University of Tsukuba; Tsukuba, Japan
Abstract
In this paper, we describe σGTTMII, a method that detects local grouping boundaries of the generative theory of tonal music (GTTM) based on clustering and statistical learning. It is difficult to implement GTTM on a computer because rules of GTTM often conflict with each other and cannot detect music structure as same manner. Previous methods have successfully implemented GTTM on a computer by introducing adjustable parameters or acquiring the priority of the rules by statistical learning. However, the values of the parameters and the priority of the rules are different depending on a piece of music. Considering these problems, we focused on the priority of the rules and we hypothesized that there are some tendency of rules which have more strong influence than other rules by the case of music. To ensure this hypothesis, we tried to classify each piece of music and tried to find the tendency of rules. Through the experiment, we found some tendency of rules and then we acquired some detectors which can analyze each piece of music more appropriately by reiterating clustering music and statistical learning.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850814
Zenodo URL: https://zenodo.org/record/850814
2014.142
miniAudicle for iPad: Touchscreen-based Music Software Programming
Salazar, Spencer Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Wang, Ge Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
We present a new software application for ChucK programming and performance on mobile touchscreen devices, miniAudicle for iPad. This application seeks to accommodate keyboard-based music software development as well as explore new music programming possibilities enabled by touch interfaces. To this end, it provides a textual code Editor mode optimized for touchscreen typing, a live-codingoriented Player mode, and collaborative network performance via a Connect mode. The combination of these features provides a foundation for the exploration of musical programming on mobile touchscreen devices.
Keywords
not available
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unknown
DOI: 10.5281/zenodo.850653
Zenodo URL: https://zenodo.org/record/850653
2014.143
ML.* Machine Learning Library as a Musical Partner in the Computer-acoustic Composition Flight
Smith, Benjamin Day Indiana University Bloomington; Bloomington, United States
Deal, W. Scott Department of Music and Arts Technology, Purdue University Indianapolis; Indianapolis, United States
Abstract
This paper presents an application and extension of the ml.* library, implementing machine learning (ML) models to facilitate “creative” interactions between musician and machine. The objective behind the work is to effectuate a musical “virtual partner” capable of creation in a range of musical scenarios that encompass composition, improvisation, studio, and live concert performance. An overview of the piece, Flights, used to test the musical range of the application is given, followed by a description of the development rationale for the project. Its contribution to the aesthetic quality of the human musical process is discussed.
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unknown
DOI: 10.5281/zenodo.850842
Zenodo URL: https://zenodo.org/record/850842
2014.144
Mobile Instruments Made Easy: Creating Musical Mobile Apps With LIBPD and iOS, No Experience Necessary
Holmes, Danny Center for Computation and Technology, Louisiana State University (LSU); Baton Rouge, United States
Abstract
The quirks of programming native iOS applications can be daunting, especially to someone not already familiar with other text based programming languages. Fortunately, recent developments in Apple’s Xcode IDE, along with the open-source Pure Data wrapper, LIBPD, enable the process of creating an iOS native, standalone, musical mobile app to be quite accessible. Basic implementation of LIBPD for iOS can be reduced to a series of 10 simple and accessible steps requiring no actual knowledge of objective-c or the LIBPD library itself, and requires no previous coding experience, text-based or otherwise. In addition, the dragand-drop feature of Xcode’s Storyboards allows the design and programming of a native user interface to also be reduced to simple and accessible step-by-step instructions. This is not just limited to buttons and sliders, but also includes the drag-and-drop creation of typical touch screen gestures. Presently, this process will be outlined and explained, and its current and potential uses described.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850993
Zenodo URL: https://zenodo.org/record/850993
2014.145
Mobile Phones as Ubiquitous Instruments: Towards Standardizing Performance Data on the Network
Bowen, Nathan Moorpark College; Moorpark, United States
Reeder, David Mobile Sound; New York, United States
Abstract
We propose a category of mobile phone musical instrument called ‘ubiquitous instrument’. We present a conceptual framework that identifies ubiquitous instruments as a cultural site for popular and professional performance practice. Elements of this framework depend upon community involvement to standardize instrument profiles and inter-instrument communication shared across the network. We suggest OSC as the foundation for this network standard and propose definitions for the range and use of ‘musical objects’. We present 4Quarters, a collaborative music performance system driven by mobile phones, which approximates the ideal of ubiquitous instruments and demonstrates the use of musical objects.
Keywords
not available
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not available
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unknown
DOI: 10.5281/zenodo.850601
Zenodo URL: https://zenodo.org/record/850601
2014.146
Modality
Baalman, Marije nescivi, STEIM; Amsterdam, Netherlands
Bovermann, Till Berlin University of the Arts (UdK); Berlin, Germany
de Campo, Alberto Berlin University of the Arts (UdK); Berlin, Germany
Negrão, Miguel Cerdeira Marreiros Sonic Arts Research Centre, Queen's University Belfast; Belfast, United Kingdom
Abstract
The Modality Project explores the idea of highly modal performance instruments i.e., setups where a small set of controllers can be used to play a wide variety of sound processes by changing control constellations on the fly. The Modality Toolkit is a SuperCollider library which simplifies the creation of such instruments. To this end, a common code interface, MKtl, is used to connect controllers from various sources and protocols. Currently, HID and MIDI are supported; GUI-based interfaces can be created on the fly from interface descriptions. Detailed use cases demonstrate the concepts of working with modality practically in code. This paper gives an overview on the concept of modality as seen by a group of sound artists and researchers, and describes one interdisciplinary approach to creating a toolkit written for and by electronic musicians.
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unknown
DOI: 10.5281/zenodo.850771
Zenodo URL: https://zenodo.org/record/850771
2014.147
Modelling the Live-electronics in Electroacoustic Music Using Particle Systems
Perrotta, André V. CITAR, School of Arts, Catholic University of Portugal; Porto, Portugal
Menezes, Flo Studio PANaroma, São Paulo State University (UNESP); São Paulo, Brazil
Martins, Luis Gustavo CITAR, School of Arts, Catholic University of Portugal; Porto, Portugal
Abstract
Developing the live-electronics for a contemporary electroacoustic piece is a complex process that normally involves the transfer of artistic and aesthetic concepts between the composer and the musical assistant. Translating in technical terms the musical, artistic and aesthetic concepts by means of algorithms and mathematical parameters is seldom an easy and straightforward task. The use of a particle system to describe the dynamics and characteristics of compositional parameters can reveal an effective way for achieving a significant relationship between compositional aspects and their technical implementation. This paper describes a method for creating and modelling a particle system based on compositional parameters and how to map those parameters into digital audio processes. An implementation of this method is described, as well as the use of such a method for the development of the work O Farfalhar das Folhas (The rustling of leaves) (2010), for one flutist, one clarinetist, violin, violoncello, piano and live-electronics, by Flo Menezes.
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unknown
DOI: 10.5281/zenodo.850551
Zenodo URL: https://zenodo.org/record/850551
2014.148
Model-view-controller Separation in Max Using Jamoma
Lossius, Trond Bergen Center for Electronic Arts (BEK); Bergen, Norway
de la Hogue, Théo Centre National de Creation Musicale (GMEA); Albi, France
Baltazar, Pascal L’Arboretum, Independent; France
Place, Timothy 74objects LLC; Kansas City, United States
Wolek, Nathan Stetson University; DeLand, United States
Rabin, Julien Centre National de Creation Musicale (GMEA); Albi, France
Abstract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, as well as views that can be dynamically loaded, bound to a model, and then disposed. Jamoma 0.6 enables MVC separation in Cycling’74 Max through custom externals and patching guidelines for developers. Models and views can then be nested for a hierarchal structuring of services. A local preset system is available in all models, along with namespace and services that can be inspected and queried application-wide. This system can be used to manage cues with modular, stringent and transparent handling of priorities. It can also be expanded for inter-application exchange, enabling the distribution of models and views over a network using OSC and Minuit. While this paper demonstrates key principles via simple patchers, a more elaborate demonstration of MVC separation in Max is provided in [1].
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unknown
DOI: 10.5281/zenodo.850925
Zenodo URL: https://zenodo.org/record/850925
2014.149
Modes of Sonic Interaction in Circus: Three Proofs of Concept
Elblaus, Ludvig KTH Royal Institute of Technology; Stockholm, Sweden
Goina, Maurizio KTH Royal Institute of Technology; Stockholm, Sweden
Robitaille, Marie-Andrée Stockholm University of the Arts; Stockholm, Sweden
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
The art of circus is a vibrant and competitive culture that embraces new tools and technology. In this paper, a series of exploratory design processes resulting in proofs of concepts are presented, showing strategies for effective use of three different modes of sonic interaction in contemporary circus. Each design process is based on participatory studio work, involving professional circus artists. All of the proofs of concepts have been evaluated, both with studio studies and public circus performances, taking the work beyond theoretical laboratory projects and properly engaging the practice and culture of contemporary circus. The first exploration uses a contortionist’s extreme bodily manipulation as inspiration for sonic manipulations in an accompanying piece of music. The second exploration uses electric amplification of acoustic sounds as a transformative enhancement of existing elements of circus performance. Finally, a sensor based system of real-time sonification of body gestures is explored and ideas from the sonification of dance are translated into the realm of circus.
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unknown
DOI: 10.5281/zenodo.850965
Zenodo URL: https://zenodo.org/record/850965
2014.150
Modular Physical Modeling Synthesis Environments on GPU
Bilbao, Stefan Acoustics and Audio Group, The University of Edinburgh; Edinburgh, United Kingdom
Torin, Alberto Acoustics and Audio Group, The University of Edinburgh; Edinburgh, United Kingdom
Graham, Paul Edinburgh Parallel Computing Centre, The University of Edinburgh; Edinburgh, United Kingdom
Perry, James Edinburgh Parallel Computing Centre, The University of Edinburgh; Edinburgh, United Kingdom
Delap, Gordon Department of Music, National University of Ireland Maynooth; Maynooth, Ireland
Abstract
Physical modeling synthesis is a powerful means of access to a wide variety of synthetic sounds of an acoustic character—one longstanding design principle underlying such methods has been, and continues to be modularity, or the decomposition of a complex instrument into simpler building blocks. In this paper, various modular physical modeling design environments, based on the use of time stepping methods such as finite difference time domain methods are described, with an emphasis on the underlying computational behaviour of such methods, both in the run-time loop and in precomputation. As such methods are computationally intensive, additional emphasis is placed on issues surrounding parallelisation, and implementation in highly parallel hardware such as graphics processing units. This paper is paired with a recently completed multichannel piece, and the composer’s perspective on working with such environments is also addressed.
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unknown
DOI: 10.5281/zenodo.850874
Zenodo URL: https://zenodo.org/record/850874
2014.151
Modulus p Rhythmic Tiling Canons and Some Implementations in OpenMusic Visual Programming Language
Caure, Hélianthe Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Agon, Carlos Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Andreatta, Moreno Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
The concept of rhythmic canons, as it has been introduced by mathematician Dan Vuza in the 1990s, is the art of filling the time axis with some finite rhythmic patterns and their translations, without onsets superposition. The musical notion have been linked with some mathematical results, and since then, its mathematical study has always followed a will of picturing every new results in the visual programming language OpenMusic, which enables mathematicians and composers to work together. In this paper we present some new results in an enriched version of rhythmic tiling canons, where some controlled superposition are allowed. This enhanced version of rhythmic tiling canons is presented at the beginning of this article, as well as main constructive results, because it is fairly recent. Then the paper focuses on the presentation of some generative transformations, building canons with the same superposition. The latter is at the heart of the study of canons allowing superposition, because they are the key of linking them back to seminal canons. In order to help composers experiment with these new canons, every constructive method has been implemented in OpenMusic as part of the MathTools environment.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850773
Zenodo URL: https://zenodo.org/record/850773
2014.152
Mostly-Strongly-Timed Programming in LC
Nishino, Hiroki NUS Graduate School for Integrative Sciences & Engineering, National University of Singapore; Singapore, Singapore
Nakatsu, Ryohei Interactive and Digital Media Institute, National University of Singapore; Singapore, Singapore
Abstract
Due to its synchronous behaviour, a strongly-timed program can suffer from the temporary suspension of realtime DSP in the presence of a time-consuming task. In this paper, we propose mostly-strongly-timed programming, which extends strongly-timed programming with the explicit switch between synchronous context and asynchronous context. If a thread is in asynchronous context, the underlying scheduler is allowed to preempt it without the explicit advance of logical time. Timeconsuming tasks can be executed asynchronously, without causing the temporary suspension of real-time DSP. We also discuss how the concept is integrated in LC, a new computer music programming language we prototyped, together with the discussion on implementation issues.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850927
Zenodo URL: https://zenodo.org/record/850927
2014.153
Movable Party: A Bicycle-powered System for Interactive Musical Performance
Kemper, Steven Mason Gross School of the Arts, Department of Music, Rutgers, The State University of New Jersey; New Brunswick, United States
Hsu, Wendy F. Umi City of Los Angeles Department of Cultural Affairs, ACLS Public Fellow; Los Angeles, United States
Sargent, Carey Scholarship Technology, Occidental College; Los Angeles, United States
Taylor, Josef Independent research, Independent; United States
Wei, Linda Independent research, Independent; United States
Abstract
Movable Party is a mobile, real-time interactive music system where audience-participants pedal stationary bicycles to generate power and perform interactive music. Inspired by nakashi Taiwanese street performance culture, Movable Party creates a bustling public and streetside vibrancy in the decentralized metropolis of Los Angeles. The system consists of three stationary bicycles, each equipped with rear wheel hub motors that generate enough energy to power a medium-sized public address system. The bicycles are also equipped with sensors to track rear wheel speed as well as rider position, transforming them into interactive musical instruments in two different modes: Interactive DJ and Step Sequencer. The Interactive DJ mode enables a laptop performer to create and mix music with data from the three bicycles. The Step Sequencer mode enables rider-participants to directly control a three-voice, eight-step sequencer. Sonic mappings are focused on representation of rear wheel speed, which translates directly to power generation.
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not available
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unknown
DOI: 10.5281/zenodo.850603
Zenodo URL: https://zenodo.org/record/850603
2014.154
MoveOSC - Smart Watches in Mobile Music Performance
Migicovsky, Alex University of Michigan; Ann Arbor, United States
Scheinerman, Jonah University of Michigan; Ann Arbor, United States
Essl, Georg University of Michigan; Ann Arbor, United States
Abstract
Smart watches with motion sensors offer the potential of bringing hand-gesture based music performance to a large audience by removing the need for custom hardware. It further removes artifacts from the hand, as would be present when a smart phone or a motion-controller such as the Wiimote are used. We discuss the potential and technical limitations of a current generation commodity smart watch (Pebble) and describe contribution to music software on mobile devices. By using Open Sound Control (OSC) as well as ZeroConf/Bonjour networking an accessible setup for musical control by smart watches is provided. Furthermore the integration into the mobile music environment urMus allows flexible use in a broad range of more sophisticated performances.
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not available
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unknown
DOI: 10.5281/zenodo.850655
Zenodo URL: https://zenodo.org/record/850655
2014.155
Multi-touch Interface for Acousmatic Music Spatialization
Le Vaillant, Gwendal Ense3, Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Giot, Rudi RESEARCH LABORATORY IN THE FIELDS OF ARTS AND SCIENCE (LARAS), Institut Supérieur Industriel de Bruxelles (ISIB); Brussels, Belgium
Abstract
The Multi-touch Interface for Acousmatic Music Spatialization (MIAM Spat) project deals with a new way of performing live music spatialization. Spatialization artists currently use hardware mixing consoles to produce threedimensional sound effects, within concert halls that contain up to fifty speakers [1]. The current main spatialization technique consists in associating a fader of the mixing console to a single speaker. Then, the performer plays with the output level of each speaker. They actually encounter issues with complex spatialization transitions, as ten fingers cannot simultaneously control many faders. The main idea is to introduce multi-point touch screens to replace hardware mixing consoles. The MIAM Spat software draws surfaces on a touch screen, and each surface represents a specific soundscape. A spatialization performance then becomes an interaction between these surfaces and the player’s fingers. The software described in this paper shows encouraging results, and is still evolving depending on artists’ wishes. New possibilities and representations are offered, and MIAM Spat can be easily integrated to big spatialization sound systems.
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unknown
DOI: 10.5281/zenodo.850657
Zenodo URL: https://zenodo.org/record/850657
2014.156
Musical Audio Denoising Assuming Symmetric a-stable Noise
Bassiou, Nikoletta Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Kotropoulos, Constantine Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
The representation of α-stable distributions as scale mixture of normals is exploited to model the noise in musical audio recordings. Markov Chain Monte Carlo inference is used to estimate the clean signal model and the α-stable noise model parameters in a sparse linear regression framework with structured priors. The musical audio recordings were processed both as a whole and in segments by using a sine-bell window for analysis and overlap-and-add reconstruction. Experiments on noisy Greek folk music excerpts demonstrate better denoising under the α-stable noise assumption than the Gaussian white noise one, when processing is performed in segments rather than in full recordings.
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unknown
DOI: 10.5281/zenodo.850876
Zenodo URL: https://zenodo.org/record/850876
2014.157
Musical Audio Synthesis Using Autoencoding Neural Nets
Sarroff, Andy M. Computer Science, Dartmouth College; Hanover, United States
Casey, Michael Computer Science, Dartmouth College; Hanover, United States
Abstract
With an optimal network topology and tuning of hyperparameters, artificial neural networks (ANNs) may be trained to learn a mapping from low level audio features to one or more higher-level representations. Such artificial neural networks are commonly used in classification and regression settings to perform arbitrary tasks. In this work we suggest repurposing autoencoding neural networks as musical audio synthesizers. We offer an interactive musical audio synthesis system that uses feedforward artificial neural networks for musical audio synthesis, rather than discriminative or regression tasks. In our system an ANN is trained on frames of low-level features. A high level representation of the musical audio is learned though an autoencoding neural net. Our real-time synthesis system allows one to interact directly with the parameters of the model and generate musical audio in real time. This work therefore proposes the exploitation of neural networks for creative musical applications.
Keywords
not available
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not available
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unknown
DOI: 10.5281/zenodo.850878
Zenodo URL: https://zenodo.org/record/850878
2014.158
Musical Perspectives on Composition, Sonification and Performance
De Götzen, Amalia Sound and Music Computing, Aalborg University Copenhagen; Copenhagen, Denmark
Bernardini, Nicola Conservatorio “S.Cecilia”; Roma, Italy
Vidolin, Alvise Centro di Sonologia Computazionale, Università di Padova; Padova, Italy
Abstract
This paper is an attempt to analyse the relation between sonification and music through a short enumeration of case studies. Four pieces have been used to clarify this relation and to understand how the different functions and purposes of music and sonification can be preserved while combining both functions together.
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unknown
DOI: 10.5281/zenodo.850553
Zenodo URL: https://zenodo.org/record/850553
2014.159
Musical Timbre and Emotion: The Identification of Salient Timbral Features in Sustained Musical Instrument Tones Equalized in Attack Time and Spectral Centroid
Wu, Bin Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Horner, Andrew Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Lee, Chung The Information Systems Technology and Design Pillar, Singapore University of Technology and Design; Singapore, Singapore
Abstract
Timbre and emotion are two of the most important aspects of musical sounds. Both are complex and multidimensional, and strongly interrelated. Previous research has identified many different timbral attributes, and shown that spectral centroid and attack time are the two most important dimensions of timbre. However, a consensus has not emerged about other dimensions. This study will attempt to identify the most perceptually relevant timbral attributes after spectral centroid and attack time. To do this, we will consider various sustained musical instrument tones where spectral centroid and attack time have been equalized. While most previous timbre studies have used discrimination and dissimilarity tests to understand timbre, researchers have begun using emotion tests recently. Previous studies have shown that attack and spectral centroid play an essential role in emotion perception, and they can be so strong that listeners do not notice other spectral features very much. Therefore, in this paper, to isolate the third most important timbre feature, we designed a subjective listening test using emotion responses for tones equalized in attack, decay, and spectral centroid. The results showed that the even/odd harmonic ratio is the most salient timbral feature after attack time and spectral centroid.
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not available
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unknown
DOI: 10.5281/zenodo.850729
Zenodo URL: https://zenodo.org/record/850729
2014.160
Music Systemisers and Music Empathisers - Do They Rate Expressiveness of Computer Generated Performances the Same?
Schubert, Emery The University of New South Wales (UNSW); Sydney, Australia
De Poli, Giovanni Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Abstract
This paper investigates three individual differences with respect to ratings of the same piece of classical piano music that has undergone different expressive performance treatments. The individual difference variables investigated were music systemising (those interested in the structural and organizational aspects of music), music empathizing (those interested in the emotional/human aspects of music) and musical experience (years of playing). Five pieces, based on stimuli used in RenconGATM were rated according to expressiveness and execution, each being related to musical expression, but the former suggesting an empathizing processing style and the latter a systemizing processing style. Ratings made by 45 participants did not show any clear differences that could be attributed to a cognitive style. One explanation for this finding was that cognitive music styles are more likely to influence justifications of ratings, rather than ratings magnitude. High music systemisers reported having higher concentration than other participants.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850509
Zenodo URL: https://zenodo.org/record/850509
2014.161
Music Technology's Influence on Flute Pedagogy: A Survey of Their Interaction
Siwiak, Diana New Zealand School of Music (NZSM); Wellington, New Zealand
Kapur, Ajay New Zealand School of Music (NZSM); Wellington, New Zealand / School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Carnegie, Dale A. School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Abstract
Technology improvements trigger innovations in modern culture, and these concepts evolve into more advanced versions of the original. This deepens our understanding and strengthens bonds connecting past and future. Advances in technology-integrated musical instruments date to the early 20th Century, where the scope of our research in augmented flutes and flute-like controllers begins. We explore the flutist’s practice room by examining its past through a historical literature review. We then investigate how advances in technology impact flute pedagogy. We seek to understand flute designs and the evolution of pedagogical techniques, while proposing a way to fill in the gaps in this research field.
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not available
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unknown
DOI: 10.5281/zenodo.850985
Zenodo URL: https://zenodo.org/record/850985
2014.162
Musings on the Status of Electronic Music Today
Lippe, Cort Hiller Computer Music Studios, University of Buffalo; Buffalo, United States
Abstract
If contemporary electronic music is on par with acoustic music, why is there an imbalance between the two domains? This paper explores the question by examining ideas of early electronic music visionaries, and their relationship to what later has been termed Modernism, and scrutinizes the differences and commonalities between electronic and acoustic music, sound design and composition, scientism and humanism, and popular and contemporary music. Since divergences between acoustic and electronic music culture within the domain of contemporary music appear to be significant, speculation on strategies for achieving congruence between acoustic and electronic music in the future are proposed.
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not available
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unknown
DOI: 10.5281/zenodo.850453
Zenodo URL: https://zenodo.org/record/850453
2014.163
Mutor: Drone Chorus of Metrically Muted Motors
Zareei, Mo H. Victoria University of Wellington; Wellington, New Zealand
Carnegie, Dale A. Victoria University of Wellington; Wellington, New Zealand
Kapur, Ajay California Institute of the Arts (CalArts); Santa Clarita, United States
McKinnon, Dugal New Zealand School of Music (NZSM); Wellington, New Zealand
Abstract
The use of mechatronics and robotics in works of sound art and music has grown over the past decade. Among the significant body of work done in these fields, this paper narrows down its focus on those that employ mechatronics and robotics in order to explore and investigate new sonic possibilities associated with these technologies. Followed by a discussion on characteristics of such works of mechatronic sound art, this paper presents Mutor: a new mechatronic sound-object that utilizes the sonic artifacts of mechatronic systems––specifically, the noise of a DC motor––as its primary source of sound, and modulates it rhythmically and timbrally.
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unknown
DOI: 10.5281/zenodo.850659
Zenodo URL: https://zenodo.org/record/850659
2014.164
muTunes: A Study of Musicality Perception in an Evolutionary Context
Sidorov, Kirill Cardiff University; Cardiff, United Kingdom
Hawkins, Robin Cardiff University; Cardiff, United Kingdom
Jones, Andrew Cardiff University; Cardiff, United Kingdom
Marshall, David Cardiff University; Cardiff, United Kingdom
Abstract
We have conducted an experiment with the intent to determine and quantify what properties of monophonic melodies humans perceive as appealing. This was done in an evolutionary setting: a population of melodies was subjected to Darwinian selection with popular human vote serving as the basis for the fitness function. We describe the experimental procedure, measures to avoid or minimise possible experimental biases, and address the problem of extracting maximum fitness information from sparse measurements. We have rigorously analysed the course of the resulting evolutionary process and have identified several important trends. In particular, we have observed a decline in complexity of melodies over time, increase in diatonicity, consonance, and rhythmic variety, well-defined principal directions of evolution, and even rudimentary evidence of speciation and genre-forming. We discuss the relevance of these effects to the question of what is perceived as a pleasant melody. Such analysis has not been done before and hence the novel contribution of this paper is the study of the psychological biases and preferences when popular vote is used as the fitness function in an evolutionary process.
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not available
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unknown
DOI: 10.5281/zenodo.850731
Zenodo URL: https://zenodo.org/record/850731
2014.165
New Tools for Aspect-oriented Programming in Music and Media Programming Environments
MacCallum, John Center for New Music and Audio Technologies, Department of Music, University of California, Berkeley; Berkeley, United States
Freed, Adrian Center for New Music and Audio Technologies, Department of Music, University of California, Berkeley; Berkeley, United States
Wessel, David Center for New Music and Audio Technologies, Department of Music, University of California, Berkeley; Berkeley, United States
Abstract
Media/arts programming is often experimental and exploratory in nature and requires a flexible development environment to enable continually changing requirements and to facilitate iterative design in which the development of software impacts the design of a work of art which in turn produces new requirements for the software. We discuss agile development as it relates to media/arts programming and present aspect-oriented programming and its implementation in Max/MSP using Open Sound Control and the odot library as tool for mobilizing the benefits of agile development.
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unknown
DOI: 10.5281/zenodo.850929
Zenodo URL: https://zenodo.org/record/850929
2014.166
NEYMA, Interactive Soundscape Composition Based on a Low Budget Motion Capture System
Alessandretti, Stefano Independent research, Independent; Italy
Sparano, Giovanni Independent research, Independent; Italy
Abstract
Mocap (motion capture) techniques applied to music are now very widespread. More than two decades after the earliest experiments [1], there are many scientists and musicians working in this field, as shown by the large number of papers and the technological equipment used in many research centres around the world. Despite this popularity, however, there is little evidence of musical productions using the mocap technique, with the exception of a few that have been able to rely upon very high budgets and very complex equipment. The following article aims to describe the implementation of “Neyma, for 2 performers, motion capture and live electronics (2012),” [2] an interactive multimedia performance that used a low budget mocap system, performed as part of the 56 th Biennale Musica di Venezia.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850555
Zenodo URL: https://zenodo.org/record/850555
2014.167
N-gon Waves - Audio Applications of the Geometry of Regular Polygons in the Time Domain
Chapman, Dominik Department of Computing, Goldsmiths, University of London; London, United Kingdom / Department of Music, Goldsmiths, University of London; London, United Kingdom
Grierson, Mick Department of Computing, Goldsmiths, University of London; London, United Kingdom
Abstract
This paper presents an approach to the generation of periodic signals through the application of Euclidean geometry in the time domain. In particular, the content of this paper is focused on waveforms derived from regular polygons. It is an attempt to show how the geometrical relations and proportions of regular polygons and star polygons with respect to their Schläfli symbol can be made audible, and how these relations can be used in an acoustical or a musical context. A basic description is given of how to construct such geometrical waveforms and musical scales using the underlying geometry. In addition, this paper draws inspiration for its approach to synthesis and composition from experimental approaches to drawn graphical / ornamental sound. These include methods that came to prominence in Russia and Germany in the first part of the 20 th century, such as those which used film and paper as primary media, and those that developed during the post-war period, including Oramics, and others. Most importantly, this paper describes a framework and examples that demonstrate processes whereby the geometry of regular polygons can be used to generate specific acoustic phenomena in frequency, timbre, phase, and metre.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850967
Zenodo URL: https://zenodo.org/record/850967
2014.168
NICO: An Open-source Interface, Bridging the Gap Between Musician and Tesla Coil
Johnston, Blake Victoria University of Wellington; Wellington, New Zealand
Bailey, Josh Vandervecken Cybernetics; Wellington, New Zealand
McKinnon, Dugal Victoria University of Wellington; Wellington, New Zealand
Abstract
This paper describes the design and implementation of a new interface, Nico, which allows new and existing musical devices to control Tesla Coils. The interface uses an Arduino microcontroller to convert OSC and MIDI control data to TTL pulses that command the behavior of a Tesla Coil. This paper will give some background on the Tesla Coil, outline the design and capabilities of the interface, and will discuss the performance possibilities that Nico creates.
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not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850661
Zenodo URL: https://zenodo.org/record/850661
2014.169
NLN-live, an Application for Live Non-linear and Interactive Instrumental Music
van Nispen Tot Pannerden, Than School of Music and Technology, HKU University of the Arts Utrecht; Utrecht, Netherlands
Abstract
NLN-live is a dynamic score system for nonlinear and interactive instrumental music performances, based on music technologies used in video games. The goal of NLN-live is to facilitate dynamically controlled collaborative performances that make live interactive video games music possible. The principle of NLN-live is simple: every musician of an ensemble repeatedly plays two fragments of music that are presented on a screen, say X and Y, with the musical content for X and Y being variable and changing, for example, in relation to the interaction with a video game. The continuously varying music fragments are controlled remotely by the NLN-live application, while the speed of these changes is controlled by the conductor. NLN-live has successfully been used with single musicians, ensembles, as well as a symphonic orchestra.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850663
Zenodo URL: https://zenodo.org/record/850663
2014.170
o.io: A Unified Communications Framework for Music, Intermedia and Cloud Interaction
Freed, Adrian CNMAT, University of California, Berkeley; Berkeley, United States
DeFilippo, David CNMAT, University of California, Berkeley; Berkeley, United States
Gottfried, Rama CNMAT, University of California, Berkeley; Berkeley, United States
MacCallum, John CNMAT, University of California, Berkeley; Berkeley, United States
Lubow, Jeff CNMAT, University of California, Berkeley; Berkeley, United States
Razo, Derek CNMAT, University of California, Berkeley; Berkeley, United States
Wessel, David CNMAT, University of California, Berkeley; Berkeley, United States
Abstract
We present work on the “o.io” system, a suite of tools for hiding vendor-specific and protocolspecific details of controllers and actuators and for replacing diffuse documentation and heterogeneous ontologies with harmonized, situational schema carried along in real-time with gesture and actuator control values as Open Sound Control (OSC) bundles. We introduce useful general design patterns and object-oriented tools that support them. We conclude with details of support of two particular devices that illustrate the potential of “o.io”, the QuNeo and Bluetooth LE heart rate monitors.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850931
Zenodo URL: https://zenodo.org/record/850931
2014.171
On the Playing of Monodic Pitch in Digital Music Instrument
Goudard, Vincent UMR 7190 - équipe LAM, Institut Jean Le Rond d’Alembert, University Paris VI; Paris, France
Genevois, Hugues UMR 7190 - équipe LAM, Institut Jean Le Rond d’Alembert, University Paris VI; Paris, France
Feugère, Lionel University Paris VI; Paris, France / Laboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur (LIMSI), Université Paris-Sud XI; Orsay Cedex, France
Abstract
This paper addresses the issue of controlling monodic pitch in digital musical instruments (DMIs), with a focus on instruments for which the pitch needs to be played with accuracy. Indeed, in many cultures, music is based on discrete sets of ordered notes called scales, so the need to control pitch has a predominant role in acoustical instruments as well as in most of the DMIs. But the freedom of parameter mapping allowed by computers, as well as the wide range of interfaces, opens a large variety of strategies to control pitch in the DMIs. Without pretending to be exhaustive, our paper aims to draw up a general overview of this subject. It includes: 1) a review of interfaces to produce discrete and/or continuous pitch 2) a review of DMI maker strategies to help the performer for controlling easily and accurately the pitch 3) some developments from the authors concerning interfaces and mapping strategies for continuous pitch control 4) some comparisons with acoustical instruments. At last, a Max/MSP patch –publically available– is provided to support the discussion by allowing the reader to test some of the pitch control strategies reviewed in this paper.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850880
Zenodo URL: https://zenodo.org/record/850880
2014.172
OPERAcraft: Blurring the Lines Between Real and Virtual
Bukvic, Ivica Ico Institute for Creativity, Arts, and Technology, School of Performing Arts, Virginia Tech; Blacksburg, United States
Cahoon, Cody Computer Science, Virginia Tech; Blacksburg, United States
Wyatt, Ariana School of Performing Arts, Virginia Tech; Blacksburg, United States
Cowden, Tracy School of Performing Arts, Virginia Tech; Blacksburg, United States
Dredger, Katie College of Education, James Madison University; Harrisonburg, United States
Abstract
In the following paper we present an innovative approach to coupling gaming, telematics, machinima, and opera to produce a hybrid performance art form and an arts+technology education platform. To achieve this, we leverage a custom Minecraft video game and sandbox mod and pd-l2ork real-time digital signal processing environment. The result is a malleable telematic-ready platform capable of supporting a broad array of artistic forms beyond its original intent, including theatre, cinema, as well as machinima and other experimental genres.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850511
Zenodo URL: https://zenodo.org/record/850511
2014.173
Optimal Acoustic Reverberation Evaluation of Byzantine Chanting in Churches
Mourjopoulos, Ioannis N. (John) University of Patras; Patras, Greece
Papadakos, Charalampos University of Patras; Patras, Greece
Kamaris, Gavriil University of Patras; Patras, Greece
Chryssochoidis, Georgios University of Athens; Athens, Greece
Kouroupetroglou, Georgios University of Athens; Athens, Greece
Abstract
Byzantine chants constitute a form of monophonic vocal music characterized by lengthy phrases and by musical scales with intervals smaller than the western music semitones. Byzantine churches have extremely long Reverberation Time and their acoustics is dominated by the contributions of the diffuse sound field. Thus, the sound character of Byzantine chanting is closely linked to the acoustic reverberation. In this work we examine the perceived preference for the various features of reverberation imposed on excerpts of Byzantine psalms. This is achieved by simulations of typical churches with varying internal volume, reverberation time and source / receiver distance, utilizing chants from the DAMASKINOS corpus. The simulation (auralization) results were evaluated via statistical preference method using a group of 15 listeners. The results of such controlled experiments illustrate the listener preferences and acceptability of various parameters or combinations of parameters related to reverberation, e.g. of the Reverberation Time value in relation to church dimensions and listener position inside the church.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850733
Zenodo URL: https://zenodo.org/record/850733
2014.174
Orchestrating Wall Reflections in Space by Icosahedral Loudspeaker: Findings From First Artistic Research Exploration
Sharma, Gerriet Krishna Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Zotter, Franz Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Frank, Matthias Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
Can we orchestrate the acoustic reflections in a room within an electroacoustic composition? Doing so appears promising by using the twenty-channel IEM icosahedral loudspeaker (ICO) and its beamforming algorithms. Based on two musical pieces, we present initial results from an investigation about the perceived auditory objects. By means of explorative listening experiments, we bring evidence that the ICO orchestrates wall reflections. Moreover we can roughly explain the responses by a wall reflection model with echo thresholds or by a binaural lateralization model.
Keywords
not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850701
Zenodo URL: https://zenodo.org/record/850701
2014.175
Organic Oscillator: Experiments Using Natural Oscillation Sources From Audiences
Fan, Yuan-Yi Media Arts and Technology, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Abstract
Our idea of Organic Oscillator is a combination of the mechanism of a table lookup oscillator and natural oscillation sources from audiences. Based on this idea, we conduct a series of audio and visual experiments, starting from using a single natural oscillation source in the human body to multiple ones from the audiences. Shifting from a singleparticipant paradigm to a group-participants paradigm, we summarize our development of audience sensing apparatuses and identify the need of an abstract audience representation to extend composition possibilities and interactive system design. Informed by our experiments, the absence of the abstract audience representation leads to a gap that limits us to express data relationships among multiple natural oscillation sources from the audiences. To advance our research, we present a novel symbolic audience model that abstracts audience members as objects and their responses as processes in a systematic perspective. We envision works created using this model may allow us to explore new forms built using this model’s new conceptual strategies of inter-participant relationship, synchronization, and collective expression.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850665
Zenodo URL: https://zenodo.org/record/850665
2014.176
P300 Harmonies: A Brain-computer Musical Interface
Vamvakousis, Zacharias Pompeu Fabra University (UPF); Barcelona, Spain
Ramirez, Rafael Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
We present P300 harmonies: a P300-based Brain-Computer Musical Interface. Using a commercial low-cost EEG device, the user can voluntarily change the harmony of an arpeggio by focusing and mentally counting the occurrences of each note. The arpeggio consists of 6 notes separated by an interval of 175ms. The notes of the arpeggio are controlled through 6 switches, where each switch has two possible states: up and down. When a switch is in the up-state the note produced by this switch is one tone or semitone -depending on the switchhigher than when in the downstate. By focusing on each of the notes of the arpeggio, the user may change -after 12 repetitionsthe state of the corresponding switch. The notes of the arpeggio appear in a random order. The state of each switch is shown on a screen. Each switch flashes when the corresponding note is heard. The user can either focus exclusively on the auditory presentation or make use of the visual presentation as well. The interface was presented in a live performance, where the user was able to successfully change the state of all switches with 100% accuracy. An additional preliminary evaluation was performed with 3 more users, in which the selection accuracy was 83.33%.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850667
Zenodo URL: https://zenodo.org/record/850667
2014.177
Parameter Estimation of Virtual Musical Instrument Synthesizers
Itoyama, Katsutoshi Kyoto University; Kyoto, Japan
Okuno, Hiroshi G. Kyoto University; Kyoto, Japan
Abstract
A method has been developed for estimating the parameters of virtual musical instrument synthesizers to obtain isolated instrument sounds without distortion and noise. First, a number of instrument sounds are generated from randomly generated parameters of a synthesizer. Lowlevel acoustic features and their delta features are extracted for each time frame and accumulated into statistics. Multiple linear regression is used to model the relationship between the acoustic features and instrument parameters. Experimental evaluations showed that the proposed method estimated parameters with a best case error of 0.004 and signal-to-distortion ratio of 17.35 dB, and reduced noise to smaller distortions in several cases.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850882
Zenodo URL: https://zenodo.org/record/850882
2014.178
Perception of Interactive Vibrotactilecues on the Acoustic Grand and Upright Piano
Fontana, Federico Department of Mathematics and Computer Science, Università di Udine; Udine, Italy
Avanzini, Federico Department of Information Engineering, Università di Padova; Padova, Italy
Järveläinen, Hanna Institute for Computer Music and Sound Technology, Zürcher Hochschule der Künste; Zurich, Switzerland
Papetti, Stefano Institute for Computer Music and Sound Technology, Zürcher Hochschule der Künste; Zurich, Switzerland
Zanini, Francesco Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Zanini, Valerio Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Abstract
An experiment has been conducted, measuring pianists’ sensitivity to piano key vibrations at the fingers while playing an upright or a grand Yamaha Disklavier piano. At each trial, which consisted in playing loud and long A notes across the whole keyboard, vibrations were either present or absent through setting the Disklavier pianos to normal or quiet mode. Sound feedback was always provided by a MIDI controlled piano synthesizer via isolating ear/headphones, which masked the acoustic sound in normal mode. In partial disagreement with the existing literature, our results suggest that significant vibrotactile cues are produced in the lower range of the piano keyboard, with perceptual cut-off around the middle octave. Possible psychophysical mechanisms supporting the existence of such cues are additionally discussed.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850735
Zenodo URL: https://zenodo.org/record/850735
2014.179
PheroMusic: Navigating a Flexible Space of Active Music Experiences
Nymoen, Kristian Department of Informatics, University of Oslo; Oslo, Norway
Chandra, Arjun Department of Informatics, University of Oslo; Oslo, Norway
Glette, Kyrre Department of Informatics, University of Oslo; Oslo, Norway
Tørresen, Jim Department of Informatics, University of Oslo; Oslo, Norway
Jensenius, Alexander Refsum Department of Musicology, University of Oslo; Oslo, Norway
Voldsund, Arve Kodebyraaet; Giske, Norway
Abstract
We consider the issue of how a flexible musical space can be manipulated by users of an active music system. The musical space is navigated within by selecting transitions between different sections of the space. We take inspiration from pheromone trails in ant colonies to propose and investigate an approach that allows an artificial agent to navigate such musical spaces in accordance with the preferences of the user, and a set of boundaries specified by the designer of the musical space.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850969
Zenodo URL: https://zenodo.org/record/850969
2014.180
Physical and Perceptual Characterization of a Tactile Display for a Live-electronics Notification System
Frid, Emma CSC Department of Speech, Music and Hearing, KTH Royal Institute of Technology; Stockholm, Sweden
Giordano, Marcello Input Devices and Music Interaction Lab, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Schumacher, Marlon M. Input Devices and Music Interaction Lab, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Wanderley, Marcelo M. Input Devices and Music Interaction Lab, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Abstract
In this paper we present a study we conducted to assess physical and perceptual properties of a tactile display for a tactile notification system within the CIRMMT Live Electronics Framework (CLEF), a Max-based 1 modular environment for composition and performance of live electronic music. Our tactile display is composed of two rotating eccentric mass actuators driven by a PWM signal generated from an Arduino microcontroller. We conducted physical measurements using an accelerometer and two user-based studies in order to evaluate: intensity and spectral peak frequency as function of duty cycle, as well as perceptual vibrotactile absolute and differential threshold. Results, obtained through the use of a logit regression model, provide us with precise design guidelines. These guidelines will enable us to ensure robust perceptual discrimination between vibrotactile stimuli at different intensities. Among with other characterizations presented in this study, these guidelines will allow us to better design tactile cues for our notification system for live-electronics performance.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850737
Zenodo URL: https://zenodo.org/record/850737
2014.181
Planning Human-computer Improvisation
Nika, Jérôme UMR STMS 9912 CNRS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France / Sorbonne Universités UPMC; Paris, France
Echeveste, José UMR STMS 9912 CNRS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France / Sorbonne Universités UPMC; Paris, France / MuTAnt team, INRIA Rocquencourt; Rocquencourt, France
Chemillier, Marc Cams, École des hautes études en sciences sociales (EHESS); Paris, France
Giavitto, Jean-Louis UMR STMS 9912 CNRS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France / MuTAnt team, INRIA Rocquencourt; Rocquencourt, France
Abstract
Improvisation intrinsically carries a dialectic between spontaneity/reactivity and long-term planning/organization. This paper transposes this dialectic to interactive human-computer improvisation where the computer has to interleave various generative processes. They require different levels of prior knowledge, and follow a coarser improvisation plan driven by real-time interactions with the musicians. We propose a time-aware extensible architecture allowing the temporal coordination of different improvisation strategies. It integrates various generative strategies capitalizing on the system Improtek into the high-level structure provided by the language associated to the score follower Antescofo. The resulting framework manages the musical events, the triggering of generative processes at different time scales and the declarative specification of improvisation plans driven by the occurrence of complex events.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850844
Zenodo URL: https://zenodo.org/record/850844
2014.182
POLISphone: Creating and Performing With a Flexible Soundmap
Lopes, Filipe Cunha Monteiro Faculdade de Engenharia, Universidade do Porto; Porto, Portugal
Rodriguez, Paulo Departamento de Comunicação e Arte, Universidade de Aveiro; Aveiro, Portugal
Abstract
POLISphone is a software for music performance, inspired on the popular idea of “soundmap”. Unlike most soundmaps, its main aim is to provide a way to easily create original soundmaps and perform with it. It also targets to be a versatile interface, both visual and sound wise, and to induce a sense of instrumentality. In this paper, the authors describe its implementation and, in addition, considerations are made regarding its use and performativity potential, based on fieldwork.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850971
Zenodo URL: https://zenodo.org/record/850971
2014.183
Polytempo Network: A System for Technology-assisted Conducting
Kocher, Philippe Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
This paper describes the current development of a system designed for the synchronization of musicians in polytempic music. In order to convey the tempo, an animation is used that resembles the gestures of a conductor, which is believed to be particularly comprehensible for musicians. This system offers an alternative to the use of a click track which is still the most common means for the purpose of synchronization. The possibility to combine several devices in a network allows for the synchronization of several players in ensemble music. It is hoped that this system promotes the creation and performance of music that exhibit ambitious tempo polyphony as well as spatial distribution of the musicians.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850605
Zenodo URL: https://zenodo.org/record/850605
2014.184
pOM: Linking Pen Gestures to Computer-aided Composition Processes
Garcia, Jérémie LRI, CNRS, Université Paris-Sud XI; Orsay, France
Leroux, Philippe Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), Schulich School of Music, McGill University; Montreal, Canada
Bresson, Jean STMS Lab, CNRS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Illuminated manuscripts of medieval music contain rich decorations in addition to handwritten neumatic notation. Our project with composer Philippe Leroux investigates the use of such handwritten symbols during the composition of his piece Quid sit musicus. We introduce pOM, an interactive paper application and a library for the OpenMusic computer-aided composition environment which links pen gestures over an old manuscript to compositional processes. The paper interface analyzes the stroke while writing and transmits several features to reactive programs in OpenMusic. pOM allows the composer to define his own functions and get direct musical feedback from pen interactions.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850557
Zenodo URL: https://zenodo.org/record/850557
2014.185
Power-scaled Spectral Flux and Peak-valley Group-delay Methods for Robust Musical Onset Detection
Su, Li CITI, Academia Sinica; Taipei, Taiwan
Yang, Yi-Hsuan CITI, Academia Sinica; Taipei, Taiwan
Abstract
A robust onset detection method has to deal with wide dynamic ranges and diverse transient behaviors prevalent in real-world music signals. This paper presents contributions to robust onset detection by proposing two novel onset detection methods. The first one, termed power-scaled spectral flux (PSSF), applies power scaling to the spectral flux to better balance the wide dynamic range in the spectrogram. The second method, called peak-valley groupdelay (PVGD), enhances the robustness to noise terms by detecting peak-valley pairs from the summed group-delay function to capture the attack-decay envelope. The proposed methods are evaluated on a piano dataset and a diverse dataset of 12 different Western and Turkish instruments. To tackle the problem from a fundamental signal processing perspective, in this study we do not consider advanced methods such as late fusion, multi-band processing, and neural networks. Experimental result shows that the proposed methods yield competitive accuracy for the two datasets, improving the F-score for the former dataset from 0.956 to 0.963, and the F-score for the latter dataset from 0.712 to 0.754, comparing to existing methods.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850816
Zenodo URL: https://zenodo.org/record/850816
2014.186
Principles of Visual Design for Computer Music
Wang, Ge Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
This paper presents observations pertaining to elements of expressive visual design for computer music, focusing in particular on real-time integration of graphics and audio. Specific projects are presented as examples and case studies supporting a set of design principles. They range from “user-oriented” to “aesthetic” and additional observations. Examples are categorized into audio visualization, game-like interfaces, and mobile instruments.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850559
Zenodo URL: https://zenodo.org/record/850559
2014.187
Probabilistic Harmonization With Fixed Intermediate Chord Constraints
Kaliakatsos-Papakostas, Maximos School of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Cambouropoulos, Emilios School of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
During the last decades, several methodologies have been proposed for the harmonization of a given melody with algorithmic means. Among the most successful are methodologies that incorporate probabilistic mechanisms and statistical learning, since they have the ability to generate harmonies that statistically adhere to the harmonic characteristics of the idiom that the training pieces belong to. The current paper discusses the utilization of a well–studied probabilistic methodology, the hidden Markov model (HMM), in combination with additional constraints that incorporate intermediate fixed–chord constraints. This work is motivated by the fact that some parts of a phrase (like the cadence) or a piece (e.g. points of modulation, peaks of tension, intermediate cadences etc.) are characteristic about the phrase’s or piece’s idiomatic identity. The presented methodology allows to define and isolate such important parts/functions and include them as constraints in a probabilistic harmonization methodology. To this end, the constrained HMM (CHMM) is developed, harnessed with the novel general chord type (GCT) representation, while the study focuses on examples that highlight the diversity that constraints introduce in harmonizations.
Keywords
not available
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not available
Easychair keyphrases
not available
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unknown
DOI: 10.5281/zenodo.850775
Zenodo URL: https://zenodo.org/record/850775
2014.188
Programmation and Control of Faust Sound Processing in OpenMusic
Bouche, Dimitri STMS lab, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bresson, Jean STMS lab, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
We introduce OM-Faust, an OpenMusic library including objects and functions to write, compile and control Faust programs. Faust is a domain-specific functional programming language designed for DSP. The integration of Faust in OpenMusic enables composers to program and compile their own audio effects and synthesizers, controllable both in real-time or deferred time contexts. This implementation suggests a more general discussion regarding the relationship between real-time and off-line processing in computer-aided composition.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850933
Zenodo URL: https://zenodo.org/record/850933
2014.189
Query-by-multiple-examples: Content-based Search in Computer-assisted Sound-based Musical Composition
Tavares, Tiago Fernandes Interdisciplinary Nucleus of Sound Communication, Music Department – Institute of Arts, University of Campinas (UNICAMP); Campinas, Brazil
Manzolli, Jônatas Interdisciplinary Nucleus of Sound Communication, Music Department – Institute of Arts, University of Campinas (UNICAMP); Campinas, Brazil
Abstract
We propose a search method, namely Query-by-MultipleExamples, that is able to search, within an audio sample database, for a particular sonic characteristic. The characteristic is learned on-the-fly by means of multiple examples provided by a human user, thus avoiding ambiguities due to manual labelling. We evaluate four variations of the proposed method using ground truth provided by three musicians. It is shown that, for queries based on sonic characteristics, the query modelling process yields more correct results than if several single-example queries were executed in parallel using the same input data.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850561
Zenodo URL: https://zenodo.org/record/850561
2014.190
Realism, Art, Technology and Audiovisual Immersion Into the Environment of the Ionian Islands
Loufopoulos, Apostolos Ionian University; Corfu, Greece
Heliades, George Technological Institute of Ionian Islands; Argostoli, Greece
Emmanouil, Minas Technological Institute of Ionian Islands; Argostoli, Greece
Maragkos, Theofanis Technological Institute of Ionian Islands; Argostoli, Greece
Abstract
This paper refers to the audiovisual recording, transformation and projection of natural spaces, describing the technology and methods for capturing panoramic sound and image, and the technologies and processes involved in projecting the recorded material through the mobile immersion environment A.R.T.E. (Artificial Restoration of Transmuted Environments) 1 . The project ‘opticacoustic ecology’, coordinated between 2012-2014 by the TEI of Ionian islands, Greece, involved the seasonal recording of natural outdoors environments, aiming at the documentation and study of the natural heritage of the Ionian Sea, and the utilization of current digital technology for synchronized audiovisual capture and projection, which enhances our experience of the natural environment. During such a process, a number of decisions need to be made regarding proper planning, choice of field recording equipment, techniques applied and a series of problems to be solved. At a later stage, projecting the material through a mobile immersion platform such as A.R.T.E. engages combined knowledge in the fields of mechanical structuring, creative design, audio/visual processing and projection through specialized software and hardware. Through the practical experience gained by the above, a number of conclusions can be drawn regarding the advantages of the achieved enhanced experience through audiovisual immersion, technical issues, difficulties and potential applications and developments for future reference.
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Paper type
unknown
DOI: 10.5281/zenodo.850513
Zenodo URL: https://zenodo.org/record/850513
2014.191
Real-time Breeding Composition System by Means of Genetic Programming and Breeding Procedure
Ando, Daichi Faculty of System Design, Tokyo Metropolitan University; Tokyo, Japan
Abstract
The use of laptop computers to produce real-time music and multimedia performances has increased significantly in recent years. In this paper, I propose a new method of generating club-style loop music in real time by means of interactive evolutionary computation (IEC). The method includes two features. The first is the concept of “breeding” without any consciousness of generation. The second is a multiple-ontogeny mechanism that generates several phenotypes from one genotype, incorporating ideas of coevolution and multi-objective optimization. The proposed method overcomes certain limitations of IEC, namely the burden of interactive evaluation and the narrow search domain resulting from handling few individuals. A performance system that generates club-style loop music from the photo album in mobile devices is implemented by means of the proposed method. This system is then tested, and the success of performances with the implemented system indicates that the proposed methods work effectively.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850563
Zenodo URL: https://zenodo.org/record/850563
2014.192
Real-time Composition of Sound Environments
Spiropoulos, Georgia Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In this paper I will present some aesthetic and technical aspects of my work related to real-time composition of sound environments (soundscapes and vocalscapes) through two recent works: “Geografia Sonora”, a sound and video installation on the theme of the Mediterranean sea, a navigation in an archipelago of “sound islands” of singing/speaking voices, sound signals, natural and mechanical sounds; “Vocalscapes on Walt Whitman”, an electroacoustic composition exploring the idea of “poetry as vocalscape” and as “geography” of voices and performances based in the recordings of fifteen talkers. The works have been composed and spatialized in real time by a “sound navigation map”, a virtual score within Max/MSP, the Spatialisateur and Antescofo. Through these two works I will show: 1) by which means a vast sound material can be organized and processed/composed automatically in order to beget a sound environment in real-time through a coherent open virtual score; 2) how such a sound environment may be seen simultaneously as a sound composition, as the trace of a shared experience, as the record of poetry and vocal performance or as the soundmark of a community and of a land.
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unknown
DOI: 10.5281/zenodo.850461
Zenodo URL: https://zenodo.org/record/850461
2014.193
Real-time Manipulation of Syncopation in Audio Loops
Cocharro, Diogo TEC, INESC TEC; Porto, Portugal
Sioros, George Faculdade de Engenharia, Universidade do Porto; Porto, Portugal
Caetano, Marcelo TEC, INESC TEC; Porto, Portugal
Davies, Matthew E. P. TEC, INESC TEC; Porto, Portugal
Abstract
In this work we present a system that estimates and manipulates rhythmic structures from audio loops in realtime to perform syncopation transformations. The core of our system is a technique for the manipulation of syncopation in symbolic representations of rhythm. In order to apply this technique to audio signals we must first segment the audio loop into musical events using onset detection. Then, we use the symbolic syncopation transformation method to determine how to modify the rhythmic structure in order to change the syncopation. Finally we present two alternative methods to reconstruct the audio loop, one based on time scaling and the other on resampling. Our system, Loopalooza, is implemented as a freely available MaxForLive device to allow musicians and DJs to manipulate syncopation in audio loops in realtime.
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unknown
DOI: 10.5281/zenodo.850607
Zenodo URL: https://zenodo.org/record/850607
2014.194
Real-time Music Composition Through P-timed Petri Nets
Baratè, Adriano Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Haus, Goffredo Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Ludovico, Luca Andrea Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Abstract
This paper introduces a new real-time concept of reconfigurable P-timed Petri nets. Our goal is to provide a formal model to build and modify a net on the fly. In the first part of the article, the original P-timed extensions are summarized. Then we define an endomorphism that alters the original Petri net in real time; for instance one can change the number of tokens or the net structure. The endomorphism is applied to Music Petri nets, showing how this new approach can be effective in real-time synthesis of music. The final case study provides a practical application by illustrating the real-time creation of a simple piano loop.
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unknown
DOI: 10.5281/zenodo.850565
Zenodo URL: https://zenodo.org/record/850565
2014.195
Real Time Tempo Canons With Antescofo
Trapani, Christopher Columbia University; Manhattan, United States
Echeveste, José IRCAM UMR STMS 9912 - CNRS, Sorbonne Universités UPMC; Rocquencourt, France
Abstract
With recent advances in score-following capabilities, it has become possible to envision new timing strategies, to realize previously impractical methods of coordination between a live performer and electronics. Our work centers on the challenge of synchronizing at the end of a musical phrase, where events and processes are timed not from an initial trigger, but occur according to a relative distance towards a predicted future attack. The key software component is Antescofo, a score-following tool which relies on a strong coupling, through a dynamic programming language, between a machine listening module and a reactive engine. This language allows hierarchical, concurrent, and heterogeneous computer processes to be organized over time, and for external events to be anticipated, with a runtime system that triggers electronic actions in response to variations in performance. Various programming strategies were implemented, honed and tested with a live performer. The musical material of these sketches focused on the idea of flexible canons, on interactions between a live instrument and a second voice generated from a buffered real-time recording. The different canonic strategies make use of Antescofo’s live tempo calculations to create dynamic tempo shifts, to force voices to converge, and to control precise canon effects.
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unknown
DOI: 10.5281/zenodo.850777
Zenodo URL: https://zenodo.org/record/850777
2014.196
Recommending Music to Groups in Fitness Classes
De Carolis, Berardina Università di Bari; Bari, Italy
Ferilli, Stefano Università di Bari; Bari, Italy
Orio, Nicola Università di Padova; Padova, Italy
Abstract
Research in the fitness domain proves that music has an important motivating effect on the athletes' performance. This effect is even stronger when music is used in sport synchronously like, for instance, in fitness classes. Indoor cycling is one of these activities in which music is a key issue of success during the lesson, providing a high motivational mean for the instructor towards the classroom. In this paper we present the result of a study in which we tested a group recommender system aiming at supporting the instructor music choice when preparing the lesson. This is done aggregating data present in the individual profiles of each user in the class that are built by combining explicit and implicit gathering of information about their music tastes. In order to refine the profiling process, users may express their feedback on the proposed music tracks after the workout, thus improving the quality of the future music recommendations
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unknown
DOI: Missing
Zenodo URL: Missing
2014.197
Representation of Musical Computer Processes
Fober, Dominique Centre national de création musicale, GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann Centre national de création musicale, GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane Centre national de création musicale, GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
The paper presents a study about the representation of musical computer processes within a music score. The idea is to provide performers with information that could be useful especially in the context of interactive music. The paper starts with a characterization of a musical computer process in order to define the values to be represented. Next it proposes an approach to time representation suitable to asynchronous processes representation.
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unknown
DOI: 10.5281/zenodo.850935
Zenodo URL: https://zenodo.org/record/850935
2014.198
Resolving Octave Ambiguities: A Cross-dataset Investigation
Su, Li CITI, Academia Sinica; Taipei, Taiwan
Lai, Hsin-Yu Dep. EE, National Taiwan University; Taipei, Taiwan
Yu, Li-Fan CITI, Academia Sinica; Taipei, Taiwan
Yang, Yi-Hsuan CITI, Academia Sinica; Taipei, Taiwan
Abstract
Octave dual-tone is one of the most difficult patterns to identify in multipitch estimation (MPE), as the spectrum of the upper note is almost masked by the lower one. This paper investigates the potential for a supervised binary classification framework to address this issue, and whether such a framework is adequate for diverse real-world signals. To this end, a new dataset comprising of 3,493 real single notes and octaves recorded by two pianists and guitarists are constructed to facilitate an in-depth analysis of this problem. The dataset is available to the research community. Performance of synthetic and real-world octave dualtones using various spectral-, cepstraland phase-based features are studied systematically. Our experiments show that the instantaneous frequency deviation (IFD) represents the most reliable feature representation in discriminating octave dual-tones from single notes. Based on this new dataset and the RWC dataset, we present a series of experiments to offer insights into the performance difference between synthetic and real octaves, piano and guitar notes, as well as studio recordings and home recordings. As the proposed method holds the promise of resolving octave dualtone, we envision that it can be an important module of a multipitch estimation system.
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unknown
DOI: 10.5281/zenodo.850739
Zenodo URL: https://zenodo.org/record/850739
2014.199
Rhythmic Processes in Electronic Music
Roads, Curtis Media Arts and Technology, Music University of California; Santa Barbara, United States
Abstract
Electronic technology has liberated musical time and changed musical aesthetics. In the past, musical time was considered as a linear medium that was subdivided according to ratios and intervals of a more-or-less steady meter. However, the possibilities of envelope control and the creation of liquid or cloud-like sound morphologies suggests a view of rhythm not as a fixed set of intervals on a time grid, but rather as a continuously flowing, undulating, and malleable temporal substrate upon which events can be scattered, sprinkled, sprayed, or stirred at will. In this view, composition is not a matter of filling or dividing time, but rather of generating time. The core of this paper introduces aspects of rhythmic discourse that appear in my electronic music. These include: the design of phrases and figures, exploring a particle-based rhythmic discourse, deploying polyrhythmic processes, the shaping of streams and clouds, using fields of attraction and repulsion, creating pulsation and pitched tones by particle replication, using reverberant space as a cadence, contrasting ostinato and intermittency, using echoes as rhythmic elements, and composing with tape echo feedback. The lecture is accompanied by sound examples. The text is derived from a chapter on rhythm in my forthcoming book Composing Electronic Music: A New Aesthetic [1].
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unknown
DOI: 10.5281/zenodo.850449
Zenodo URL: https://zenodo.org/record/850449
2014.200
Sampling the Extrema From Statistical Models of Music With Variable, Neighbourhood Search
Herremans, Dorien ANT/OR - University of Antwerp Operations Research Group, University of Antwerp; Antwerp, Belgium
Sörensen, Kenneth Department of Computer Science and Artificial Intelligence, University of the Basque Country (UPV/EHU); San Sebastián, Spain
Conklin, Darrell IKERBASQUE, Basque Foundation for Science; Bilbao, Spain
Abstract
Statistical models of music can be used for classification and prediction tasks as well as for generating music. There are several different techniques to generate music from a statistical model, but not all are able to effectively explore the higher probability extrema of the distribution of sequences. In this paper, the vertical viewpoints method is used to learn a Markov Model of abstract features from an existing corpus of music. This model is incorporated in the objective function of a variable neighbourhood search method. The resulting system is extensively tested and compared to two popular sampling algorithms such as Gibbs sampling and random walk. The variable neighbourhood search algorithm previously worked with predefined style rules from music theory. In this work it has been made more versatile by using automatically learned rules, while maintaining its efficiency.
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unknown
DOI: 10.5281/zenodo.850779
Zenodo URL: https://zenodo.org/record/850779
2014.201
Scaling Up Live Internet Performance With the Global Net Orchestra
Dannenberg, Roger B. Carnegie Mellon University; Pittsburgh, United States
Neuendorffer, Tom Carnegie Speech Corp.; Pittsburgh, United States
Abstract
Networked or “telematic” music performances take many forms, ranging from small laptop ensembles using local area networks to long-distance musical collaborations using audio and video links. Two important concerns for any networked performance are: (1) what is the role of communication in the music performance? In particular, what are the esthetic and pragmatic justifications for performing music at a distance, and (2) how are the effects of communication latency ameliorated or incorporated into the performance? A recent project, the Global Net Orchestra, is described. In addition to addressing these two concerns, the technical aspects of the project, which achieved a coordinated performance involving 68 computer musicians, each with their own connection to the network, are described.
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unknown
DOI: 10.5281/zenodo.850669
Zenodo URL: https://zenodo.org/record/850669
2014.202
SculpTon: A Malleable Tangible Interface for Sound Sculpting
Boem, Alberto Interface Culture Lab, Kunstuniversität Linz (UFG); Linz, Austria
Abstract
This paper seeks to outline the development of SculpTon, a malleable tangible interface for sound sculpting oriented to live performance. Within our concept, shaping sound is an equivalent of physically shaping an object. The recent reflexion on “computational materials” and “Radical Atoms” in TUIs has prompted us to imagine what possible applications in the context of NIME. In our interface the musical expression is made through the use of real-time formant synthesis in the form of a three dimensional, organically shaped object, which can be handled and modified by the user. Firstly, we describe the development and the design principles of the SculpTon interface. Since the notion of malleable interface was already explored in research fields such as TUIs, OUIs and NIME, we are going to recapitulate some previous works. Next, we introduce the technical implementation of the device and the embedded sensor array developed ad hoc. Drawing from such elements, we eventually describe the methods by which useful features were extracted and the mapping techniques used to deploy these features as control data for real-time sound synthesis.
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unknown
DOI: 10.5281/zenodo.850671
Zenodo URL: https://zenodo.org/record/850671
2014.203
Sense: An Electroacoustic Composition for Surround Sound and Tactile Transducers
Kokoras, Panayiotis University of North Texas; Denton, United States
Abstract
This paper describes the construction of a system for tactile sound using tactile transducers and explores the compositional potential for a system of these characteristics. It provides a short overview of the technologies involved and the composition methods and studio techniques developed to implement this project. Sense for fourteen discrete channels includes a surround 5.1-sound composition, the development of a six-channel tactile transducers system and the demonstration of the compositional methodology used in the piece. The purpose of the project was to create a holistic listening experience where the audible listening experience is combined with the tactile experiences ultra and infrasound.
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unknown
DOI: 10.5281/zenodo.850567
Zenodo URL: https://zenodo.org/record/850567
2014.204
Sensors2PD: Mobile Sensors and WiFi Information as Input for Pure Data
Deusany de Carvalho Junior, Antonio Computer Music Research Group, University of São Paulo (USP); São Paulo, Brazil
Abstract
This article presents the results of some experiments using mobile sensors in patches of pure data. We are considering normal sensor, connected devices and Android also focusing on information as hotspots available as our best improvement in this way. During testing was performed some communication through the web server, implementing push notifications, and we apply this approach in smart phone applications to react on interactive sound installations. Ambient sound is generated using Pure Data patches, and is collectively changed in the installation environment. Sensors2PD is a generic application that can load any Pure Data patch and can be freely used for other experiments. The description of the application and installation ideas are discussed based on technical results of our tests. Our approach is analyzed as a good concept for use in mobile music performances and installations, with clear advantages for sound and music computing.
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unknown
DOI: 10.5281/zenodo.850673
Zenodo URL: https://zenodo.org/record/850673
2014.205
Short-term and Long-term Evaluations of Melody Editing Method Based on Melodic Outline
Kitahara, Tetsuro Nihon University; Tokyo, Japan
Tsuchiya, Yuichi Nihon University; Tokyo, Japan
Abstract
In this paper, we describe short-term and long-term evaluations of our melody editing method based on a melodic outline. There have been a lot of attempts at automatic music composition, but only few allow musically untrained users to easily edit the melodies automatically composed. This is an important issue because it is difficult for such users to express what kind of melody they want in a machine-readable form and accordingly the generated melodies are often different from what they want. Based on this motivation, we proposed a melody editing method based on a melodic outline in which notewise information is hidden. Although we obtained promising results through a small user test, we did not conduct sufficient experiments. In this paper, we report the results of two experiments: one short-term and one long-term. In the shortterm experiment, we compared our method to the pianoroll interface. In the long-term experiment, we followed how users’ minds change through continously using our system. The results of both experiments showed the effects of our melody editing method.
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unknown
DOI: 10.5281/zenodo.850818
Zenodo URL: https://zenodo.org/record/850818
2014.206
SkipStep: A Multi-paradigm Touch-screen Instrument
Sarwate, Avneesh Department of Computer Science, Princeton University; Princeton, United States
Snyder, Jeff Department of Music, Princeton University; Princeton, United States
Abstract
SkipStep is a novel touchscreen application that allows users to write, perform, and improvise music on multiple virtual instruments via MIDI. It is a looping-based instrument that incorporates step sequencer and keyboard inspired interfaces with generative music capabilities. Additionally, SkipStep allows for collaborative performance over Wi-Fi, allowing users to either send musical material between separate SkipStep instances or collaboratively edit a single SkipStep file. This paper will provide the motivation behind SkipStep’s design, review similar interfaces, describe SkipStep, present a user evaluation of the interface, and detail future work
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unknown
DOI: 10.5281/zenodo.850675
Zenodo URL: https://zenodo.org/record/850675
2014.207
SoDA: A Sound Design Accelerator for the Automatic Generation of Soundscapes From an Ontologically Annotated Sound Library
Valle, Andrea CIRMA/StudiUm, Università di Torino; Torino, Italy
Armao, Paolo Freelance Sound Designer - Zero dB, Independent; Italy
Casu, Matteo CELI srl; Torino, Italy
Koutsomichalis, Marinos CIRMA/StudiUm, Università di Torino; Torino, Italy
Abstract
In this paper we describe the SoDA project, that aims at automatically generating soundscapes from a database of annotated sound files. The rationale of the project lies in the ubiquitous requirement for sound designer to produce backgrounds that include specific multi-layered sound materials. SoDA provides an ontologically-annotated database that allows the sound designer to describe the desired soundscape by keywords: by referring to the database, the system then delivers a resulting audiofile.
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unknown
DOI: 10.5281/zenodo.850937
Zenodo URL: https://zenodo.org/record/850937
2014.208
Some Perspectives in the Artistic Rendering of Music Scores
Evangelista, Gianpaolo Institute for Electroacoustics and Music Composition, University of Music and Performing Arts (MDW); Vienna, Austria
Abstract
Inspired by contemporary arts, we strive to apply visual techniques and concepts to the rendering of acousmatic and electroacoustic music scores over new and old media. In fact, the changed role of the score in music offers the opportunity for considering it as an object of art in itself, since it can and should be shared with and be enjoyed by the audience, while maintaining its usefulness to the composer, as well as to the eventual instrumentalists. In particular, we consider lenticular media for the rendering of multiple parts scores or even of three dimensional scores. Furthermore, we consider techniques related to the perception of color contrast for the rendering of simple geometric objects, such as lines and curves, with artistic nuances. The main point brought about by this paper is a reflection on how visual art styles and graphic design can be bent to represent structural elements of the score while keeping their meaning alive and making their look pleasant.
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unknown
DOI: 10.5281/zenodo.850781
Zenodo URL: https://zenodo.org/record/850781
2014.209
Sonic Scenography - Equalized Structure-borne Sound for Aurally Active Set Design
Lähdeoja, Otso Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Haapaniemi, Aki Department of Media Technology, Aalto University; Espoo, Finland
Välimäki, Vesa Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Abstract
This paper suggests the use of a plywood panel, which is also a scenographic element in a dance performance, as a flat speaker. The sound emanating from the panel is subjectively different from a traditional loudspeaker, since the sound appears to originate from behind the panel. However, its frequency response is severely coloured by the panel modes, and the panel has a displeasing low pass-filtered sound. We propose a digital equalizing filter to improve the sound quality of the panel. The panel response is measured at various angles using the sinesweep method, and a smoothed average response is formed. A minimum-phase FIR equalizing filter is then designed using an FFT-based technique. Applying this filter to the input signal of the panel alleviates the spectral imbalance. As the measurement and filter design can be conducted online on the scene, the proposed equalized structure-borne sound now becomes an attractive possibility for modern performances.
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unknown
DOI: 10.5281/zenodo.850973
Zenodo URL: https://zenodo.org/record/850973
2014.210
Sonification of Controlled Quantum Dynamics
Kontogeorgakopoulos, Alexandros Cardiff School of Art and Design, Cardiff Metropolitan University; Cardiff, United Kingdom
Burgarth, Daniel Department of Mathematics and Physics, Aberystwyth University; Aberystwyth, United Kingdom
Abstract
In the present paper we employ sonification and simple electroacoustic composition techniques to represent simulated controlled quantum dynamics. We suggest an intuitive sonification process in order to represent acoustically and musically an important quantum phenomenon that is used in quantum computation. A interesting problem in this field has been to understand why states floats back and forth between a number of configurations, seemingly unguided, and yet almost miraculously reach target eventually. Through Parameter-Mapping-Sonification we explore the dynamics of this microscopic peculiar system. In our current research, our sonification choices have both a functional and an aesthetic goal.
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unknown
DOI: 10.5281/zenodo.850884
Zenodo URL: https://zenodo.org/record/850884
2014.211
Sound and Music Computing at Aalborg University in Copenhagen
Serafin, Stefania Aalborg University Copenhagen; Copenhagen, Denmark
Dahl, Sofia Aalborg University Copenhagen; Copenhagen, Denmark
De Götzen, Amalia Aalborg University Copenhagen; Copenhagen, Denmark
Erkut, Cumhur Aalborg University Copenhagen; Copenhagen, Denmark
Overholt, Daniel Aalborg University Copenhagen; Copenhagen, Denmark
Purwins, Hendrik Aalborg University Copenhagen; Copenhagen, Denmark
Sturm, Bob Luis Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
In this studio report we present the research and teaching activities of the Sound and Music Computing Group at Aalborg University Copenhagen. A new Master education in Sound and Music Computing which starts on September 2014 is introduced.
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unknown
DOI: 10.5281/zenodo.851007
Zenodo URL: https://zenodo.org/record/851007
2014.212
Sound and Music Computing Meets Philosophy
Risset, Jean-Claude Laboratoire de Mécanique et d’Acoustique, Laboratoire de Mécanique et d'Acoustique (LMA); Marseille, France
Abstract
Philosophy was born in Greece: it raised fundamental questions, some of which were revived since 1957, when it became possible to compute sound and music. All material substances are made of atoms: modularity is at work in chemistry, linguistics, but also in music. Sounds can be synthesized from other sounds, but one cannot exhibit genuine atoms of sound. The question of simple versus multiple is crucial: as Chowning demonstrated, a mix of sound components can be heard as a single sonic entity or as a multiplicity of sounds. Sounds have objective reality, but auditory illusions demonstrate the idiosyncrasies of perception and remind us of Protagoras’ claim that “of all things the measure is man”. Chaos was present in the views of Anaxagoras. Pythagoras – echoed by Leibniz - insisted that numbers rule the world, including musical harmony, whereas Aristoxenus argued that the justification of music is in the ear of the listener rather in a mathematical rationale. Sound and music computation follows Pythagoras, but the importance of aural perception supports the motto of Aristoxenus. Myths like the New Atlantis and the Nietzschean distinction between apollinian and dyonisiac are still with us. Sound and music computing is still an Odyssey.
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unknown
DOI: 10.5281/zenodo.850447
Zenodo URL: https://zenodo.org/record/850447
2014.213
Sound of Rivers: Stone Drum: A Multimedia Collaboration, with Sonified Data, Computer-processed Narration, and Electric Violin
Nichols, Charles Institute for Creativity, Arts, and Technology, School of Performing Arts, Virginia Tech; Blacksburg, United States
Lorang, Mark Flathead Lake Biological Station, University of Montana; Polson, United States
Gibbons, Mark Independent research, Independent; United States
Bradley Browning, Nicole School of Dance, University of Montana; Missoula, United States
Bushnell, Amber College of Visual and Performing Arts, University of Montana; Missoula, United States
Abstract
Sound of Rivers: Stone Drum is a multimedia collaboration, between choreographer Nicole Bradley Browning, animator and video artist Amber Marjorie Bushnell, poet and narrator Mark Gibbons, and composer and electric violinist Charles Nichols, with dancer Allison Herther and narrator Stephen Kalm. The piece illuminates research by scientist Mark Lorang, into how fish and insects navigate the ecosystem of floodplains, by the sound of rivers. The project began with three floats down the Middle Fork Flathead River, where audio and data were recorded, on and in the river, and at the field station. The data were used to ramp amplitudes of bandpass filterbanks, to process recordings above and below water, and to drive a bowed-string physical model. Poetry was written, based on an explanation of the scientific research, and choreography, animation, computerprocessed narration, and an electric violin part were composed around the structure of the poem. The piece was performed live with a narrator, dancer, video artist, and electric violinist, and later developed into a fixed media piece.
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unknown
DOI: 10.5281/zenodo.850569
Zenodo URL: https://zenodo.org/record/850569
2014.214
Sound Processes: A New Computer Music Framework
Rutz, Hanns Holger Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
Sound Processes is an open source computer music framework providing abstractions suitable for composing realtime sound synthesis processes. It posits a memory model that automatically persists object graphs in a database, preserving the evolution of these objects over time and making them available either for later analysis or for incorporation into the compositional process itself. We report on the experience of using a prototype of this framework for a generative sound installation; in a second iteration, a graphical front-end was created that focuses on tape music composition and introduces new abstractions. Using this more controlled setting allowed us to study the implications of using a live versioning system for composition. We encountered a number of challenges in this system and present suggestions to tackle them: the relationship between compositional time (versions) and performance time; the relationship between text and interface and between object dependencies and interface; the representation, organisation and querying of musical data; the preservation and evolution of compositions.
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Paper type
unknown
DOI: 10.5281/zenodo.850939
Zenodo URL: https://zenodo.org/record/850939
2014.215
SoundScapeTK: A Platform for Mobile Soundscapes
Stoll, Thomas Kitefish Labs; Buffalo, United States
Abstract
SoundScapeTK is a set of software tools for soundscape composition utilizing smartphones. Developed as an outgrowth of earlier technological solutions, the software is a simple system for developing and deploying a series of sounds placed in a physical space using GPS information from individuals’ phones. The user experiences mixtures of these sounds as he/she moves about, with location information triggering all responses and interaction. The software is described in terms of its current core features, along with possibilities for extension and further capabilities.
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Paper type
unknown
DOI: 10.5281/zenodo.850975
Zenodo URL: https://zenodo.org/record/850975
2014.216
Sound Shapes and Spatial Texture: Frequency-space Morphology
Stuart, James Edith Cowan University; Perth, Australia
Abstract
The use of Wave Terrain Synthesis as a control mechanism is a governing system that allows the performer to create a complex and coordinated change across an existing complex parametric system. This research has focused largely on the application of Wave Terrain Synthesis for the control of Timbral Spatialisation. Various mappings of the Wave Terrain mechanism are discussed, to highlight some various ways in which frequency-space morphology may be approached with such a model. With the means of smoothly interpolating between various terrain and trajectory states allow the performer to control the evolving nature of sound shapes and spatial texture generated by the model.
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unknown
DOI: 10.5281/zenodo.850886
Zenodo URL: https://zenodo.org/record/850886
2014.217
Spatial and Kinematic Models for Procedural Audio in 3D Virtual Environments
Pecino Rodriguez, Jose Ignacio NOVARS Research Centre, University of Manchester; Manchester, United Kingdom
Abstract
In the last years an increasing interest can be observed for developments in game engine technologies as a versatile creative tool. In particular, the possibility to visualize and simulate real-time complex physical behaviors facilitates the design and implementation of 3D virtual music instruments and the exploration of sound gesture as a result of their kinematic and spatial properties. This paper describes two case examples in the form of linear compositions based on non-conventional instrumental designs where audio is procedurally generated using custom-built APIs in the game engine scripting language (Unity3D-Javascript/C#). Sound events are also organized as a sequence of flexible code instructions, resulting in a quasi-fixed piece duration with subtle timbral variations over multiple playbacks. In both cases, the model presented shows inherit spatial characteristics, which are useful in order to build spatialization patterns in a multichannel loudspeakers configuration and emphasize the strong causal connection between the visual and sonic aspects of these works.
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unknown
DOI: 10.5281/zenodo.850703
Zenodo URL: https://zenodo.org/record/850703
2014.218
Spatialization Symbolic Music Notation at ICST
Ellberger, Emile ICST - Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Toro Pérez, Germán ICST - Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Schuett, Johannes ICST - Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Zoia, Giorgio ICST - Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Cavaliero, Linda ICST - Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
SSMN intends to develop a conceptual framework and a tool set that allows composers to integrate spatialization in musical notation from the onset of the creation process. As the composition takes form and graphic symbols expressing spatialization is introduced into the score, instant audio rendering provides feedback within a surround sound configuration. In parallel, SSMN helps interpreters and audio engineers to learn and master scores that contain complex instructions of motion in space easily recognizable both in printed and animated electronic format. At first the SSMN SpatialTaxonomy was established to identify key motion in space possibilities within musical context; consequently, a collection of SSMN Symbols has been designed and implemented in a software library of graphical objects within MuseScoreSSMN, a dedicated editor that has been developed to allow interactive use of this library along with CWMN. In order to bridge the gap between visual elements and audio perception, the SSMN Rendering Engine application is at the heart of OSC inter-application communication strategies allowing the use of DAW and user-defined programming environments along with MuseScoreSSMN. A prototype has been prepared and tested by a user group consisting of composers and performers. Further research shall address other user cases integrating electroacoustic paradigms.
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unknown
DOI: 10.5281/zenodo.850787
Zenodo URL: https://zenodo.org/record/850787
2014.219
Spatial Transformations in Simplicial Chord Spaces
Bigo, Louis Department of Computer Science and Artificial Intelligence, University of the Basque Country (UPV/EHU); San Sebastián, Spain
Ghisi, Daniele Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Spicher, Antoine Laboratoire d’Algorithmique, Complexité et Logique (LACL), Université Paris-Est Créteil (UPEC); Paris, France
Andreatta, Moreno Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In this article, we present a set of musical transformations based on chord spaces representations derived from the Tonnetz. These chord spaces are formalized as simplicial complexes. A piece is represented in such a space by a trajectory. Spatial transformations are applied on these trajectories and induce a transformation of the original piece. These concepts are implemented in two applications, the software HexaChord and the Max object bach.tonnetz, respectively dedicated to music analysis and composition.
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unknown
DOI: 10.5281/zenodo.850783
Zenodo URL: https://zenodo.org/record/850783
2014.220
Spatial Utilization of Sensory Dissonance and the Creation of Sonic Sculpture
Hansen, Brian Media Arts & Technology Program, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Abstract
Issues of musically consonant and dissonant sonorities have defined compositional practices for centuries. Contributing to our understanding of consonant and dissonant sonorities is the quantification of sensory dissonance. There has been much research done in developing a method to quantify the sensory dissonance between two tones. All methods consider the physical and psychoacoustical aspects of sonic perception. However, these models typically ignore the dimension of physical space. This paper aims to develop a model for representing sensory dissonance in three-dimensional space. In doing so, the proposed method accounts for factors that impact the spatialization of sound and, in turn, sensory dissonance. These factors include the inverse-square law, atmospheric absorption, and phase. The implementation of these factors will be discussed in detail, ultimately resulting in a method to model the sensory dissonance of sound in space. Once the method is established, dissonance fields will be calculated, displaying the contours of dissonance that occur in a given space with multiple sound sources. It will then present how such dissonance fields and contours can be utilized to create atmospheric sculptures resulting from the sonic arrangement of a given space.
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not available
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unknown
DOI: 10.5281/zenodo.850705
Zenodo URL: https://zenodo.org/record/850705
2014.221
Spinphony Demo
Nilsen, Mark Robert spinphony.com, Independent; United States
Abstract
Spinphony is a program that turns pictures into music. The basis of this project was to create a program for iOS devices that would give anyone a tool to create original music. Spinphony uses the user’s own pictures as input. Pixel data is turned into control codes that trigger Spinphony’s sound engine. Some of the techniques used include note mapping and frequency quantization to coerce the data into a musical tonality and motif functions to give a rhythmic cohesiveness to the output. Additive and FM synthesis are the main sound generating synthesis types. The overall philosophy was to balance user interaction and internal algorithms as they relate to interpretation of the image-driven data stream. The result gives the program immersive interactive capabilities but also clearly image-driven musical output. Spinphony has succeeded in enabling non musicans and professional musicians to explore and create original music in a new way.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.851003
Zenodo URL: https://zenodo.org/record/851003
2014.222
StiffNeck: The Electroacoustic Music Performance Venue in a Box
Eckel, Gerhard Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Rumori, Martin Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
StiffNeck is a tool for the auralisation of electroacoustic music performance venues based on measured room impulse responses. It has been developed to support in situ composition, a particular approach towards creating sitespecific electroacoustic music works. This compositional practice tries to take maximum advantage of the particularities of irregular loudspeaker configurations and their interaction with the acoustics of the room. StiffNeck can also be used to rehearse acousmatic performances, to test sound rendering with standard spatialisation techniques using regular loudspeaker configurations or to produce artificial sonic spaces in the context of studio work. StiffNeck comes with a large set of room impulse responses covering various loudspeaker configurations measured with an extensive array of microphones in KUG’s György Ligeti Hall in Graz. In addition to the convolution based auralisation, StiffNeck provides geometric representations of the loudspeakers, measurement positions, and the hall which can be used for purposes of visualisation but also for performing geometric calculations informing sound synthesis and projection. StiffNeck has been used to produce a variety of in situ compositions and has been evaluated informally at several occasions in various ways. The open source tool is available as standalone application and as a SuperCollider Quark.
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not available
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unknown
DOI: 10.5281/zenodo.850609
Zenodo URL: https://zenodo.org/record/850609
2014.223
Study of the Perceptual and Semantic Divergence of Digital Audio Processed by Restoration Algorithms
Cenceschi, Sonia Politecnico di Milano; Milano, Italy
Klauer, Giorgio Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Abstract
This research integrates sensory and scientific instruments to analyze the relationship between subjective evaluations of digitally restored audio and its computer extracted perceptual descriptors. Statistical methods have been used to compare the displacement of three types of remediated content in subspaces obtained by data expressed both by individuals and by feature extraction algorithms. Qualitative demands in audio restoration are tightly connected to the information embedded in remediated content: it is crucial the awareness that every choice is re-balancing it and affecting its reception. Listeners in their turn don’t do an acousmatic reduction of auditory information but recode it interleaving contextual and aesthetic approaches, according to their sensitivity and being influenced by their cultural background. Thanks to the analysis of the displacement in subspaces related to the descriptive characteristics with greater variability, the semantic divergence resulting from the operations of improving the quality of sound was interpreted and a predictive model aimed at their optimization was assumed.
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unknown
DOI: 10.5281/zenodo.850741
Zenodo URL: https://zenodo.org/record/850741
2014.224
Swarm Lake: A Game of Swarm Intelligence, Human Interaction and Collaborative Music Composition
Kaliakatsos-Papakostas, Maximos School of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Floros, Andreas Audiovisual Signal Processing Lab, Department of Audiovisual Arts, Ionian University; Corfu, Greece
Drossos, Konstantinos Audiovisual Signal Processing Lab, Department of Audiovisual Arts, Ionian University; Corfu, Greece
Koukoudis, Konstantinos Department of Audiovisual Arts, Ionian University; Corfu, Greece
Kyzalas, Manolis Department of Audiovisual Arts, Ionian University; Corfu, Greece
Kalantzis, Achilleas Department of Audiovisual Arts, Ionian University; Corfu, Greece
Abstract
In this work we aim to combine a game platform with the concept of collaborative music synthesis. We use bioinspired intelligence for developing a world - the Lake - where multiple tribes of artificial, autonomous agents live within, having survival as their ultimate goal. The tribes exhibit primitive social swarm-based behavior and intelligence, which is used for taking actions that will potentially allow to dominate the game world. Tribes’ populations also demonstrate a number of physical properties that restrict their ability to act illimitably. Multiuser intervention is employed in parallel, affecting the automated decisions and the physical parameters of the tribes, thus infusing the gaming orientation of the application context. Finally, sound synthesis is achieved through a complex mapping scheme established between the events occurring in the Lake and the rhythmic, harmonic and dynamic-range parameters of an advanced, collaborative sound composition engine. This complex mapping scheme allows the production of interesting and complicated sonic patterns that follow the performance evolution in both objective and conceptual levels. The overall synthesis process is controlled by the conductor, a virtual entity that determines the synthesis evolution in a way that is very similar to directing an ensemble performance in real world.
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unknown
DOI: 10.5281/zenodo.850571
Zenodo URL: https://zenodo.org/record/850571
2014.225
Symmetrical and Geometrical Cycles in Twelve-tone Composition: Developments Toward a New Model
Marques, Telmo Research Center for Science and Technology of the Arts (CITAR), Portuguese Catholic University; Porto, Portugal
Ferreira-Lopes, Paulo Research Center for Science and Technology of the Arts (CITAR), Portuguese Catholic University; Porto, Portugal
Abstract
The development of a pre-compositional model is proposed in this study based on two systems with two design perspectives: Schoenberg’s Serialism and Perle’s TwelveTone Tonality (from now on TTT). Schoenberg’s perspective reveals a linear design where the set has functions like those of a motive; on the other hand, Perle’s design result in harmonic simultaneities based on symmetric cycles. The authors propose a model for 12-tone composition that assumes an interactive approach between the horizontal and the vertical statements toward a new pre-compositional system based on geometrical and symmetrical issues. This model is being implemented in PWGL for Computer Aided Composition (CAC) in order to assist the extrapolation of the Motivic/Harmonic fundamental requirements of the model. Finally, the empiric outcome produced in the form of musical composition was analyzed, although not presented in its entirety in the scope of this paper.
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not available
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unknown
DOI: 10.5281/zenodo.850573
Zenodo URL: https://zenodo.org/record/850573
2014.226
SYSTab: A Proactive Real-time Expert System for Ancient Greek Music Theory and Notation
Carlé, Martin Medienwissenschaft, Humboldt-Universität zu Berlin; Berlin, Germany
Abstract
When studying the corpus of ancient Greek music theory and related literature [1], one invariably finds oneself confronted with references to a multiplicity of 'scales' (nomoi, harmoniai, systemata, tonoi) and diverse shades (chroai) of tunings. During the dawn of European science, epistemological considerations of the phenomena of pitch and harmony played a major role and acted as a sensually accessible, quasi-experimental match-maker of later on diverging fields of knowledge and methodologies. Disputes about the right way approaching pitch in general and how to systematically deal with fine pitch variations in particular are legend [2], latest since Plato's famous metaphor of vexing and torturing strings on the rack [2, Politeia 530d-531c] and Aristoxenus rejection of musical notation (parasemtike techne) as mere eye candy [3, 49.16-50.18]. Besides the instrumental re-production and subjective acoustical comparison of pitched sounds (phthoggoi), diverging methods based on different scientific media like numbers, diagrams and specially designed signs were used to analyse, to theorise and to encode phenomena bestowed by the muses that we are used to call 'music' - still at this joined conference.
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unknown
DOI: 10.5281/zenodo.850997
Zenodo URL: https://zenodo.org/record/850997
2014.227
Tactile Composition: Configurations and Communications for a Musical Haptic Chair
Armitage, Joanne ICSRiM – School of Music and School of Computing, University of Leeds; Leeds, United Kingdom
Ng, Kia ICSRiM – School of Music and School of Computing, University of Leeds; Leeds, United Kingdom
Abstract
Musical experiences can be highly multisensory, from obvious auditory stimulation, to the visual elements of a live performance, and physical excitement of the body. In this paper, we propose a means of incorporating an additional somatic channel of communication into live performances and compositional practice to further augment the physical nature of live performance. This work explores the integration of augmented vibratory, or haptic stimulation for audiences in live performance. The vibration interface is presented as an expressive and creative live performance-based tool for composers. Vibrations, or haptics, are implemented as an additional instrumental line, alongside auditory musical gestures, to expand the composer’s palette of expressions through augmented somatic engagement. The paper starts with the work’s overall context, followed by related literature from exisitng projects that have informed this research. It also includes a discussion of the design and development of an array of vibrating motors, a composition produced for the system, and ongoing work.
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unknown
DOI: 10.5281/zenodo.850611
Zenodo URL: https://zenodo.org/record/850611
2014.228
tactile.motion: An iPad Based Performance Interface for Increased Expressivity in Diffusion Performance
Johnson, Bridget New Zealand School of Music (NZSM); Wellington, New Zealand
Norris, Michael New Zealand School of Music (NZSM); Wellington, New Zealand
Kapur, Ajay Victoria University of Wellington; Wellington, New Zealand
Abstract
This paper presents recent developments in interface design for the diffusion performance paradigm. It introduces a new custom-built iPad application tactile.motion, designed as a performance interface for live sound diffusion. The paper focuses its discussion on the intuitive nature of the interface’s design, and the ways it aims to increase expressivity in spatial performance. The paper also introduces the use of autonomous behaviors as a way to encourage live control of a more dynamic spatial field. It is hoped that this interface will encourage new aesthetics in diffusion performance.
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unknown
DOI: 10.5281/zenodo.850691
Zenodo URL: https://zenodo.org/record/850691
2014.229
Takt: A Read-eval-play-loop Interpreter for a Structural/Procedural Score Language
Nishimura, Satoshi University of Aizu; Aizuwakamatsu, Japan
Abstract
A new language for describing musical scores as well as its interpreter is developed. The language allows a concise description of note and chord sequences, and at the same time, it provides rich programming functionalities with Clike syntax, which are useful for algorithmic composition. Representing structures in music such as repetitive occurrences of a common phrase or its variation is supported with macros and phrase transformation modules. The interpreter enables us to execute its program code interactively with a read-eval-play loop. The interpreter can also be used for the real-time processing of MIDI events coming from input devices. The language is extensible in that C functions can be called from its program code.
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unknown
DOI: 10.5281/zenodo.850977
Zenodo URL: https://zenodo.org/record/850977
2014.230
Tangibility and Low-level Live Coding
Diapoulis, Georgios No affiliation, Independent; Greece
Zannos, Ioannis Department of Audiovisual Arts, Ionian University; Corfu, Greece
Abstract
Current advances in digital fabrication are accompanied by efforts to bring about increased facility in the fabrication of digital circuits. In this context, tangibility can apply to the intimate contact with objects as programmable entities forming part of the human-material loop in the sense of physical computing. In this paper, we explore the possibilities of making music with very simple circuits, using an equally minimal interface for live interaction with the hardware. Our aim is to find new ways for experiencing the behavior of circuits and for navigating inside the data space of generative algorithms with musical devices by using minimal interfaces, while involving both human and machine in the perception of the musical output. In our experiment we have focused on the lowest level of the machine language [1], that of manipulating bits in real-time. Furthermore, we attempt to tighten the loop between human and machine by introducing a machine listening component which processes the output of the human-machine interaction. This splits the perceptual feedback loop into a human and a machine part, and makes the final output a joint outcome of both.
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not available
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unknown
DOI: 10.5281/zenodo.850575
Zenodo URL: https://zenodo.org/record/850575
2014.231
Tangibility, Presence, Materiality, Reality in Artistic Creation With Digital Technology
Cadoz, Claude Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Luciani, Annie Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Villeneuve, Jérôme Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Kontogeorgakopoulos, Alexandros CSAD, Cardiff School of Art and Design; Cardiff, United Kingdom
Zannos, Ioannis Ionian University; Corfu, Greece
Abstract
The democratization of Computer Arts and Computer Music has, due to dematerialization (virtualization) consequence of digital technologies, considerably widened the boundaries of creativity. As we are now entering a second phase that has been labeled “post-digital”, we are called to reconcile this openness with notions such as embodiment, presence, enaction and tangibility. These notions are in our view inherently linked to creativity. Here we outline some approaches to this problem under development within the “European Art-ScienceTechnology Network” (EASTN 1 ). Several areas of artistic creation are represented (Music, Animation, Multisensory Arts, Architecture, Fine Arts, Graphic communication, etc.). A main objective of this network is to establish common grounds through collaborative reflection and work on the above notions, using the concept of tangibility as a focal point. In this paper we describe several different approaches to the tangibility, in relation to concepts such as reality, materiality, objectivity, presence, concreteness, etc. and their antonyms. Our objective is to open a debate on tangibility, in the belief that it has a strong unifying potential but is also at the same time presents challenging and difficult to define. Here we present some initial thoughts on this topic in a first effort to bring together the approaches that arise from the different practices and projects developed within the partner institutions involved in the EASTN network.
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unknown
DOI: 10.5281/zenodo.850677
Zenodo URL: https://zenodo.org/record/850677
2014.232
TC-Data: Extending Multi-touch Interfaces for Generalized Relational Control
Schlei, Kevin Department of Music, Peck School of the Arts, University of Wisconsin-Milwaukee; Milwaukee, United States
Abstract
This paper presents TC-Data, an OSC and MIDI controller application for iPad that uses multi-touch relational control. The application is designed to allow for customization of controller data streams and message formatting. This paper discusses the design of the programming interface, as well as the control paradigms that best fit the application's functionality. The concept of a convoluted control state is considered as a guide for programming target systems.
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unknown
DOI: 10.5281/zenodo.850679
Zenodo URL: https://zenodo.org/record/850679
2014.233
Teaching Robots to Conduct: Automatic Extraction of Conducting Information From Sheet Music
Salgian, Andrea The College of New Jersey; Ewing, United States
Agina, Laurence The College of New Jersey; Ewing, United States
Nakra, Teresa Marrin The College of New Jersey; Ewing, United States
Abstract
While a large number of human computer interaction systems are aimed at allowing the user to conduct a virtual orchestra, very few attempts have been made to solve the reverse problem of building a computerbased conductor that can conduct a real orchestra. The only known instances of robotic conductors had prerecorded performances that require reprogramming for every new musical piece. In this paper we present a family of artificial conducting systems that rely on a novel parsing algorithm to extract conducting information from sheet music encoded in MIDI files. The algorithm was successfully implemented in humanoid and non-humanoid robots and animations and tested in a live concert with student musicians.
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unknown
DOI: 10.5281/zenodo.850820
Zenodo URL: https://zenodo.org/record/850820
2014.234
Tempo Prediction Model for Accompaniment System
Wada, Shizuka Chiba University; Chiba, Japan
Horiuchi, Yasuo Chiba University; Chiba, Japan
Kuroiwa, Shingo Chiba University; Chiba, Japan
Abstract
In this paper, we propose a tempo prediction model for an accompaniment system. To realize a system that acts as a human performer, it is necessary to clarify how performance control is done by human accompanists. In our previous study, we proposed a method for predicting the next beat time by using the previous history of two parameters: the time difference between the soloist and accompanist and the change of the beat duration of the accompanist. However, the study analyzed only simple music that consisted of notes with the same musical length; therefore, the model cannot be applied to general music with different note lengths. In this study, we analyze general ensemble recordings by virtuosi to investigate the effectiveness of prediction with the two parameters proposed in the previous study and a newly added parameter: the time length difference between the soloist and accompanist. Then, we propose a method for predicting the next beat time of the accompanist that is applicable to general music. The result of an evaluation experiment shows that this model can predict the next beat time with errors of 25 - 45 ms.
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unknown
DOI: 10.5281/zenodo.850846
Zenodo URL: https://zenodo.org/record/850846
2014.235
Test Methods for Score-Based Interactive Music Systems
Poncelet, Clément STMS, DGA & INRIA, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Jacquemard, Florent STMS, INRIA, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Score-Based Interactive Music Systems (SBIMS) are involved in live performances with human musicians, reacting in realtime to audio signals and asynchronous incoming events according to a pre-specified timed scenario called a mixed score. This implies strong requirements of reliability and robustness to unforeseen errors in input. In this paper, we present the application of formal methods for black-box conformance testing of embedded systems to SBIMS’s. We describe how we have handled the 3 main problems in automatic testing reactive and realtime software like SBIMS: (i) the generation of relevant input data for testing, including delay values, with the sake of exhaustiveness, (ii) the computation of the corresponding expected output, according to a given mixed score, (iii) the test execution on input and verdict. Our approach is based on formal models compiled from mixed scores. Using a symbolic checker, such a model is used both for (i), by a systematic exploration of the state space of the model, and for (ii) by simulation on a given test input. Moreover, we have implemented several scenarios for (iii), corresponding to different boundaries for the implementation under test (black box). The results obtained from this formal test method have permitted to identify bugs in the SBIMS Antescofo.
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not available
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unknown
DOI: 10.5281/zenodo.850743
Zenodo URL: https://zenodo.org/record/850743
2014.236
The Black Swan: Probable and Improbable Communication Over Local and Geographically Displaced Net-worked Connections as a Musical Performance System
Aska, Alyssa University of Calgary; Calgary, Canada
Abstract
The Black Swan is a networked performance system for two groups of non-specific performers. The work derives its title and inspiration from Nicolas Taleb’s description of extreme and catastrophic events. These “black swan” events are characterized as being outliers, unpredictable, and yet completely explainable when viewed in retrospect. The Black Swan uses this concept in performance; throughout the piece a group of instrumentalists is solely responsible for interpreting the score while a group of motion-tracked performers advance the score. However, when the “Black Swan” occurs, the motion-tracked group begins to generate sound, an event that the instrumentalists could not have anticipated. A third party is responsible for distributing instructions to each performance group over the network during the performance. Therefore, The Black Swan explores the way networked performers communicate with each other as well as the dramaturgy between ensemble members in a networked setting.
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unknown
DOI: 10.5281/zenodo.850613
Zenodo URL: https://zenodo.org/record/850613
2014.237
The Breath Engine: Challenging Biological and Technological Boundaries Through the Use of NK Complex Adaptive Systems
Cantrell, Joe University California, San Diego (UCSD); San Diego, United States
Zyskowski, Colin University California, San Diego (UCSD); San Diego, United States
Ceccato, Drew University California, San Diego (UCSD); San Diego, United States
Abstract
Breath Engine is an interface and performance system that draws focus to the ephemeral nature of the actions of living beings and how they intersect with the world of the artificial and computational. The piece relies on human respiration to create and affect a generative sound synthesis system modeled on evolutionary algorithms. The respiration system is controlled by 1 - 3 participants, who wear oxygen masks that transfer the breath of the performers into electromechanical pressure sensors mounted in the project enclosure. These sensors convert the respiration levels of each performer into digital information, which is then used to affect a self-generative audio synthesis system. This generation is based on NK complex adaptive systems, which mathematician Stephen J. Lansing purports to be a potentially important factor in determining long term changes in mechanical and natural systems, such as biological evolution. This system generates iterative arrays of timbre and frequency that are perturbed by data received from the breathing sensors, causing chaotic reactions that eventually coalesce into repeating patterns. In this way, the piece will enact an evolving visual and sonic environment that questions the boundaries between the biological and the technological.
Keywords
not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850681
Zenodo URL: https://zenodo.org/record/850681
2014.238
The Centre Iannis Xenakis's Establishment at the University of Rouen
Delhaye, Cyrille Université de Rouen Normandie; Mont-Saint-Aignan, France / Centre Iannis Xenakis (CIX); Mont-Saint-Aignan, France
Bourotte, Rodolphe Centre Iannis Xenakis (CIX); Mont-Saint-Aignan, France
Kanach, Sharon Centre Iannis Xenakis (CIX); Mont-Saint-Aignan, France
Abstract
The Centre Iannis Xenakis is a continuation of Les Ateliers UPIC, the association founded in 1985 by Iannis Xenakis and Maurice Fleuret, to promote the machine for composing music by drawing, invented by Iannis Xenakis in 1977, called UPIC (Unité Polyagogique Informatique du CEMAMu). Since December 2010, the University of Rouen (France) welcomes the Centre Iannis Xenakis (CIX) on its premises. Under the auspices of the GRHIS (History Research Lab), the CIX has placed its archives on the shelves of the University’s Library and connected its UPIC machines on the premises of the Maison de l’Université (MDU, Scientific Culture pole). In addition to the conservation work, digitizing, cataloging and the valorization of 40 linear meters of its archives, the CIX is home to the latest version of the UPIC (2001) and continues to develop its software version (the UPIX).
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.851009
Zenodo URL: https://zenodo.org/record/851009
2014.239
The Counterpoint Game: Rules Constraints and Computational Spaces
Samory, Mattia Università di Padova; Padova, Italy
Mandanici, Marcella Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Peserico, Enoch Università di Padova; Padova, Italy
Abstract
We envision first species counterpoint as a fundamental step in defining rules in a game-theoretical approach to algorithmic composition. While previous literature focuses on producing counterpoints that are aesthetically pleasing, our work formalizes the space where cantus firmi and counterpoints can be considered valid. A set of common rules is extracted from a comparative analysis of treatises from the 18th to the 20th century, and a generative algorithm is implemented to explore the validity space. The results highlight the existence of a subset of cantus firmi that do not admit valid counterpoint. Human experts in a qualitative assessment perform similarly to our validation algorithm; at the same time, the systematic omission of single and pairs of rules does not eliminate such a subset. It follows either that unwritten musical knowledge must be rendered explicit to modify the proposed rule set, or that, in general, admitting valid counterpoint is not a necessary property of cantus firmus.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850789
Zenodo URL: https://zenodo.org/record/850789
2014.240
The Creation and Projection of Space-source in Electroacoustic Music
Lotis, Theodoros Department of Music, Ionian University; Corfu, Greece
Abstract
This paper develops the notion of space-source in electroacoustic music. Space-source is one of the four spatial categories, drawn from the theoretical work of Annette Vande Gorne (the other spatial categories are spaceambiophony, space-geometry and space-illusion). It demonstrates the methods by which space-source can be integrated into the compositional process and in the projection of electroacoustic music in performance. It examines different ways with which space-source is perceived and deciphered. The influential role of the loudspeaker installation for the projection of space-source is also a preoccupation in this paper. The art of projection plays a decisive role in the perception of electroacoustic music and the space-source in particular. The way we compose and hear electroacoustic music is defined by a loudspeaker-based approach. Individual or pairs of loudspeakers project sonic images, which are influenced by the acoustic properties of the listening space and the projection decisions made by the performer. Five spatial figures (Accentuation, Glittering, Unmasking, Insertion/rupture, Appearance/disappearance) are introduced as potential templates for the projection of space-source.
Keywords
not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850577
Zenodo URL: https://zenodo.org/record/850577
2014.241
The Effectiveness of Visual Feedback Singing Vocal Technology in Greek Elementary School
Stavropoulou, Sofia Department of music studies, University of Athens; Athens, Greece
Georgaki, Anastasia Department of music studies, University of Athens; Athens, Greece
Moschos, Fotis Department of Pedagogy, University of Athens; Athens, Greece
Abstract
The main scope of this research is to investigate children’s singing voice pitch accuracy and quality. The investigation was led in two elementary schools, mainly on children aging between 6 and 9. We have used common freeware 1 for visual feedback, in order to find out its degree of effectiveness on the improvement of the children’s pitch accuracy. The results indicated that through the use of visual feedback singing software and the teacher’s help, children are more motivated to sing in tune, to understand the vowel quality, and to learn how to improve their singing.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850989
Zenodo URL: https://zenodo.org/record/850989
2014.242
The Feature Extraction Based Hypersampler in Il Grifo nelle perle nere: A Bridge Between Player and Instrument Paradigm
Marinoni, Marco Conservatorio di musica “Giuseppe Verdi” di Como; Como, Italy
Abstract
This paper concerns the hypersampler implemented for my piece Il grifo nelle perle nere for piano and hypersampler, composed in 2008 and premiered during the 54 th Venice Biennale’s International Festival of Contemporary Music, in the framework of XVII CIM – Colloquium on Music Informatics. The hypersampler involves a real-time synthesis engine based on processes of feature extraction as an alternative to hyperinstruments’ physical control paradigm. Features are derived from the performance of a traditional musician on an acoustic instrument – a piano – and are used as a control for the mapping between the instantaneous power spectrum of the acoustic instrument’s sound output (the musical dynamics performed by the pianist) and realtime synthesis engine’s parameters.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850683
Zenodo URL: https://zenodo.org/record/850683
2014.243
The Future of Spatial Computer Music
Lyon, Eric ICAT, School of Performing Arts, Virginia Tech; Blacksburg, United States
Abstract
Composing computer music for large numbers of speakers is a daunting process, but it is becoming increasingly practicable. This paper argues for increased attention to the possibilities for this mode of computer music on the part of both creative artists and institutions that support advanced aesthetic research. We first consider the large role that timbre composition has played in computer music, and posit that this research direction may be showing signs of diminishing returns. We next propose spatial computer music for large numbers of speakers as a relatively unexplored area with significant potential, considering reasons for the relative preponderance of timbre composition over spatial composition. We present a case study of a computer music composition that focuses on the orchestration of spatial effects. Finally we propose some steps to be taken in order to promote exploration of the full potential of spatial computer music.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850707
Zenodo URL: https://zenodo.org/record/850707
2014.244
The Ghost in the MP3
Maguire, Ryan Virginia Center for Computer Music, McIntire Department of Music, University of Virginia; Charlottesville, United States
Abstract
The MPEG-1 or MPEG-2 Layer III standard, more commonly referred to as MP3, has become a nearly ubiquitous digital audio file format. First published in 1993 [1], this codec implements a lossy compression algorithm based on a perceptual model of human hearing. Listening tests, primarily designed by and for western-european men, and using the music they liked, were used to refine the encoder. These tests determined which sounds were perceptually important and which could be erased or altered, ostensibly without being noticed. What are these lost sounds? Are they sounds which human ears can not hear in their original contexts due to our perceptual limitations, or are they simply encoding detritus? It is commonly accepted that MP3's create audible artifacts such as pre-echo [2], but what does the music which this codec deletes sound like? In the work presented here, techniques are considered and developed to recover these lost sounds, the ghosts in the MP3, and reformulate these sounds as art.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850515
Zenodo URL: https://zenodo.org/record/850515
2014.245
The "Harmonic Walk": An Interactive Educational Environment to Discover Musical Chords
Mandanici, Marcella Department of Information Engineering, Università di Padova; Padova, Italy
Rodà, Antonio Department of Information Engineering, Università di Padova; Padova, Italy
Canazza, Sergio Department of Information Engineering, Università di Padova; Padova, Italy
Abstract
Harmony has always been considered a difficult matter to learn, also by experienced musicians. The aim of this paper is to present a system designed to provide unskilled users with an indication about the sound of the different harmonic regions and to help them to build a cognitive map of their relationships, linking musical perception to spatial abilities like orientation and wayfinding. The Harmonic Walk is an interactive environment which responds to the user’s position inside a rectangular space. Different chords are proposed to the user depending on her/his position. The user’s task is to find and to recognize them, and, then, to decide how to link the chords producing a convincing harmonic progression. This can be made by choosing a precise path to perform the best satisfying “harmonic walk”, selecting it among various possibilities. From a theoretical point of view the project is inspired to the neo-Riemannian ideas of harmony and parsimonious progressions, which try to give a wider and coherent framework to 19th century harmony and to its representation. The results of our preliminary tests confirm that, in a sample of children from 7 to 11 years old, most of the participants were able to locate the chords and to find some valid path to perform a harmonic progression.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850987
Zenodo URL: https://zenodo.org/record/850987
2014.246
The HOA Library, Review and Prospects
Sèdes, Anne MSH Paris Nord, LABEX Arts H2H, University Paris VIII; Paris, France
Guillot, Pierre MSH Paris Nord, LABEX Arts H2H, University Paris VIII; Paris, France
Paris, Elliot MSH Paris Nord, LABEX Arts H2H, University Paris VIII; Paris, France
Abstract
In this paper, we present the HOA Library, an open source high order ambisonic spatialisation tools collection programmed in C++. We expose the objectives and characteristics of the project, which treat the potential of high order Ambisonics in a musical perspective, based on the practice and the creativity of the electronic musicians. We clarify the context of use, the choice of optimization and decoding. We review the implementations of the library in various environments, such Max, Pure Data, and Faust. We discuss the use of feedback from musicians and members of especially Max and Pure Data community. Finally, we advance the prospects of the HOA library in its current developments in threedimensions.
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not available
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unknown
DOI: 10.5281/zenodo.850709
Zenodo URL: https://zenodo.org/record/850709
2014.247
The Notion of Ethos in Arabic Music: Computational Modeling of Al-Urmawi's Modes (13th Century) in Csound
Belhassen, Raed CICM EA 1572, University Paris VIII; Paris, France
Abstract
The notion of ethos in Arabic music is outlined in this paper through the writings and thoughts of al-Kindi, Ziriab, Ikhwan al-Safa, Avicenna and Saffiyu al-Din alUrmawi. The approach developed by al-Urmawi in his book "The book of cycles" will be studied and the ties woven between 13th Century modes and their ethos will be underlined. Al-Urmawi was the first Arabic theorist who defined a relationship between musical modes and their emotional influence on people's perception according to a classification in three categories: bravery, peaceful and sad characters. A computational model of these modes will be proposed using an object library developed in a Csound environment. A computational model of Saffiyu al-Din alUrmawi's intervallic system will be performed and the twelve cycles he defined in his book will be classified according to their ethos. The modeling of some of the idioms pertaining to Arabic music, such as the homophonic aspect of musical rendition, or ornamentation, will be addressed. Intrinsic units of the object library: UDO (User Defined Opcodes), function tables, Opcodes (operation codes), loops and conditions will be explained. Finally, the possibility of studying the effect these modes create on people will be considered.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850791
Zenodo URL: https://zenodo.org/record/850791
2014.248
The Place and Meaning of Computing in a Sound Relationship of Man, Machines, and Environment
Di Scipio, Agostino Department of Electroacoustic Music, Conservatorio Statale di Musica "Alfredo Casella" di L'Aquila; L'Aquila, Italy
Abstract
The following is a revised version of the text prepared by the author for his keynote speech at the opening session of the International Computer Music Conference 2013 (12.08.2013 Heath Ledger Theatre, State Theatre Centre, Perth, Western Australia). It bears on conceptual changes that have taken place, along the decades, in the shared notion of "computing" as relative to creative practices of soundand music-making. In particular, the notion of computing is considered vis a vis the relationship, either implicity established or deliberately designed by practitioners, to the (necessarily hybrid) technological infrastructures of their work, as well as to the surrouding physical space where such practices take place. A path is outlined across subsequent connotations of computational tasks and the coupling (or decoupling) of computing resources to the physical environment: from "calculation", to "communication", to "media processing", to "embedded (or physical or tangible) interfaces". The author then illustrates features of a sound installation of his own, where a structural coupling is handled between the acoustics of a room environment and the equipment (the latter including simple computational resources, beside proand consumer-level electroaoustic tranducers). The example raises questions as to the potential complexity and richness of creative sound-making emerging when larger and larger sets of data streams - from different sources in the environment - are admitted to, and are coordinated as part of, the computing process. A comprehensive view of the "performance ecosystem" is needed to handle this strong integration of technological layers, and a practice-led account is needed to propertly situate the performer's (and listener's) body in such performative practices.
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not available
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unknown
DOI: 10.5281/zenodo.850457
Zenodo URL: https://zenodo.org/record/850457
2014.249
The Procedural Sounds and Music of ECHO::Canyon
Hamilton, Robert Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
In the live game-based performance work ECHO::Canyon, the procedural generation of sound and music is used to create tight crossmodal couplings between mechanics in the visual modality, such as avatar motion, gesture and state, and attributes such as timbre, amplitude and frequency from the auditory modality. Real-time data streams representing user-controlled and AI driven avatar parameters of motion, including speed, rotation and coordinate location act as the primary drivers for ECHO::Canyon’s fullyprocedural music and sound synthesis systems. More intimate gestural controls are also explored through the paradigms of avian flight, biologically-inspired kinesthetic motion and manually-controlled avatar skeletal mesh components. These kinds of crossmodal mapping schemata were instrumental in the design and creation of ECHO::Canyon’s multiuser multi-channel dynamic performance environment using techniques such as composed interaction, compositional mapping and entirely procedurally-generated sound and music.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850579
Zenodo URL: https://zenodo.org/record/850579
2014.250
The Sound Effect of Ancient Greek Theatrical Masks
Kontomichos, Fotios Department of Electrical and Computer Engineering, University of Patras; Patras, Greece
Papadakos, Charalampos Department of Electrical and Computer Engineering, University of Patras; Patras, Greece
Georganti, Eleftheria Experimental Audiology, University Hospital of Zurich; Zurich, Switzerland
Vovolis, Thanos Dramatic Institute; Stockholm, Sweden
Mourjopoulos, Ioannis N. (John) Department of Electrical and Computer Engineering, University of Patras; Patras, Greece
Abstract
All theatrical forms developed in ancient Greece were forms of masked drama. Apart from the obvious change of the visual appearance of the actors, the masks also altered the acoustic characteristics of their voices. Therefore, both from the listener’s and the actor’s points of view these masks significantly modified the acoustic events and inevitably transformed the overall theatrical experience. In this work, we employ recreations of such masks and through controlled experiments, via measurements and simulations, we evaluate their impact on the acoustics of the most typical and famous of the ancient theatres, this one of Epidaurus. Emphasis is given on unraveling the character of the combined acoustics of the voice of masked actor and the response of such a theatre which is famous for its perfect acoustics for speech and drama plays.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850889
Zenodo URL: https://zenodo.org/record/850889
2014.251
The SpatDIF Library - Concepts and Practical Applications in Audio Software
Schacher, Jan C. Institute for Computer Music and Sound Technology ICST, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Miyama, Chikashi Studio for Electronic Music, Hochschule für Musik und Tanz Köln (HfMT Köln); Cologne, Germany
Lossius, Trond Bergen Center for Electronic Arts (BEK); Bergen, Norway
Abstract
The development of SpatDIF, the Spatial Sound Description Interchange Format, continues with the implementation of concrete software tools. In order to make SpatDIF usable in audio workflows, two types of code implementations are developed. The first is the C/C++ software library ‘libspatdif’, whose purpose is to provide a reference implementation of SpatDIF. The class structure of this library and its main components embodies the principles derived from the concepts and specification of SpatDIF. The second type of tool are specific implementations in audio programming environments, which demonstrate the methods and best-use practices for working with SpatDIF. Two practical scenarios demonstrates the use of an external in MaxMSP and Pure Data as well as the implementation of the same example in a C++ environment. A short-term goal is the complete implementation of the existing specification within the library. A long-term perspective is to develop additional extensions that will further increase the utility of the SpatDIF format.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850711
Zenodo URL: https://zenodo.org/record/850711
2014.252
The TR-808 Cymbal: A Physically-informed, Circuit-bendable, Digital Model
Werner, Kurt James Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abel, Jonathan S. Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Smith, Julius Orion III Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
We present an analysis of the cymbal voice circuit from a classic analog drum machine, the Roland TR-808 Rhythm Composer. A digital model based on this analysis (implemented in Cycling 74’s Gen ̃) retains the salient features of the original. Developing physical models of the device’s many sub-circuits allows for accurate emulation of circuit-bent modifications (including component substitution, changes to the device’s architecture, and voltage starve)—complicated behavior that is impossible to capture through black-box modeling or structured sampling. This analysis will support circuit-based musicological inquiry into the history of analog drum machines and the design of further mods.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850891
Zenodo URL: https://zenodo.org/record/850891
2014.253
The Use of Apprenticeship Learning via Inverse Reinforcement Learning for Generating Melodies
Messer, Orry University of the Witwatersrand; Johannesburg, South Africa
Ranchod, Pravesh University of the Witwatersrand; Johannesburg, South Africa
Abstract
The research presented in this paper uses apprenticeship learning via inverse reinforcement learning to ascertain a reward function in a musical context. The learning agent then used this reward function to generate new melodies using reinforcement learning. Reinforcement learning is a type of unsupervised machine learning where rewards are used to guide an agent’s learning. These rewards are usually manually specified. However, in the musical setting it is difficult to manually do so. Apprenticeship learning via inverse reinforcement learning can be used in these difficult cases to ascertain a reward function. In order to ascertain a reward function, the learning agent needs examples of expert behaviour. Melodies generated by the authors were used as expert behaviour in this research from which the learning agent discovered a reward function and subsequently used this reward function to generate new melodies. This paper is presented as a proof of concept; the results show that this approach can be used to generate new melodies although further work needs to be undertaken in order to build upon the rudimentary learning agent presented here.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850991
Zenodo URL: https://zenodo.org/record/850991
2014.254
The Use of Rhythmograms in the Analysis of Electroacoustic Music, With Application to Normandeau's Onomatopoeias Cycle
Hirst, David School of Contemporary Music, The University of Melbourne; Melbourne, Australia
Abstract
The rhythmogram is the visual output of an algorithm developed by Todd and Brown which is characterised as a “multi-scale auditory model” consisting of a number of stages that are meant to emulate the response of the lower levels of the auditory system. The aim of the current study is to continue the author’s SIAM approach of employing a cognitive model, in combination with signal processing techniques, to analyse the “raw” audio signal of electroacoustic music works, and more specifically, to depict time-related phenomena in a visual manner. Such depictions should assist or enhance aural analysis of, what is essentially, an aural artform. After introducing the theoretical framework of the rhythmogram model, this paper applies it to a detailed analysis of a short segment of Normandeau’s work called Spleen. The paper then briefly compares rhythmograms of the entirety of Normandeau’s related works Éclats de voix, Spleen and Le renard et la rose. The paper concludes that rhythmograms are capable of showing both the details of short segments of electroacoustic works as well as the broader temporal feature of entire works. It also concludes that the rhythmogram has its limitations, but could be used in further analyses to enhance aural analysis.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850517
Zenodo URL: https://zenodo.org/record/850517
2014.255
Timbral Hauntings: An Interactive System Re-interpreting the Present in Echoes of the Past
Musick, Michael Music and Audio Research Lab (MARL), New York University (NYU); New York, United States
Park, Tae Hong Music and Audio Research Lab (MARL), New York University (NYU); New York, United States
Abstract
Timbral Hauntings (2014) is an interactive installation system created by Michael Musick that considers the impact of echoes from the past on the perception of the present and their capacity to induce future sonic expectancy. This paper discusses details in producing Timbral Hauntings including motivation, core concepts, and technical particulars. It specifically discusses the compositional processes using music information retrieval (MIR) and feature extraction techniques to classify phrases and pull information from the ‘past’ to re-shape the ‘present’. Concepts of temporal dynamics will be discussed by examining the compositional process during analysis/feature extraction, classification and re-structuring, and synthesis phases.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850519
Zenodo URL: https://zenodo.org/record/850519
2014.256
Timbre Features and Music Emotion in Plucked String, Mallet Percussion, and Keyboard Tones
Chau, Chuck-jee Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Wu, Bin Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Horner, Andrew Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Abstract
Music conveys emotions by means of pitch, rhythm, loudness, and many other musical qualities. It was recently confirmed that timbre also has direct association with emotion, for example, that a horn is perceived as sad and a trumpet heroic in even isolated instrument tones. As previous work has mainly focused on sustaining instruments such as bowed strings and winds, this paper presents an experiment with non-sustaining instruments, using a similar approach with pairwise comparisons of tones for emotion categories. Plucked string, mallet percussion, and keyboard instrument tones were investigated for eight emotions: Happy, Sad, Heroic, Scary, Comic, Shy, Joyful, and Depressed. We found that plucked string tones tended to be Sad and Depressed, while harpsichord and mallet percussion tones induced positive emotions such as Happy and Heroic. The piano was emotionally neutral. Beyond spectral centroid and its deviation, which are important features in sustaining tones, decay slope was also significantly correlated with emotion in non-sustaining tones.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850745
Zenodo URL: https://zenodo.org/record/850745
2014.257
Timbre-invariant Audio Features for Style Analysis of Classical Music
Weiß, Christof Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Mauch, Matthias Queen Mary University of London; London, United Kingdom
Dixon, Simon Queen Mary University of London; London, United Kingdom
Abstract
We propose a novel set of chroma-based audio features inspired by pitch class set theory and show their utility for style analysis of classical music by using them to classify recordings into historical periods. Musicologists have long studied how composers’ styles develop and influence each other, but usually based on manual analyses of the score or, more recently, automatic analyses on symbolic data, both largely independent from timbre. Here, we investigate whether such musical style analyses can be realised using audio features. Based on chroma, our features describe the use of intervals and triads on multiple time scales. To test the efficacy of this approach we use a 1600 track balanced corpus that covers the Baroque, Classical, Romantic and Modern eras, and calculate features based on four different chroma extractors and several parameter configurations. Using Linear Discriminant Analysis, our features allow for a visual separation of the four eras that is invariant to timbre. Classification using Support Vector Machines shows that a high era classification accuracy can be achieved despite strong timbral variation (piano vs. orchestra) within eras. Under the optimal parameter configuration, the classifier achieves accuracies of 82.5%.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850893
Zenodo URL: https://zenodo.org/record/850893
2014.258
"Topos" Toolkit for Pure Data: Exploring the Spatial Features of Dance Gestures for Interactive Musical Applications
Naveda, Luiz State University of Minas Gerais (UEMG); Belo Horizonte, Brazil
Santana, Ivani Federal University of Bahia (UFBA); Salvador, Brazil
Abstract
The dissemination of multimedia technologies in the information societies created an interesting scenario: the unprecedented access to a diverse combination of music, image, video and other media streams raised demands for more interactive and expressive multimodal experiences. How to support the demands for richer music-movement interactions? How to translate spatiotemporal qualities of human movement into relevant features for music making and sound design? In this paper we study the realtime interaction between choreographic movement in space and music, implemented by means of a collection of tools called Topos. The tools were developed in the Pure Data platform and provide a number of feature descriptions that help to map the quality of dance gestures in space to music and other media. The features are based concepts found in the literature of cognition and dance, which improves the computational representation of dance gestures in space. The concepts and techniques presented in the study introduce new problems and new possibilities for multimedia applications involving dance and music interaction.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850585
Zenodo URL: https://zenodo.org/record/850585
2014.259
Touchpoint: Dynamically Re-routable Effects Processing as a Multi-touch Tablet Instrument
Suda, Nicholas K. California Institute of the Arts (CalArts); Santa Clarita, United States
Vallis, Owen S. California Institute of the Arts (CalArts); Santa Clarita, United States
Abstract
Touchpoint is a multi-touch tablet instrument which presents the chaining-together of non-linear effects processors as its core music synthesis technique. In doing so, it utilizes the on-the-fly re-combination of effects processors as the central mechanic of performance. Effects Processing as Synthesis is justified by the fact that that the order in which non-linear systems are arranged results in a diverse range of different output signals. Because the Effects Processor Instrument is a collection of software, the signal processing ecosystem is virtual. This means that processors can be re-defined, re-configured, created, and destroyed instantaneously, as a “note-level” musical decision within a performance. The software of Touchpoint consists of three components. The signal processing component, which is addressed via Open Sound Control (OSC), runs in Reaktor Core. The touchscreen component runs in the iOS version of Lemur, and the networking component uses ChucK. The resulting instrument unifies many perceptual domains of modulation into a consistent interface, encouraging an expressive exploration of the areas between their borders. Touchpoint attempts to embody and make vital an aspect of contemporary music which is typically treated as augmentative and secondary.
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Easychair keyphrases
not available
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unknown
DOI: 10.5281/zenodo.850895
Zenodo URL: https://zenodo.org/record/850895
2014.260
Toward Real-time Estimation of Tonehole Configuration
Smyth, Tamara Department of Music, University California, San Diego (UCSD); San Diego, United States
Abstract
This work presents a strategy for developing an estimator of tonehole configuration or “fingering” applied by a player during performance, using only the signal recorded at the bell. Because of a player can use alternate fingerings and overblowing to produce a given frequency, detecting the sounding pitch does not produce a unique result. An estimator is developed using both 1) instrument transfer function as derived from acoustic measurements of the instrument configured with each of all possible fingerings, and 2) features extracted from the produced sound— indirect correlations with the transfer function magnitudes. Candidate fingerings are held in sorted stacks, one for each feature considered and a final decision is made based on a fingering’s position within the stack, along with that stacks weighting. Several recordings of a professional saxophonist playing notes using all fingerings are considered, and features discussed.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850897
Zenodo URL: https://zenodo.org/record/850897
2014.261
Towards a Dynamic Model of the Palm Mute Guitar Technique Based on Capturing Pressure Profiles Between the Guitar Strings
Biral, Julien NUMEDIART Institute, University of Mons; Mons, Belgium
d'Alessandro, Nicolas NUMEDIART Institute, University of Mons; Mons, Belgium
Freed, Adrian CNMAT, University of California, Berkeley; Berkeley, United States
Abstract
Electric guitar is one of the most emblematic musical instruments. It benefits from a large community that constantly extends its frontiers by innovating playing technique and adding control surfaces. This work focuses on palm muting, one of the most known electric guitar techniques. This technique is produced when the palm of the picking hand is used to damp the strings and this can have a strong effect on the timbre and dynamics of sound. However there are not known sensors or sound analysis techniques to precisely measure this effect. We introduce a new approach of sensing performance gestures by using pressure sensors between the strings. We explored several designs for the sensing system and have performed preliminary experiments on the relationship between the palm pressure, the sound and the behavior of the picking hand.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850899
Zenodo URL: https://zenodo.org/record/850899
2014.262
Towards an Aesthetic of Electronic-music Performance Practice
Ciciliani, Marko Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
The performance of electronic-music shows a large number of different practices, some displaying cunning interfaces that minutely track physical motions, while others refuse the display of any performative actions on behalf of the performer. With today's availability of largely inexpensive interfaces, the choice of a particular performance practice does not come as a technological necessity but as an aesthetic decision. This paper proposes a method to aesthetically evaluate the different performance practices that have emerged in the past decades in electronic music. Thereby the goal is to get a better understanding of the differing concepts of performance in electronic music. Since a fixed typology of performance practices proved not to be a suitable approach, a description of the practices by means of a parametric space is proposed. After the introduction of the various parameters, the application of the parametric space is demonstrated with five different examples.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850521
Zenodo URL: https://zenodo.org/record/850521
2014.263
Towards Defining the Potential of Electroacoustic Infrasonic Music
Crawshaw, Alexis Story Media Arts and Technology, University of California, Santa Barbara (UCSB); Santa Barbara, United States / Lab, Ecole Doctorale Esthéthique, Sciences et Technologies des Arts, University Paris VIII; Paris, France
Abstract
Infrasounds, frequencies ≤ 20 Hz, occupying the sonic landscape beyond pitch, offer a wide terrain of musical potential to the contemporary electroacoustic composer, a potential that has so far been poorly defined or exploited. This paper is a brief tutorial on employing infrasounds in electroacoustic composition. Infrasounds possess musical potential within the auditory and tactile modalites as either airborne and solidean vibrations, either containing or psychoacoustically suggesting a fundamental wave ≤ 20 Hz. The infrasonic composer must consider a range of issues with respect to 1) equal-loudness contours (the detection threshold being > 70 dB below 20 Hz), 2) intersubject variability within these contours, 3) obstacles in finding hardware to diffuse these oscillations at the SPL needed for their detection, 4) their safe usage (anticipating harmonic distortion in hardware when working at high SPLs), as well as engineering an aesthetic context through interactivity and sensory conditioning to optimize a positive-valence response. There is great potential for sonic, vibrotactile, and intersensorial composition with respect to space and the body, e.g., interacting with or conveying large architectural spaces, evoking psychosomatic interactions through biorhythmic suggestion, and exploring the musicality of the body through its peak resonances.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850523
Zenodo URL: https://zenodo.org/record/850523
2014.264
Towards Open 3D Sound Diffusion Systems
Lopez-lezcano, Fernando CCRMA, Stanford University; Stanford, United States
Abstract
This paper describes the rationale, design and implementation of general purpose sound diffusion systems running on commodity PC hardware, and using open source free software components with minimal additional programming. These systems are highly configurable and powerful, can be extended as needed, and are a good fit for research environments as they can adapt to changing needs and experimentation in new technologies. This paper describes two examples: the system we have been using and extending for the past few years for sound diffusion in concert, and the system running permanently in our Listening Room at CCRMA, Stanford University.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850713
Zenodo URL: https://zenodo.org/record/850713
2014.265
Towards Soundscape Information Retrieval (SIR)
Park, Tae Hong Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Lee, Jun Hee Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
You, Jaeseong Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Yoo, Min-Joon Department of Computer Science, Yonsei University; Seoul, South Korea
Turner, John Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Abstract
In this paper we discuss our efforts in Soundscape Information Retrieval (SIR). Computational soundscape analysis is a key research component in the Citygram Project which is built on a cyber-physical system that includes a scalable robust sensor network, remote sensing devices (RSD), spatio-acoustic visualization formats, as well as software tools for composition and sonification. By combining our research in soundscape studies, which includes the capture, collection, analysis, visualization and musical applications of spatio-temporal sound, we discuss our current research efforts that aim to contribute towards the development of soundscape information retrieval (SIR). This includes discussion of soundscape descriptors, soundscape taxonomy, annotation, and data analytics. In particular, we discuss one of our focal research agendas in measuring and quantifying urban noise pollution.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850822
Zenodo URL: https://zenodo.org/record/850822
2014.266
Towards Touch Screen Live Instruments With Less Risk: A Gestural Approach
Lee, Edward Jangwon Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Yeo, Woon Seung Division of Digital Media, Ewha Womans University; Seoul, South Korea
Abstract
Although touch screen interfaces such as smartphones and tablet PCs have become an important part of our life and are being used in almost every situation, these interfaces are facing some difficulties in being used in live musical performances, despite the numerous benefits they can musically offer. Among those difficulties, we identify and focus on the visual dedication requirement of interaction and nevertheless high risk of making mistakes, and design a simple musical interface aiming to alleviate these problems. In order to reduce visual dedication, we employ larger on-screen controls. To reduce risk of mistakes, we choose a gestural approach and incorporate plucking gestures, which require users to pull and release a touch after initiated. The interface is qualitatively tested, focusing on playability, visual dedication, and risk of making mistakes. While playability and risk received positive feedbacks, reducing visual dedication received partial agreement and seems to require further investigation. Although the interface is yet immature and too simple to be used on stage, we believe that identifying and solving the problems that touch screens have while being used in live situations is meaningful and valuable to discuss.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850685
Zenodo URL: https://zenodo.org/record/850685
2014.267
Transcription, Adaptation and Maintenance in Live Electronic Performance With Acoustic Instruments
Furniss, Pete Reid School of Music, Edinburgh College of Art, The University of Edinburgh; Edinburgh, United Kingdom
Dudas, Richard Center for Research in Electro-Acoustic Music and Audio Technology (CREAMA), Hanyang University School of Music; Seoul, South Korea
Abstract
This paper examines processes of musical adaptation in a live electronic context, taking as a case study the authors’ collaborative work transcribing Richard Dudas’ Prelude No.1 for flute and computer (2005), to a new version for clarinet and live electronics, performed in the Spring of 2014 by clarinettist Pete Furniss. As such, the idea of transcription and its implications are central to this study. We will additionally address some of the salient information that the user interface in a piece of interactive electro-instrumental music should present to the performer, as well as some possible ways of restructuring not only the interface itself, but also the déroulement of the piece to aid the solo performer to the maximum degree possible. A secondary focus of the paper is to underline the need for the creation of a body of musical works that are technically straightforward enough to serve as an introduction to live electronic performance for musicians who might otherwise be daunted by the demands of the existing repertoire.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850581
Zenodo URL: https://zenodo.org/record/850581
2014.268
Transient Analysis for Music and Moving Images: Considerations for Television Advertising
Gibson, Ian University of Huddersfield; Huddersfield, United Kingdom
Rogers, Andrew University of Huddersfield; Huddersfield, United Kingdom
Abstract
In audiovisual composition, coupling montage moving images with music is common practice. Interpretation of the effect on an audioviewer's consequent interpretation of the composition is discursive and unquantified. Methodology for evaluating the audiovisual multimodal interactivity is proposed, developing an analysis procedure via the study of modality interdependent transient structures, explained as forming the foundation of perception via the concept of Basic Exposure response to the stimulus. The research has implications for analysis of all audiovisual media, with practical implications in television advertising as a discrete typology of target driven audiovisual presentation. Examples from contemporary advertising are used to explore typical transient interaction patterns and the consequences of which are discussed from the practical viewpoint of the audiovisual composer.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: Missing
Zenodo URL: Missing
2014.269
Translation as Technique: Collaboratively Creating an Electro-acoustic Composition for Saxophone and Live Video Projection
Jette, Christopher School of Information, Science, Technology & Arts, University of Arizona; Tucson, United States
Thomas, Kelland School of Information, Science, Technology & Arts, University of Arizona; Tucson, United States
Villegas, Javier School of Information, Science, Technology & Arts, University of Arizona; Tucson, United States
Forbes, Angus Graeme School of Information, Science, Technology & Arts, University of Arizona; Tucson, United States
Abstract
This paper describes the development of an electro-acoustic composition, titled v→t→d, which positions the act of translation as the focal point of the creative process. The work is a collaboration between a saxophonist, a composer, and two multimedia artists. We begin with a saxophone improvisation which is translated into a composition featuring solo saxophone and fixed electronics work. The performance of this sound composition is translated again with live image processing, where the audio and visual content serve as control signals. We locate translation as an effective tool for composition and describe work that has inspired this approach to our creation processes.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850583
Zenodo URL: https://zenodo.org/record/850583
2014.270
Turnector: Tangible Control Widgets for Capacitive Touchscreen Devices
Rutter, Edward Kingsley University of the West of England (UWE Bristol); Bristol, United Kingdom
Mitchell, Tom University of the West of England (UWE Bristol); Bristol, United Kingdom
Nash, Chris University of the West of England (UWE Bristol); Bristol, United Kingdom
Abstract
This paper details the development of Turnector, a control system based upon tangible widgets that are manipulated on the touchscreen of a capacitive touch device. Turnector widgets are modelled on rotary faders and aim to connect the user to parameters in their audio software in a manner analogous to the one-to-one control mapping utilised in analogue studio equipment. The system aims to streamline workflow and facilitate hands-on experimentation through a simple and unobtrusive interface. The physical widgets provide the users with the freedom to glance away from the touchscreen surface whilst maintaining precise control of multiple parameters simultaneously. Related work in this area, including interaction design and TUIs in the context of musical control, is first discussed before setting out the design specification and manufacturing process of the Turnector widgets. A number of unique methods for widget detection, tracking are presented before closing the paper with initial findings and conclusive remarks.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850687
Zenodo URL: https://zenodo.org/record/850687
2014.271
Understanding and Tuning Mass-interaction Networks Through Their Modal Representation
Villeneuve, Jérôme ICA laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Cadoz, Claude ICA laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
Sound is all about vibration, and the GENESIS environment provides an efficient way for modeling and simulating complex vibrating structures, enabling to produce rich sounds. In this paper, we propose an overview of tools recently developed and available within the GENESIS environment, allowing a better understanding on how massinteraction networks behave and introducing some enhanced tuning of their vibrating properties. All these tools try to address an inherent need of any creative process either in the physical world or in GENESIS, which is to create bidirectional connections between properties of a phenomenon, in our case, audible sounds, and properties of what produced it, here, mass-interaction networks. For this purpose, we will introduce the topological and modal representations of such mass-interaction networks and appreciate how relevant it can be to switch between these different representations to really apprehend its inner properties and those of the sounds it produces.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850901
Zenodo URL: https://zenodo.org/record/850901
2014.272
Unisoner: An Interactive Interface for Derivative Chorus Creation From Various Singing Voices on the Web
Tsuzuki, Keita Graduate School of Systems and Information Engineering, University of Tsukuba; Tsukuba, Japan
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Yamada, Takeshi Faculty of Engineering, Information and Systems, University of Tsukuba; Tsukuba, Japan
Makino, Shoji Faculty of Engineering, Information and Systems, University of Tsukuba; Tsukuba, Japan
Abstract
This paper describes Unisoner, an interface for assisting the creation of derivative choruses in which voices of different singers singing the same song are overlapped on one common accompaniment. It was time-consuming to create such derivative choruses because creators have to manually cut and paste fragments of singing voices from different singers, and then adjust the timing and volume of every fragment. Although several interfaces for mashing up different songs have been proposed, no mash-up interface for creating derivative choruses by mixing singing voices for the same song has been reported. Unisoner enables users to find appropriate singers by using acoustic features and metadata of the singing voices to be mixed, assign icons of the found singers to each phrase within a song, and adjust the mixing volume by moving those icons. Unisoner thus enables users to easily and intuitively create derivative choruses. It is implemented by using several signal processing techniques, including a novel technique that integrates F 0 - estimation results from many voices singing the same song to reliably estimate F 0 without octave errors.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850689
Zenodo URL: https://zenodo.org/record/850689
2014.273
University of Helsinki Music Research Laboratory and Electronic Music Studio - the First 50 Years and Beyond
Lassfolk, Kai Musicology, Department of Philosophy, History, Culture and Art Studies, University of Helsinki; Helsinki, Finland
Ojanen, Mikko Musicology, Department of Philosophy, History, Culture and Art Studies, University of Helsinki; Helsinki, Finland
Abstract
The University of Helsinki Music Research Laboratory and Electronic Music Studio is one of the oldest studios and research facilities of its kind in the Nordic countries. Originally named "Ääniteknillinen laboratorio" (Laboratory of sound technology), the studio was the leading electronic music facility in Finland from the early 1960s to the late 1970s. Built and maintained by Erkki Kurenniemi, the studio served also as an important center for the development of electronic musical instruments. In the mid-1980s, the focus of the studio shifted toward research, first in the form of computer music software development and later in various fields of research. In the fall of 2012, the studio celebrated its 50th anniversary. In the same year, the studio moved from its long-time location at Vironkatu 1 to the Topelia building in the historic center of Helsinki. Lately, the studio has gained new interest in the Finnish media, especially through the pioneering work of Kurenniemi. This studio report describes both recent activities and the early history of the studio.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.851013
Zenodo URL: https://zenodo.org/record/851013
2014.274
Using Natural Language to Specify Sound Parameters
Milde, Jan-Torsten Digital Media Working Group, CS Department, Fulda University of Applied Sciences (Hochschule Fulda); Fulda, Germany
Abstract
In this paper we describe the development of a test system, allowing to specify sound parameters of a virtual synthesizer using natural language. A sound may be described by the user with complex adjective phrases. These phrases are parsed and a semantic representation is created, which in turn is mapped to control parameters of the software synthesizer. The test system is the basis for more elaborate investigation on the relation between sound quality specifications and natural language expressions.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850941
Zenodo URL: https://zenodo.org/record/850941
2014.275
Violin Fingering Estimation According to Skill Level Based on Hidden Markov Model
Nagata, Wakana Nagoya Institute of Technology; Nagoya, Japan
Sako, Shinji Nagoya Institute of Technology; Nagoya, Japan
Kitamura, Tadashi Nagoya Institute of Technology; Nagoya, Japan
Abstract
This paper describes a method that estimates the appropriate violin fingering pattern according to the player’s skill level. A violin can produce the same pitch for different fingering patterns, which generally vary depending on skill level. Our proposed method translates musical scores into suitable fingering patterns for the desired skill level by modeling a violin player’s left hand based on a hidden Markov model. In this model, fingering is regarded as the hidden state and the output is the musical note in the score. We consider that differences in fingering patterns depend on skill level, which determines the prioritization between ease of playing and performance expression, and this priority is related to the output probability. Transition probability is defined by the appropriateness and ease of the transitions between states in the musical composition. Manually setting optimal model parameters for these probabilities is difficult because they are too numerous. Therefore, we decide on the parameters by training with textbook fingering. Experimental results show that fingering can be estimated for a skill level using the proposed method. The results of evaluations conducted of the method’s fingering patterns for beginners indicate that they are as good as or better than textbook fingering patterns.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850824
Zenodo URL: https://zenodo.org/record/850824
2014.276
Visualization and Manipulation of Stereophonic Audio Signals by Means of IID and IPD
Presti, Giorgio Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Mauro, Davide Andrea Department of Architecture and Arts, IUAV University of Venice; Venezia, Italy
Haus, Goffredo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Abstract
In this paper we will discuss a model aimed at improving the spectral data representation of stereophonic audio in a way that allows efficient stereophonic data visualization and linear manipulation of arbitrary parts of the stereo image. The stereo pair is here interpreted as a single spectrum with additional dimensions, expressing the Interaural Intensity Difference (IID) and Interaural Phase Difference (IPD) for each FFT bin. These dimensions are evaluated assuming that the stereo signal is an instantaneous mixture with a residual amount of convolutive phenomena. Even if this assumption is not generally true for the majority of music signals it is applicable to single stems or submixes used during music production or other signals that comes in pairs. After a brief overview of the state of the art in stereo data representation, we will introduce the proposed dimensions, then we will show how they can be displayed and finally we will suggest a technique to manipulate the stereophonic data in realtime.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850903
Zenodo URL: https://zenodo.org/record/850903
2014.277
Vuza: A Functional Language for Creative Applications
Cella, Carmine-Emanuele Casa de Velázquez; Madrid, Spain / Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This short paper will present Vuza, a new functional language for computer music and creative coding. The keypoint of the language is to bring the expressivity and the flexiblity of functional programming to digital art and computer music and make possible to embed such power in host applications. Vuza is a general purpose language with specific extensions for sound analysis and synthesis in realtime, computer assisted composition and GUI (graphical user interface) creation.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850943
Zenodo URL: https://zenodo.org/record/850943
2014.278
What Is Sound?
Nelson, Peter The University of Edinburgh; Edinburgh, United Kingdom
Abstract
What is sound? This question is posed in contradiction to the every-day understanding that sound is a phenomenon apart from us, to be heard, made, shaped and organised. Thinking through the history of computer music, and considering the current configuration of digital communications, sound is reconfigured as a type of network. This network is envisaged as non-hierarchical, in keeping with currents of thought that refuse to prioritise the human in the world. The relationship of sound to music proposes ways of thinking about and tapping into the network, in the hope of re-enchanting sound with the grace of art.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850445
Zenodo URL: https://zenodo.org/record/850445
2014.279
Xenakis's Philosophy of Technology Through Some Interviews
Solomos, Makis EMD, University Paris VIII; Paris, France
Abstract
Iannis Xenakis’s pioneering role in new music technologies is well known. He contributed to their development through his electroacoustic works (Diamorphoses, Concret PH, Légende d’Eer, etc.), his theories (stochastics, granular paradigm, etc.), his machines (UPIC), and his multimedia realizations (polytopes, etc.). His first studies as a civil engineer sharpened his efficiency. But his practical mind was coupled with a speculative mind, oriented toward philosophical interrogations. In this paper, we will quote some historical interviews in which Xenakis develops his views on technology: technology and progress; technique as a tool; the dangers of technology; art for everybody thanks to technology; forward-looking view about the computer; the role of intuition; and, finally, computer and manual actions (bricolage). In his writings, Xenakis tends to present applications of technology, but in his interviews, he is more eloquent on his philosophy of technology.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850459
Zenodo URL: https://zenodo.org/record/850459
2014.280
Zwischenräume - A Case Study in the Evaluation of Interactive Sound Installations
Marentakis, Georgios Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Pirrò, David Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Kapeller, Raphael Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
This paper presents a collaborative project revolving around the conception, the realisation, and the qualitative evaluation of the interactive sound installation zwischenräume. In the installation interaction is considered in a particular way, in that both the installation and the visitor are regarded as being part of an evolving dynamical system. First, we will frame the addressed question in the relevant research context. Then the installation and the ideas guiding its realisation will be described. Next, the evaluation methods used in this case study will be presented as well as the first results arising from their application. We finally point out how evaluation results could inform the subsequent refinement of the sound installation and directions for future research. The aspects investigated here are part of broader research project that looks into how evaluation strategies could be integrated in the development lifecycle of interactive sound installations.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850525
Zenodo URL: https://zenodo.org/record/850525
2014.281
ΗarmonyMixer: Mixing the Character of Chords Among Polyphonic Audio
Fukayama, Satoru National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
This paper describes HarmonyMixer, a method that enables a user without musical expertise to personalize the mood of existing polyphonic musical recordings by modifying their chord sequences. Our method lets the user choose a reference song with a character that the user wants reflected in chords of a target song. It is, however, difficult to modify chords in existing complex sound mixtures since technologies of sound source separation and multipitch analysis are not yet accurate enough for those mixtures. To overcome this difficulty, HarmonyMixer does not rely on those technologies and instead modifies chords by leveraging chromagrams. It first analyzes a chromagram feature matrix by using Bayesian non-parametric Non-negative Matrix Factorization, and then interpolates basis matrices obtained from reference and target songs to convert the chromagram of the target song. It finally modifies the spectrogram of the target song by reflecting the difference between the original and converted chromagrams while considering relations between frequency bins and chroma bins. Listening to the output from our method confirmed that modification of chords had been derived.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850905
Zenodo URL: https://zenodo.org/record/850905
Sound and Music Computing Conference 2015 (ed. 12)
Dates: from July 30 to August 01, 2015
Place: Maynooth, Ireland
Proceedings info: Proceedings of the 12th Int. Conference on Sound and Music Computing (SMC-15), Maynooth, Ireland, July 30, 31 & August 1, 2015, ISBN 9-7809-92746629
2015.1
A Computational Model of Tonality Cognition Based on Prime Factor Representation of Frequency Ratios and Its Application
Shiramatsu, Shun Nagoya Institute of Technology; Nagoya, Japan
Ozono, Tadachika Nagoya Institute of Technology; Nagoya, Japan
Shintani, Toramatsu Nagoya Institute of Technology; Nagoya, Japan
Abstract
We present a computational model of tonality cognition derived from physical and cognitive principles on the frequency ratios of consonant intervals. The proposed model, which we call the Prime Factor-based Generalized Tonnetz (PFG Tonnetz), is based on the Prime Factor Representation of frequency ratios and can be regarded as a generalization of the Tonnetz. Our assumed application of the PFG Tonnetz is a system for supporting spontaneous and improvisational participation of inexpert citizens in music performance for regional promotion. For this application, the system needs to determine the pitch satisfying constraints on tonality against surrounding polyphonic music because inexpert users frequently lack music skills related to tonality. We also explore a working hypothesis on the robustness of the PFG Tonnetz against recognition errors on harmonic overtones in polyphonic audio signals. On the basis of this hypothesis, the PFG Tonnetz has a good potential as a representation of the tonality constraints of surrounding polyphonic music.
Keywords
ice-breaker activity, PFG Tonnetz, pitch contour, prime factor representation, tonality
Paper topics
Computational musicology and Mathematical Music Theory, Models for sound analysis and synthesis, Perception and cognition of sound and music, Social interaction in sound and music computing
Easychair keyphrases
frequency ratio [21], integer grid point [15], consonant interval [13], prime factor representation [12], pitch contour [11], harmonic overtone [9], limit pfg tonnetz [9], polyphonic audio signal [9], body motion [8], factor based generalized tonnetz [8], prime number [8], tonality constraint [8], cognitive principle [7], computational model [7], polyphonic music [7], recognition error [7], regional promotion [7], tonality cognition [7], grid point chord [6], limit just intonation [6], music performance [6], pitch frequency [6], tonality model [6], grid point [5], improvisational participation [5], inexpert user [5], minor chord [5], integer frequency ratio [4], pfg tonnetz space [4], pitch satisfying constraint [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851165
Zenodo URL: https://zenodo.org/record/851165
2015.2
Acoustically Guided Redirected Walking in a WFS System: Design of an Experiment to Identify Detection Thresholds
Nogalski, Malte Hamburg University of Applied Sciences (HAW); Hamburg, Germany
Fohl, Wolfgang Hamburg University of Applied Sciences (HAW); Hamburg, Germany
Abstract
RedirectedWalking (RDW) received increasing attention during the last decade. While exploring large-scale virtual environments (VEs) by means of real walking, RDWtechniques allow to explore VEs, that are significantly larger than the required physical space. This is accomplished by applying discrepancies between the real and the physical movements. This paper focuses on the development of an experiment to identify detection thresholds for an acoustic RDW system by means of a wave field synthesis (WFS) system. The implementation of an automated test procedure is described.
Keywords
immersive virtual environments, real time tracking, redirected walking, virtual reality, wave field synthesis
Paper topics
Perception and cognition of sound and music, Sonic interaction design, Spatial audio
Easychair keyphrases
test subject [41], virtual sound source [30], rotation gain [20], curvature gain [19], virtual environment [18], sound source [15], redirected walking [13], tracking area [12], starting position [11], curvature gain test [9], detection threshold [9], wave field synthesis [9], rotation gain test [7], tracking system [7], virtual world [7], mowec source [6], optional component [6], physical wf area [6], real world [6], rotational distortion [6], time dependent gain [6], translation gain [6], virtual rotation [6], alarm clock [5], auditory cue [5], gain test [5], self motion [5], time dependent [5], tracking data [5], immersive virtual environment [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851053
Zenodo URL: https://zenodo.org/record/851053
2015.3
Addressing Tempo Estimation Octave Errors in Electronic Music by Incorporating Style Information Extracted from Wikipedia
Hörschläger, Florian Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Vogl, Richard Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Böck, Sebastian Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Knees, Peter Department of Computational Perception, Johannes Kepler University Linz; Linz, Austria
Abstract
A frequently occurring problem of state-of-the-art tempo estimation algorithms is that the predicted tempo for a piece of music is a wholef-number multiple or fraction of the tempo as perceived by humans (tempo octave errors). While often this is simply caused by shortcomings of the used algorithms, in certain cases, this problem can be attributed to the fact that the actual number of beats per minute (BPM) within a piece is not a listener’s only criterion to consider it being “fast” or “slow”. Indeed, it can be argued that the perceived style of music sets an expectation of tempo and therefore influences its perception. In this paper, we address the issue of tempo octave errors in the context of electronic music styles. We propose to incorporate stylistic information by means of probability density functions that represent tempo expectations for the individual music styles. In combination with a style classifier those probability density functions are used to choose the most probable BPM estimate for a sample. Our evaluation shows a considerable improvement of tempo estimation accuracy on the test dataset.
Keywords
information extraction, music information retrieval, octave errors, tempo estimation, wikipedia extraction
Paper topics
Multimodality in sound and music computing, Music information retrieval
Easychair keyphrases
tempo estimation [35], tempo octave error [14], probability density function [12], giantstep tempo dataset [11], music information retrieval [11], tempo estimation accuracy [11], tempo estimation algorithm [11], tempo range [11], block level feature [9], tempo annotation [9], tempo estimate [9], th international society [9], tempo relationship [8], music style [7], octave error [7], tempo information [7], wikipedia article [7], art tempo estimation [6], dance nu disco [6], electronic music [6], electronic music style [6], indie dance nu [6], tempo estimator [6], tempo induction algorithm [6], tempo ranker [6], feature vector [5], probability density [5], style estimation [5], house glitch hop [4], infobox music genre [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851139
Zenodo URL: https://zenodo.org/record/851139
2015.4
A DTW-BASED SCORE FOLLOWING METHOD FOR SCORE-INFORMED SOUND SOURCE SEPARATION
Rodriguez-Serrano, Francisco Jose Universidad de Jaén; Jaén, Spain
Menendez-Canal, Jonatan Universidad de Oviedo; Oviedo, Spain
Vidal, Antonio Universitat Politècnica de València; Valencia, Spain
Cañadas-Quesada, Francisco Jesús Universidad de Jaén; Jaén, Spain
Cortina, Raquel Universidad de Oviedo; Oviedo, Spain
Abstract
Along this work, a new online DTW-based score alignment method is used over an online score-informed source sep- aration system. The proposed alignment stage deals with the input signal and the score. It estimates the score posi- tion of each new audio frame in an online fashion by using only information from the beginning of the signal up to the present audio frame. Then, under the Non-negative Matrix Factorization (NMF) framework and previously learned in- strument models the different instrument sources are sep- arated. The instrument models are learned on training ex- cerpts of the same kinds of instruments. Experiments are performed to evaluate the proposed system and its individ- ual components. Results show that it outperforms a state- of-the-art comparison method.
Keywords
alignment, audio, DTW, music, score, source-separation
Paper topics
Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
source separation [16], alignment method [13], instrument model [13], spectral pattern [13], spectral basis function [9], score alignment [8], dynamic time warping [6], excitation basis vector [6], non negative matrix factorization [6], signal processing [6], alignment stage [5], carabias orti [5], cost function [5], cost matrix [5], midi time [5], musical instrument [5], time series [5], latent variable analysis [4], low complexity signal decomposition [4], multi excitation model [4], multiplicative update rule [4], neural information processing system [4], nonnegative matrix factorization [4], offline version [4], online scoreinformed source separation [4], polyphonic audio [4], real time [4], signal model [4], sound source separation [4], trained instrument model [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851127
Zenodo URL: https://zenodo.org/record/851127
2015.5
A LOOP SEQUENCER THAT SELECTS MUSIC LOOPS BASED ON THE DEGREE OF EXCITEMENT
Kitahara, Tetsuro Nihon University; Tokyo, Japan
Iijima, Kosuke Nihon University; Tokyo, Japan
Okada, Misaki Nihon University; Tokyo, Japan
Yamashita, Yuji Nihon University; Tokyo, Japan
Tsuruoka, Ayaka Nihon University; Tokyo, Japan
Abstract
In this paper, we propose a new loop sequencer that automatically selects music loops according to the degree of excitement by the user. A loop sequencer is expected to be a good tool for non-musicians to compose music because it does not require musical expert knowledge. However, it is not easy to appropriately select music loops because a loop sequencer usually has a huge-scale loop collection (e.g., more than 3000 loops). It is therefore required to automatically select music loops based on the user's simple and easy input. In this paper, we focus on the degree of excitement. In typical techno music, the temporal evolution of excitement is an important feature. Our system allows the user to input the temporal evolution of excitement by drawing a curve, then selects music loops automatically according to the input excitement. Experimental results show that our system is easy to understand and generates satisfied musical pieces for non-experts of music.
Keywords
Automatic music composition, Computer-aided music composition, Degree of excitement, Hidden Markov model, Loop sequencer
Paper topics
Interfaces for sound and music
Easychair keyphrases
music loop [37], loop sequencer [10], baseline system [8], musical piece [7], music composition [5], techno music [5], computer aided music composition [4], music loop according [4], temporal evolution [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851065
Zenodo URL: https://zenodo.org/record/851065
2015.6
A Music Performance Assistance System based on Vocal, Harmonic, and Percussive Source Separation and Content Visualization for Music Audio Signals
Dobashi, Ayaka Kyoto University; Kyoto, Japan
Ikemiya, Yukara Kyoto University; Kyoto, Japan
Itoyama, Katsutoshi Kyoto University; Kyoto, Japan
Yoshii, Kazuyoshi Kyoto University; Kyoto, Japan
Abstract
This paper presents a music performance assistance system that enables a user to sing, play a musical instrument producing harmonic sounds (e.g., guitar), or play drums while playing back a karaoke or minus-one version of an existing music audio signal from which the sounds of the user part (singing voices, harmonic instrument sounds, or drum sounds) have been removed. The beat times, chords, and vocal F0 contour of the original music signal are visualized and are automatically scrolled from right to left in synchronization with the music play-back. To help a user practice singing effectively, the F0 contour of the user’s singing voice is estimated and visualized in real time. The core functions of the proposed system are vocal, harmonic, and percussive source separation and content visualization for music audio signals. To provide the first function, vocal-and-accompaniment source separation based on RPCA and harmonic-and-percussive source separation based on median filtering are performed in a cascading manner. To provide the second function, content annotations (estimated automatically and partially corrected by users) are collected from aWeb service called Songle. Subjective experimental results showed the effectiveness of the proposed system.
Keywords
Harmonic and percussive source separation, Music content visualization, Music performance assistance, Singing voice separation
Paper topics
Interfaces for sound and music, Sound/music signal processing algorithms
Easychair keyphrases
music audio signal [28], singing voice [19], source separation [19], percussive source separation [17], vocal f0 contour [14], active music listening [12], singing voice separation [12], beat time [11], real time [10], accompaniment sound [8], music content [8], robust principal component analysis [8], musical instrument [7], music performance assistance [7], service called songle [7], user singing voice [7], web service [7], instrument part [6], performance assistance system [6], chord progression [5], median filtering [5], percussive sound [5], accompaniment source separation [4], audio signal [4], automatic accompaniment [4], median filter [4], playback position [4], polyphonic music [4], vocal andaccompaniment source separation [4], vocal spectrogram [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851133
Zenodo URL: https://zenodo.org/record/851133
2015.7
Analysis and Resynthesis of the Handpan Sound
Alon, Eyal University of York; York, United Kingdom
Murphy, Damian University of York; York, United Kingdom
Abstract
Handpan is a term used to describe a group of struck metallic musical instruments, which are similar in shape and sound to the Hang (developed by PANArt in January 2000). The handpan is a hand played instrument, which consists of two hemispherical steel shells that are fastened together along the circumference. The instrument usually contains a minimum of eight eliptical notes and is played by delivering rapid and gentle strikes to the note areas. This report details the design and implementation of an experimental procedure to record, analyse, and resynthesise the handpan sound. Four instruments from three different makers were used for the analysis, giving insight into common handpan sound features, and the origin of signature amplitude modulation characteristics of the handpan. Subjective listening tests were conducted aiming to estimate the minimum number of signature partials required to sufficiently resynthesise the handpan sound.
Keywords
amplitude modulation, analysis, decay rates, handpan, hang, listening test, partials, resynthesis, signature, T60
Paper topics
Models for sound analysis and synthesis
Easychair keyphrases
note field [27], handpan sound [18], amplitude modulation [13], signature partial [12], resynthesised signal [7], signature amplitude modulation [7], amplitude modulation characteristic [6], decay rate [6], highest magnitude partial [6], listening test [6], magnetic absorbing pad [6], musical instrument [6], surrounding note field [6], audio signal [5], frequency value [5], note group [5], steel pan [5], amplitude modulated partial frequency [4], decay time [4], energy decay relief [4], estimated amplitude modulation rate [4], highest magnitude [4], mean pd60 decay time [4], median similarity rating [4], modulated partial frequency value [4], signature handpan sound [4], steady state [4], subjective listening test [4], undamped and damped configuration [4], undamped and damped measurement [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851153
Zenodo URL: https://zenodo.org/record/851153
2015.8
ANALYSIS OF MUSICAL TEXTURES PLAYED ON THE GUITAR BY MEANS OF REAL-TIME EXTRACTION OF MID-LEVEL DESCRIPTORS
Freire, Sérgio Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Cambraia, Pedro Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Abstract
The paper presents a set of mid-level descriptors for the analysis of musical textures played on the guitar, divided in six categories: global, guitar-specific, rhythm, pitch, amplitude and spectrum descriptors. The employed system is based on an acoustic nylon guitar with hexaphonic pick-ups, and was programmed in Max. An overview of the explored low-level audio descriptors is given in the first section. Mid-level descriptors, many of them based on a general affordance of the guitar, are the subject of the central section. Finally, some distinctive characteristics of six different textures -- two-voice writing, block chords, arpeggios, fast gestures with legato, slow melody with accompaniment, strummed chords -- are highlighted with the help of the implemented tools.
Keywords
descriptors of guitar performance, hexaphonic nylon guitar, interactive musical systems, mid-level descriptors
Paper topics
Content processing of music audio signals, Interactive performance systems, Music performance analysis and rendering
Easychair keyphrases
mid level descriptor [28], level descriptor [14], mid level [10], mid level descriptor value [8], string jump [8], block chord [7], fundamental frequency [7], superimposition index [7], mean value [6], real time [6], standard deviation [6], string index [6], left hand [5], open string [5], pitch class [5], spectrum descriptor [5], string centroid [5], acoustic guitar [4], implemented mid level descriptor [4], low level descriptor [4], non pitched event [4], prime form [4], prominent ioi [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851077
Zenodo URL: https://zenodo.org/record/851077
2015.9
Analyzing the influence of pitch quantization and note segmentation on singing voice alignment in the context of audio-based Query-by-Humming
Valero-Mas, Jose J. Universidad de Alicante; Alicante, Spain
Salamon, Justin New York University (NYU); New York, United States
Gómez, Emilia Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Query-by-Humming (QBH) systems base their operation on aligning the melody sung/hummed by a user with a set of candidate melodies retrieved from music tunes. While MIDI-based QBH builds on the premise of existing annotated transcriptions for any candidate song, audio-based research makes use of melody extraction algorithms for the music tunes. In both cases, a melody abstraction process is required for solving issues commonly found in queries such as key transpositions or tempo deviations. Automatic music transcription is commonly used for this, but due to the reported limitations in state-of-the-art methods for real-world queries, other possibilities should be considered. In this work we explore three different melody representations, ranging from a general time-series one to more musical abstractions, which avoid the automatic transcription step, in the context of an audio-based QBH system. Results show that this abstraction process plays a key role in the overall accuracy of the system, obtaining the best scores when temporal segmentation is dynamically performed in terms of pitch change events in the melodic contour.
Keywords
Audio-based Query-by-Humming, Melody encoding, Singing voice alignment
Paper topics
Music information retrieval
Easychair keyphrases
time series [18], music information retrieval [12], temporal segmentation [10], alignment algorithm [8], full automatic music transcription [8], melodic contour [8], subsequence dynamic time warping [8], abstraction process [6], hit rate [6], main f0 contour [6], melody estimation algorithm [6], music collection [6], pitch change event [6], candidate song [5], edit distance [5], fundamental frequency [5], semitone quantization [5], smith waterman [5], candidate melody [4], estimation algorithm melodia [4], frequency value [4], general time series [4], mean reciprocal rank [4], melody abstraction [4], melody abstraction process [4], melody extraction [4], pitch contour [4], polyphonic music signal [4], symbolic aggregate approximation [4], symbolic representation [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851123
Zenodo URL: https://zenodo.org/record/851123
2015.10
An Augmented Guitar with Active Acoustics
Lähdeoja, Otso University of the Arts Helsinki; Helsinki, Finland
Abstract
The present article describes and discusses an acoustic guitar augmented with structure-borne sound drivers at-tached on its soundboard. The sound drivers enable to drive electronic sounds into the guitar, transforming the soundboard into a loudspeaker and building a second layer of sonic activity on the instrument. The article pre-sents the system implementation and its associated design process, as well as a set of sonic augmentations. The sound esthetics of augmented acoustic instruments are discussed and compared to instruments comprising separate loudspeakers.
Keywords
Active acoustics, Augmented Instrument, Guitar, Live electronics, Sound processing, Structure-borne sound
Paper topics
Interfaces for sound and music, Multimodality in sound and music computing
Easychair keyphrases
sound driver [11], acoustic guitar [9], augmented instrument [9], structure borne sound driver [8], acoustic instrument [6], active control [5], electronic sound [5], frequency response [5], signal processing [5], acoustic sound [4], active acoustic [4], active acoustic guitar [4], attack timbre modification [4], computer music [4], design process [4], electric guitar [4], hexaphonic pickup [4], international computer [4], playing technique [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851049
Zenodo URL: https://zenodo.org/record/851049
2015.11
An Exploration of Mood Classification in the Million Songs Dataset
Corona, Humberto University College Dublin (UCD); Dublin, Ireland
O'Mahony, Michael University College Dublin (UCD); Dublin, Ireland
Abstract
As the music consumption paradigm moves towards streaming services, users have access to increasingly large catalogs of music. In this scenario, music classification plays an important role in music discovery. It enables, for example, search by genres or automatic playlist creation based on mood. In this work we study the classification of song mood, using features extracted from lyrics alone, based on a vector space model representation. Previous work in this area reached contradictory conclusions based on experiments carried out using different datasets and evaluation methodologies. In contrast, we use a large freely-available dataset to compare the performance of different term-weighting approaches from a classification perspective. The experiments we present show that lyrics can successfully be used to classify music mood, achieving accuracies of up to 70% in some cases. Moreover, contrary to other work, we show that the performance of the different term weighting approaches evaluated is not statistically different using the dataset considered. Finally, we discuss the limitations of the dataset used in this work, and the need for a new benchmark dataset to progress work in this area.
Keywords
Million Songs Dataset, Mood classification, Music classification, Music information retrieval, Sentiment classification, text mining
Paper topics
Music information retrieval, Perception and cognition of sound and music
Easychair keyphrases
term weighting [17], mood classification [15], mood quadrant [15], term weighting scheme [15], music information retrieval [12], music classification [11], music mood classification [11], document frequency [10], song dataset [9], term frequency [9], th international society [9], vector space model [9], classification performance [8], delta tf idf [7], distinct term [7], mood group [7], classification accuracy [6], mood tag [6], social tag [6], classification result [5], feature analysis [5], lyrical feature [5], mood category [5], musixmatch dataset [5], term distribution [5], accuracy tf idf [4], idf term weighting [4], lyric based classification [4], mood granularity [4], statistically significant difference [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851021
Zenodo URL: https://zenodo.org/record/851021
2015.12
Archaeology and Virtual Acoustics. A Pan Flute From Ancient Egypt
Avanzini, Federico Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
De Poli, Giovanni Università di Padova; Padova, Italy
Fantozzi, Carlo Università di Padova; Padova, Italy
Pretto, Niccolò Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Angelini, Ivana Università di Padova; Padova, Italy
Bettineschi, Cinzia Università di Padova; Padova, Italy
Deotto, Giulia Università di Padova; Padova, Italy
Faresin, Emanuela Università di Padova; Padova, Italy
Menegazzi, Alessandra Università di Padova; Padova, Italy
Molin, Gianmario Università di Padova; Padova, Italy
Salemi, Giuseppe Università di Padova; Padova, Italy
Zanovello, Paola Università di Padova; Padova, Italy
Abstract
This paper presents the early developments of a recently started research project, aimed at studying from a multidisciplinary perspective an exceptionally well preserved ancient pan flute. A brief discussion of the history and iconography of pan flutes is provided, with a focus on Classical Greece. Then a set of non-invasive analyses are presented, which are based on 3D scanning and materials chemistry, and are the starting point to inspect the geometry, construction, age and geographical origin of the instrument. Based on the available measurements, a preliminary analysis of the instrument tuning is provided, which is also informed with elements of theory of ancient Greek music. Finally, the paper presents current work aimed at realizing an interactive museum installation that recreates a virtual flute and allows intuitive access to all these research facets.
Keywords
3D scanning, Archaeoacoustics, Interactive multimedia installations, Virtual instruments
Paper topics
Interfaces for sound and music, Multimodality in sound and music computing
Easychair keyphrases
pan flute [13], ancient greek music [11], musical instrument [10], active preservation [5], metric measurement [5], franc ois vase [4], internal pipe diameter dint [4], preserved ancient pan flute [4], sound synthesis [4], stopped pipe wind instrument [4], very high resolution [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851067
Zenodo URL: https://zenodo.org/record/851067
2015.13
A Score-Informed Piano Tutoring System with Mistake Detection and Score Simplification
Fukuda, Tsubasa Kyoto University; Kyoto, Japan
Ikemiya, Yukara Kyoto University; Kyoto, Japan
Itoyama, Katsutoshi Kyoto University; Kyoto, Japan
Yoshii, Kazuyoshi Kyoto University; Kyoto, Japan
Abstract
This paper presents a novel piano tutoring system that encourages a user to practice playing a piano by simplifying difficult parts of a musical score according to the playing skill of the user. To identify the difficult parts to be simplified, the system is capable of accurately detecting mistakes of a user's performance by referring to the musical score. More specifically, the audio recording of the user's performance is transcribed by using supervised non-negative matrix factorization (NMF) whose basis spectra are trained from isolated sounds of the same piano in advance. Then the audio recording is synchronized with the musical score using dynamic time warping (DTW). The user's mistakes are then detected by comparing those two kinds of data. Finally, the detected parts are simplified according to three kinds of rules: removing some musical notes from a complicated chord, thinning out some musical notes from a fast passage, and removing octave jumps. The experimental results showed that the first rule can simplify musical scores naturally. The second rule, however, simplified the scores awkwardly, especially when the passage constituted a melody line.
Keywords
NMF, Piano performance support, Score simplification
Paper topics
Interactive performance systems, Music performance analysis and rendering
Easychair keyphrases
multipitch estimation [18], musical score [15], piano roll [15], score simplification [11], octave error [10], activation matrix [8], actual performance [8], audio signal [8], mistake detection [8], dynamic time warping [7], audio recording [6], non negative matrix factorization [6], synchronized piano roll [6], musical note [5], simplified score [5], user performance [5], base spectrum matrix [4], difficult part [4], fast passage [4], harmonic structure [4], informed piano tutoring system [4], musical score according [4], novel piano tutoring system [4], player skill [4], practice playing [4], rwc music database [4], score informed piano tutoring [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851129
Zenodo URL: https://zenodo.org/record/851129
2015.14
A Tambourine Support System to Improve the Atmosphere of Karaoke
Kurihara, Takuya Nihon University; Tokyo, Japan
Kinoshita, Naohiro Nihon University; Tokyo, Japan
Yamaguchi, Ryunosuke Nihon University; Tokyo, Japan
Kitahara, Tetsuro Nihon University; Tokyo, Japan
Abstract
Karaoke is a popular amusement, but people do not necessarily enjoy karaoke when they are not singing. It is better that non-singing people engage in karaoke to enliven it, but this is not always easy, especially if they do not know the song. Here, we focus on the tambourine, which is provided in most karaoke spaces in Japan but are rarely used. We propose a system that instructs how a non-singing person plays the tambourine. Once the singer choose a song, the tambourine part for this song is automatically generated based on the standard MIDI file. During the playback, the tambourine part is displayed in a common music game style with the usual karaoke-style lyrics. The correctness tambourine beat is fed to the display. The results showed that our system motivated non-singing people to play the tambourine with a game-like instruction even for songs that they did not know.
Keywords
Karaoke, Tambourine part generation, Tambourine Support
Paper topics
Interactive performance systems
Easychair keyphrases
tambourine part [19], baseline system [16], tambourine player [14], easy song hard song [12], mean value [10], body motion [9], play karaoke [9], practice mode [9], tambourine part generation [9], unknown song [9], tambourine performance [8], usual karaoke style lyric [8], easy song [7], instrumental solo section [7], tambourine support system [7], temporal differential [7], common music game style [6], hard song [6], hard song easy song [6], non singing person [6], real time tambourine performance [6], rwc music database [6], wii tambourine [6], singing voice [5], singer favorite song [4], snare drum [4], strong note [4], system easy song [4], tambourine performance feedback [4], unknown known unknown song song [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851059
Zenodo URL: https://zenodo.org/record/851059
2015.15
Automatic Singing Voice to Music Video Generation via Mashup of Singing Video Clips
Hirai, Tatsunori Waseda University; Tokyo, Japan
Ikemiya, Yukara Kyoto University; Kyoto, Japan
Yoshii, Kazuyoshi Kyoto University; Kyoto, Japan
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Morishima, Shigeo CREST, JST, Waseda Research Institute for Science and Engineering, Waseda University; Tokyo, Japan
Abstract
This paper presents a system that takes audio signals of any song sung by a singer as the input and automatically generates a music video clip in which the singer appears to be actually singing the song. Although music video clips have gained the popularity in video streaming services, not all existing songs have corresponding video clips. Given a song sung by a singer, our system generates a singing video clip by reusing existing singing video clips featuring the singer. More specifically, the system retrieves short fragments of singing video clips that include singing voices similar to that in target song, and then concatenates these fragments using a technique of dynamic programming (DP). To achieve this, we propose a method to extract singing scenes from music video clips by combining vocal activity detection (VAD) with mouth aperture detection (MAD). The subjective experimental results demonstrate the effectiveness of our system.
Keywords
audio-visual processing, Music video generation, singing scene detection
Paper topics
Multimodality in sound and music computing
Easychair keyphrases
video clip [82], music video clip [68], singing scene [61], singing voice [61], music video [47], non singing scene [28], singing voice feature [22], singing scene detection [17], singing voice separation [15], video generation [13], mouth aperture degree [12], audio visual [11], audio visual synchronization [11], singing video [9], automatic music video generation [8], database clip [8], real music video clip [8], audio signal [7], edge free dp [7], existing music video [7], real video clip [7], similar singing voice [7], singing video clip [7], instrumental section [6], mouth aperture [6], music video generation [6], scene detection method [6], talking head [6], video fragment [6], arbitrary song [5]
Paper type
Full paper
DOI: 10.5281/zenodo.851033
Zenodo URL: https://zenodo.org/record/851033
2015.16
BEAN: A DIGITAL MUSICAL INSTRUMENT FOR USE IN MUSIC THERAPY
Kirwan, Nicholas John Aalborg University; Aalborg, Denmark
Overholt, Daniel Aalborg University; Aalborg, Denmark
Erkut, Cumhur Aalborg University; Aalborg, Denmark
Abstract
The use of interactive technology in music therapy is rapidly growing. The flexibility afforded by the use of these technologies in music therapy is substantial. We present steps in development of Bean, a Digital Musical Instrument wrapped around a commercial game console controller and designed for use in a music therapy setting. Bean is controlled by gestures, and has both physical and virtual segments. The physical user interaction is minimalistic, consisting of the spatial movement of the instrument, along with two push buttons. Also, some visual aspects have been integrated in Bean. Direct visual feedback from the instrument itself is mirrored in accompanying software, where a 3D virtual representation of the instrument can be seen. Sound synthesis currently consists of amplitude and frequency modulation and effects, with a clear separation of melody and harmony. These aspects were developed with an aim to encourage an immediate sense of agency. Bean is being co-developed with clients and therapists, in order to assess the current state of development, and provide clues for optimal improvement going forward. Both the strengths, and the weaknesses of the design at the time of the evaluation, were assessed. Using this information, the current design has been updated, and is now closer to a formal evaluation.
Keywords
DMI, Music Therapy, Participatory Design, Tangible Interface for Musical Expression
Paper topics
Interfaces for sound and music, Multimodality in sound and music computing, Social interaction in sound and music computing, Sound/music and the neurosciences
Easychair keyphrases
music therapy [24], music therapist [8], digital musical instrument [7], sensor data [7], aural feedback [6], solo voice [6], therapeutic setting [6], visual feedback [6], free play [5], aalborg university copenhagen [4], art therapist [4], mapping strategy [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851069
Zenodo URL: https://zenodo.org/record/851069
2015.17
Capturing and Ranking Perspectives on the Consonance and Dissonance of Dyads
Breen, Aidan National University of Ireland Galway (NUI Galway); Galway, Ireland
O'Riordan, Colm National University of Ireland Galway (NUI Galway); Galway, Ireland
Abstract
In many domains we wish to gain further insight into the subjective preferences of an individual. The problem with subjective preferences is that individuals are not necessarily coherent in their responses. Often, a simple linear ranking is either not possible, or may not accurately reflect the true preferences or behaviour of the individual. The phenomenon of consonance is heavily subjective and individuals often report to perceive different levels on consonance, or indeed dissonance. In this paper we present a thorough analysis of previous studies on the perception of consonance and dissonance of dyads. We outline a system which ranks musical intervals in terms of consonance based on pairwise comparison and we compare results obtained using the proposed system with the results of previous studies. Finally we propose future work to improve the implementation and design of the system. Our proposed approach is robust enough to handle incoherences in subjects' responses; preventing the formation of circular rankings while maintaining the ability to express these rankings --- an important factor for future work. We achieve this by representing the data gathered on a directed graph. Abstract objects are represented as nodes, and a subject's preference across any two objects is represented as a directed edge between the two corresponding nodes. We can then make use of the transitive nature of human preferences to build a ranking --- or partial ranking --- of objects with a minimum of pairwise comparisons.
Keywords
Consonance, Digraph, Dissonance, Partial Ranking, Ranking, Subjective Preferences
Paper topics
Computational musicology and Mathematical Music Theory, Models for sound analysis and synthesis, Music information retrieval, Sound/music and the neurosciences
Easychair keyphrases
weighted graph [8], directed graph [6], sample group [6], pairwise comparison [5], piano note [5], ranking method [5], subjective preference [5], ranking algorithm [4], subject response [4], test bed [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851045
Zenodo URL: https://zenodo.org/record/851045
2015.18
Cooperative musical creation using Kinect, WiiMote, Epoc and microphones: a case study with MinDSounDS
Tavares, Tiago Fernandes University of Campinas (UNICAMP); Campinas, Brazil
Rimoldi, Gabriel University of Campinas (UNICAMP); Campinas, Brazil
Eger Pontes, Vânia University of Campinas (UNICAMP); Campinas, Brazil
Manzolli, Jônatas University of Campinas (UNICAMP); Campinas, Brazil
Abstract
We describe the composition and performance process of the multimodal piece MinDSounDS, highlighting the design decisions regarding the application of diverse sensors, namely the Kinect (motion sensor), real-time audio analysis with Music Information Retrieval (MIR) techniques, WiiMote (accelerometer) and Epoc (Brain-Computer Interface, BCI). These decisions were taken as part of an collaborative creative process, in which the technical restrictions imposed by each sensor were combined with the artistic intentions of the group members. Our mapping schema takes in account the technical limitations of the sensors and, at the same time, respects the performers’ previous repertoire. A deep analysis of the composition process, particularly due to the collaborative aspect, highlights advantages and issues, which can be used as guidelines for future work in a similar condition.
Keywords
BCI, Kinect, Multimedia, Musical Creation, Music Information Retrieval, Synthesis, WiiMote
Paper topics
Interactive performance systems, Interfaces for sound and music, Sonic interaction design
Easychair keyphrases
composition process [16], virtual environment [7], brain computer interface [6], musical expression [4], slap gesture [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851117
Zenodo URL: https://zenodo.org/record/851117
2015.19
CrossSong Puzzle: Generating and Unscrambling Music Mashups with Real-time Interactivity
Smith, Jordan B. L. National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Percival, Graham National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Kato, Jun National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Fukayama, Satoru National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
There is considerable interest in music-based games, as the popularity of Rock Band and others can attest, as well as puzzle games. However, these have rarely been combined. Most music-based games fall into the category of rhythm games, and in those games where music is incorporated into a puzzle-like challenge, music usually serves as either an accompaniment or reward. We set out to design a puzzle game where musical knowledge and analysis would be essential to making deductions and solving the puzzle. The result is the CrossSong Puzzle, a novel type of music-based logic puzzle that truly integrates musical and logical reasoning. The game presents a player with a grid of tiles, each representing a mashup of measures from two different songs. The goal is to rearrange the tiles so that each row and column plays a continuous musical excerpt. Automatically identifying a set of song fragments to fill a grid such that each tile contains an acceptable mash-up is our primary technical hurdle. We propose an algorithm that analyses a corpus of music, searches the space of possible fragments, and selects an arrangement that maximizes the “mashability” of the resulting grid. This algorithm and the interaction design of the system are the main contributions.
Keywords
games, interfaces, mashups, puzzles
Paper topics
Content processing of music audio signals, Interactive performance systems, Interfaces for sound and music, Social interaction in sound and music computing, Sonic interaction design, Sound and music for VR and games
Easychair keyphrases
crosssong puzzle [12], visual hint [7], music based game [4], puzzle game [4], real time [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851097
Zenodo URL: https://zenodo.org/record/851097
2015.20
Design and Implementation of a Whole-body Haptic Suit for "Ilinx", a Multisensory Art Installation
Giordano, Marcello McGill University; Montreal, Canada
Hattwick, Ian McGill University; Montreal, Canada
Franco, Ivan McGill University; Montreal, Canada
Egloff, Deborah McGill University; Montreal, Canada
Frid, Emma Sound and Music Computing group, KTH Royal Institute of Technology; Stockholm, Sweden
Lamontagne, Valerie Concordia University; Montreal, Canada
Martinucci, Maurizio (Tez) TeZ, Independent; Netherlands
Salter, Christopher Concordia University; Montreal, Canada
Wanderley, Marcelo M. McGill University; Montreal, Canada
Abstract
Ilinx is a multidisciplinary art/science research project focusing on the development of a multisensory art installation involving sound, visuals and haptics. In this paper we describe design choices and technical challenges behind the development of six tactile augmented garments, each one embedded with thirty vibrating actuators. Starting from perceptual experiments, conducted to characterize the actuators used in the garments, we describe hardware and software design, and the development of several haptic effects. The garments have successfully been used by over 300 people during the premiere of the installation in the TodaysArt 2014 festival in The Hague.
Keywords
haptics, multisensory, whole-body suit
Paper topics
Multimodality in sound and music computing, Social interaction in sound and music computing, Sonic interaction design
Easychair keyphrases
duty cycle [18], haptic effect [12], driver board [8], duty cycle difference [6], pwm duty cycle [6], average peak amplitude [4], body segment [4], central processing unit [4], dual lock velcro strip [4], duty cycle value [4], multi sensory art installation [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851025
Zenodo URL: https://zenodo.org/record/851025
2015.21
Desirable aspects of visual programming languages for different applications in music creation
Pošćić, Antonio Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Kreković, Gordan Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Butković, Ana Faculty of Humanities and Social Sciences, University of Zagreb; Zagreb, Croatia
Abstract
Visual programming languages are commonly used in the domain of sound and music creation. Specific properties and paradigms of those visual languages make them convenient and appealing to artists in various applications such as computer composition, sound synthesis, multimedia artworks, and development of interactive system. This paper presents a systematic research of several well-known languages for sound and music creation. The research was based on the analysis of cognitive dimensions such as abstraction gradient, consistency, closeness of mapping, and error-proneness. We have also considered the context of each analyzed language including its availability, community, and learning materials. Data for the research were collected from a survey conducted among users of the most notable and widespread visual programming languages. The data is presented both in raw, textual format and in a summarized table view. The results indicate desirable aspects along with possible improvements of visual programming approaches for different use cases. Finally, future research directions and goals are suggested in the field of visual programming for applications in music.
Keywords
cognitive dimensions, music creation, visual programming
Paper topics
Computer environments for sound/music processing, Interfaces for sound and music
Easychair keyphrases
pure data [36], few time [16], visual programming language [14], visual programming [11], few week [10], native instrument reaktor [9], algorithmic composition [8], programming language [8], formal music education [7], interactive system [7], music creation [7], audio effect [6], computer music [6], debugging tool limitation [6], few day [6], few month [6], music composition [6], symbolic sound kyma [6], answered question [5], inspiring aspect [5], musical composition [5], online tutorial [5], temporal dimension [5], user base [5], visual representation [5], automating composition technique [4], cognitive dimension framework [4], existing sound [4], program flow control [4], sound synthesis [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851083
Zenodo URL: https://zenodo.org/record/851083
2015.22
Developing Mixer-style Controllers Based on Arduino/Teensy Microcontrollers
Popp, Constantin Knobtronix; United Kingdom
Soria Luz, Rosalía Knobtronix; United Kingdom
Abstract
Low-cost MIDI mixer-style controllers may not lend themselves to the performance practise of electroacoustic music. This is due to the limited bit depth in which values of controls are transmitted and potentially the size and layouts of control elements, providing only coarse control of sound processes running on a computer. As professional controllers with higher resolution and higher quality controls are more costly and possibly rely on proprietary protocols, the paper investigates the development process of custom DIY controllers based on the Arduino and Teensy 3.1 micro controllers, and Open Source software. In particular, the paper discusses the challenges of building higher resolution controllers on a restricted budget with regard to component selection, printed circuit board and enclosure design. The solutions, compromises and outcomes are presented and analysed in fader-based and knob-based prototypes.
Keywords
electroacoustic performance practise, high-resolution, human computer interaction, midi-controllers, open source
Paper topics
Interfaces for sound and music
Easychair keyphrases
mixer style controller [6], fader box [5], open source [5], electroacoustic music [4], size comparison [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851087
Zenodo URL: https://zenodo.org/record/851087
2015.23
Distributing Music Scores to Mobile Platforms and to the Internet using INScore
Fober, Dominique GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Gouilloux, Guillaume GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
Music notation is facing new musical forms such as electronic and/or interactive music, live coding, hybridizations with dance, design, multimedia. It is also facing the migration of musical instruments to gestural and mobile platforms, which poses the question of new scores usages on devices that mostly lack the necessary graphic space to display the music in a traditional setting and approach. Music scores distributed and shared on the Internet start also to be the support of innovative musical practices, which raises other issues, notably regarding dynamic and collaborative music scores. This paper introduces some of the perspectives opened by the migration of music scores to mobile platforms and to the Internet. It presents also the approach adopted with INScore, an environment for the design of augmented, interactive music scores.
Keywords
collaboration, internet, music score
Paper topics
Interactive performance systems
Easychair keyphrases
music score [15], music notation [12], mobile platform [8], collaborative score design [6], interactive music score [6], use case [6], websocket server [6], forwarding mechanism [5], computer music [4], event based interaction mechanism [4], international computer [4], score set gmnf [4], web audio api [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851061
Zenodo URL: https://zenodo.org/record/851061
2015.24
Embodied Auditory Display Affordances
Roddy, Stephen Trinity College Dublin; Maynooth, Ireland
Furlong, Dermot Trinity College Dublin; Maynooth, Ireland
Abstract
The current paper takes a critical look at the current state of Auditory Display. It isolates nave realism and cogni-tivist thinking as limiting factors to the development of the field. An extension of Gibson’s theory of affordances into the territory of Embodied Cognition is suggested. The proposed extension relies heavily on Conceptual Metaphor Theory and Embodied Schemata. This is hoped to provide a framework in which to address the problematic areas of theory, meaning and lack of cognitive research in Auditory Display. Finally the current research’s development of a set of embodied auditory models intended to offer greater lucidity and reasonability in Auditory Display systems through the exploitation of embodied affordances, is discussed.
Keywords
Affordances, Auditory, Cognition, Data-driven, Display, Embodied, Furlong, Music, Roddy, Sonification, Stephen
Paper topics
Auditory displays and data sonification, Perception and cognition of sound and music, Sonic interaction design
Easychair keyphrases
auditory display [27], embodied schema [21], embodied affordance [15], meaning making [12], symbol grounding problem [12], embodied cognition [11], auditory domain [10], cognitive capacity [10], cognitive science [10], embodied interaction [10], naive realism [10], big small schema [9], second generation cognitive science [8], cognitively based research [6], conceptual metaphor theory [6], problem area [6], design framework [5], embodied experience [5], human experience [5], auditory perception [4], bass line [4], design pattern [4], ecological interface design [4], embodied auditory model [4], embodied mind [4], embodied music cognition [4], embodied schema theory [4], envelope attack speed [4], pitch level [4], stereo image [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851019
Zenodo URL: https://zenodo.org/record/851019
2015.25
Exploring the General Melodic Characteristics of XinTianYou Folk Songs
Li, Juan Xi'an Jiaotong University (XJTU); Xi'an, China
Dong, Lu Xi'an Jiaotong University (XJTU); Xi'an, China
Ding, Jianhang Xi'an Jiaotong University (XJTU); Xi'an, China
Yang, Xinyu Xi'an Jiaotong University (XJTU); Xi'an, China
Abstract
This paper aims to analyze one style of Chinese traditional folk songs named Shaanxi XinTianYou. Research on XinTianYou is beneficial to cultural exploration and music information retrieval. We build a MIDI database to explore the general characteristics of melody. Our insight is that, the combination of intervals reflects the characteristics of the music style. To find the most representative combination of intervals, we propose to use N-Apriori algorithm which counts the frequent patterns of melody. Considering both the significance and similarity between music pieces, we also provide a multi-layer melody perception clustering algorithm which uses both the melodic direction and the melodic value. The significant patterns are selected as the general characteristics of XinTianYou. The musical structure of XinTianYou is analyzed based on both the experiment results and the music theory. We also ask experts to evaluate our experiment results, and prove that our results are consistent with the expert's intuition.
Keywords
Clustering, Folk songs, General characteristics, Pattern mining
Paper topics
Music information retrieval
Easychair keyphrases
general characteristic [11], folk song [10], melody segment [8], frequent pattern [7], average sc result [6], chinese folk song [6], edit distance [6], multi layer melody [6], clustering result [5], significant pattern [5], aware top k pattern [4], candidate k item [4], chinese folk music [4], chinese music [4], frequent item [4], music piece [4], redundancy aware [4], top k cosine similarity [4], wide interval [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851035
Zenodo URL: https://zenodo.org/record/851035
2015.26
Follow the Tactile Metronome: Vibrotactile Stimulation for Tempo Synchronization in Music Performance
Giordano, Marcello McGill University; Montreal, Canada
Wanderley, Marcelo M. McGill University; Montreal, Canada
Abstract
In this paper we present a study evaluating the effectiveness of a tactile metronome for music performance and training. Four guitar players were asked to synchronize to a metronome click-track delivered either aurally or via a vibrotactile stimulus. We recorded their performance at different tempi (60 and 120BPM) and compared the results across modalities. Our results indicate that a tactile metronome can reliably cue participants to follow the target tempo. Such a device could hence be used in musical practice and performances as a reliable alternative to traditional auditory click-tracks, generally considered annoying and distracting by performers.
Keywords
haptics, metronome, music performance, notification, tactile, vibrotactile
Paper topics
Interactive performance systems, Interfaces for sound and music, Multimodality in sound and music computing
Easychair keyphrases
tactile metronome [17], auditory metronome [10], music performance [8], auditory click track [7], metronome signal [7], tactile stimulus [7], target tempo [7], click track [6], computer music [5], target ioi [5], audio modality tactile modality figure [4], guitar player [4], raw data point [4], reaction time [4], tactile click track [4], tactile display [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851023
Zenodo URL: https://zenodo.org/record/851023
2015.27
Generalizing Messiaen’s Modes of Limited Transposition to a n-tone Equal Temperament
Ludovico, Luca Andrea Università degli Studi di Milano; Milano, Italy
Baratè, Adriano Università degli Studi di Milano; Milano, Italy
Abstract
Modes of limited transposition are musical modes originally conceived by the French composer Olivier Messiaen for a tempered system of 12 pitches per octave. They are defined on the base of symmetry-related criteria used to split an octave into a number of recurrent interval groups. This paper describes an algorithm to automatically compute the modes of limited transposition in a generic n-tone equal temperament. After providing a pseudo-code description of the process, a Web implementation will be proposed.
Keywords
generalization, modes of limited transposition, Olivier Messiaen
Paper topics
Computational musicology and Mathematical Music Theory
Easychair keyphrases
limited transposition [11], ring diagram [10], pitch class [9], equal temperament [8], global interval [7], messiaen mode [7], olivier messiaen [6], tone equal temperament [6], frequency ratio [5], theoretical work [5], data structure [4], generalized mode [4], western music [4]
Paper type
Full paper
2015.28
Grammatical Evolution with Zipf's Law Based Fitness for Melodic Composition
Loughran, Róisín University College Dublin (UCD); Dublin, Ireland
McDermott, James University College Dublin (UCD); Dublin, Ireland
O'Neill, Michael University College Dublin (UCD); Dublin, Ireland
Abstract
We present a novel method of composing piano pieces with Grammatical Evolution. A grammar is designed to define a search space for melodies consisting of notes, chords, turns and arpeggios. This space is searched using a fitness function based on the calculation of Zipf's distribution of a number of pitch and duration attributes of the given melodies. In this way, we can create melodies without setting a given key or time signature. We can then create simple accompanying bass parts to repeat under the melody. This bass part is evolved using a grammar created from the evolved treble line with a fitness based on Zipf's distribution of the harmonic relationship between the treble and bass parts. From an analysis of the system we conclude that the designed grammar and the construction of the compositions from the final population of melodies is more influential on the musicality of the resultant compositions than the use of the Zipf's metrics.
Keywords
Algorithmic Composition, Evolutionary Computation, Grammatical Evolution, Melodic Composition
Paper topics
Computational musicology and Mathematical Music Theory, Sound/music signal processing algorithms
Easychair keyphrases
fitness function [15], zipf distribution [15], grammatical evolution [12], final generation [10], bass part [7], zipf law [7], best fitness [6], final population [6], fit individual [6], pitch duration [6], short melody [6], duration attribute [5], musical composition [5], top individual [5], accompanying bass part [4], bass accompaniment [4], best individual [4], best median ideal [4], computer music [4], event piece event [4], evolutionary run [4], fitness measure [4], genetic algorithm [4], piano piece [4], treble melody [4]
Paper type
Full paper
2015.29
Granular Model of Multidimensional Spatial Sonification
Wan Rosli, Muhammad Hafiz Media Arts and Technology Program, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Cabrera, Andrés Media Arts and Technology Program, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Wright, Matthew James Media Arts and Technology Program, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Abstract
Sonification is the use of sonic materials to represent information. The use of spatial sonification to represent spatial data, i.e., that which contains positional information, is inherent due to the nature of sound. However, perceptual issues such as the Precedence Effect and Minimum Audible Angle attenuate our ability to perceive directional stimuli. Furthermore, the mapping of multivariate datasets to synthesis engine parameters is non-trivial as a result of the vast information space. This paper presents a model for representing spatial datasets via spatial sonification through the use of granular synthesis.
Keywords
Auditory Displays, Data Sonification, Granular Synthesis, Multimodal Data Representation, Psychoacoustics, Spatial Audio
Paper topics
Auditory displays and data sonification, Models for sound analysis and synthesis, Multimodality in sound and music computing, Perception and cognition of sound and music, Spatial audio
Easychair keyphrases
data point [29], flash rate [11], spatial data [10], granular synthesis [9], granular stream [8], lightning occurrence [7], auditory display [6], spatial sonification [6], synthesis engine [6], data slice [5], grain density [5], temporal transformation [5], complex data space [4], flash rate value [4], minimum audible angle [4], multimodal data representation [4], perceptual issue [4], point cloud [4], sound particle [4], sound spatialization [4], spatial dataset [4], spatial sound [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851089
Zenodo URL: https://zenodo.org/record/851089
2015.30
Guided improvisation as dynamic calls to an offline model
Nika, Jérôme Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bouche, Dimitri Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bresson, Jean Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Chemillier, Marc École des hautes études en sciences sociales (EHESS); Paris, France
Assayag, Gérard Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This paper describes a reactive architecture handling the hybrid temporality of guided human-computer music improvisation. It aims at combining reactivity and anticipation in the music generation processes steered by a scenario. The machine improvisation takes advantage of the temporal structure of this scenario to generate short-term anticipations ahead of the performance time, and reacts to external controls by refining or rewriting these anticipations over time. To achieve this in the framework of an interactive software, guided improvisation is modeled as embedding a compositional process into a reactive architecture. This architecture is instantiated in the improvisation system ImproteK and implemented in OpenMusic.
Keywords
Guided improvisation, Music generation, Planning, Reactive architecture, Scenario, Scheduling
Paper topics
Interactive performance systems, Music performance analysis and rendering
Easychair keyphrases
improvisation handler [26], generation model [20], improvisation renderer [13], generation parameter [11], dynamic control [9], guided improvisation [9], performance time [9], improvisation fragment [8], music generation [7], time window [7], execution trace [6], generation process [6], improvisation handler agent [6], improvisation system [6], reactive architecture [6], real time [6], short term [6], sub sequence [6], computer music [5], generation phase [5], temporal structure [5], action container [4], handler action container [4], human computer improvisation [4], long term structure [4], memory generation model [4], performance time tp [4], short term plan extraction [4], th international computer [4], user control [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851143
Zenodo URL: https://zenodo.org/record/851143
2015.31
Harmony of the Spheres: A Physics-Based Android Synthesizer and Controller with Gestural Objects and Physical Transformations
Thalmann, Florian Queen Mary University of London; London, United Kingdom
Abstract
This paper introduces the concepts and principles behind Harmony of the Spheres, an Android app based on physi- cal spaces and transformations. The app investigates how gestural multitouch and accelerometer control can be used to create and interact with objects in these physical spaces. The properties of these objects can be arbitrarily mapped to sound parameters, either of an internal synthesizer or ex- ternal systems, and they can be visualized in flexible ways. On a larger scale, users can make soundscapes by defin- ing sequences of physical space conditions, each of which has an effect on the positions and properties of the physical objects.
Keywords
audiovisual mapping, gestural interaction, mobile apps, musical spaces, physical models
Paper topics
Computational musicology and Mathematical Music Theory, Interactive performance systems, Interfaces for sound and music, Sonic interaction design
Easychair keyphrases
physical condition [14], inherent motion [9], musical object [7], real time [7], directional gravity [5], physical model [5], audio parameter [4], central gravity [4], gravitational center [4], internal synthesizer [4], mathematical music theory [4], n dimensional space [4], physical space [4], physical transformation [4], transformational theory [4], visual dimension [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851163
Zenodo URL: https://zenodo.org/record/851163
2015.32
How Well Can a Music Emotion Recognition System Predict the Emotional Responses of Participants?
Song, Yading Queen Mary University of London; London, United Kingdom
Dixon, Simon Queen Mary University of London; London, United Kingdom
Abstract
Music emotion recognition (MER) systems have been shown to perform well for musical genres such as film soundtracks and classical music. It seems difficult, however, to reach a satisfactory level of classification accuracy for popular music. Unlike genre, music emotion involves complex interactions between the listener, the music and the situation. Research on MER systems is handicapped due to the lack of empirical studies on emotional responses. In this paper, we present a study of music and emotion using two models of emotion. Participants' responses on 80 music stimuli for the categorical and dimensional model, are compared. In addition, we collect 207 musical excerpts provided by participants for four basic emotion categories (happy, sad, relaxed, and angry). Given that these examples represent intense emotions, we use them to train musical features using support vector machines with different kernels and with random forests. The most accurate classifier, using random forests, is then applied to the 80 stimuli, and the results are compared with participants' responses. The analysis shows similar emotional responses for both models of emotion. Moreover, if the majority of participants agree on the same emotion category, the emotion of the song is also likely to be recognised by our MER system. This indicates that subjectivity in music experience limits the performance of MER systems, and only strongly consistent emotional responses can be predicted.
Keywords
emotional responses, music emotion, music emotion recognition, music perception
Paper topics
Music information retrieval, Perception and cognition of sound and music
Easychair keyphrases
dimensional model [31], music information retrieval [19], participant response [18], music emotion recognition [17], recognition system [15], th international society [15], categorical model [13], emotional response [13], emotion recognition system [12], musical excerpt [12], random forest [12], second clip [11], support vector machine [9], emotion category [8], induced emotion [7], musical feature [7], basic emotion [6], emotion model [6], emotion recognition [6], music emotion [6], happy sad [5], machine learning [5], popular music [5], recognition accuracy [5], artist name [4], greatest number [4], music research [4], popular musical excerpt [4], recognition result [4], subjective music recommendation system [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851055
Zenodo URL: https://zenodo.org/record/851055
2015.33
INTER-CHANNEL SYNCHRONISATION FOR TRANSMITTING LIVE AUDIO STREAMS OVER DIGITAL RADIO LINKS
Brown, Stephen National University of Ireland Maynooth; Maynooth, Ireland
Oliver, Jorge National University of Ireland Maynooth; Maynooth, Ireland
Abstract
There are two key challenges to the use of digital, wireless communication links for the short-range transmission of multiple, live music streams from independent sources: delay and synchronisation. Delay is a result of the necessary buffering in digital music streams, and digital signal processing. Lack of synchronisation between time-stamped streams is a result of independent analogue-to-digital conversion clocks. Both of these effects are barriers to the wireless, digital recording studio. In this paper we explore the issue of synchronization, presenting a model, some network performance figures, and the results of experiments to explore the perceived effects of losing synchronization between channels. We also explore how this can be resolved in software when the data is streamed over a Wi-Fi link for real-time audio monitoring using consumer-grade equipment. We show how both fixed and varying offsets between channels can be resolved in software, to below the level of perception, using an offset-merge algorithm. As future work, we identify some of the key solutions for automated calibration. The contribution of this paper is the presentation of perception experiments for mixing unsynchronized music channels, the development of a model representing how these streams can be synchronized after-the-fact, and the presentation of current work in progress in terms of realizing the model.
Keywords
Digital Audio, Interaural Time Difference, Latency, Synchronisation
Paper topics
Computer environments for sound/music processing, Content processing of music audio signals, Interactive performance systems, Sound/music and the neurosciences, Sound/music signal processing algorithms
Easychair keyphrases
real time [13], interaural time difference [11], offset merge [7], buffer size [6], inter channel [6], front end software [4], mixing desk [4], music performance [4], real time monitoring function [4], real time operating system [4], sound localization [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851121
Zenodo URL: https://zenodo.org/record/851121
2015.34
INVESTIGATING THE EFFECTS OF INTRODUCING NONLINEAR DYNAMICAL PROCESSES INTO DIGITAL MUSICAL INTERFACES
Mudd, Tom The Open University; Milton Keynes, United Kingdom
Holland, Simon The Open University; Milton Keynes, United Kingdom
Mulholland, Paul The Open University; Milton Keynes, United Kingdom
Dalton, Nick The Open University; Milton Keynes, United Kingdom
Abstract
This paper presents the results of a study that explores the effects of including nonlinear dynamical processes in the design of digital musical interfaces. Participants of varying musical backgrounds engaged with a range of systems, and their behaviours, responses and attitudes were recorded and analysed. The study suggests links between the inclusion of such processes and scope for exploration and serendipitous discovery. Relationships between musical instruments and nonlinear dynamics are discussed more broadly, in the context of both acoustic and electronic musical tools. Links between the properties of nonlinear dynamical systems and the priorities of experimental musicians are highlighted and related to the findings of the study.
Keywords
digital musical instruments, mapping, nonlinear dynamical systems
Paper topics
Interactive performance systems, Interfaces for sound and music, Sonic interaction design
Easychair keyphrases
nonlinear dynamical [22], nonlinear dynamical system [20], nonlinear dynamical process [15], discontinuous mapping [13], continuous mapping [11], experimental music [11], musical practice [10], experimental music group [9], musical tool [8], static system [8], nonlinear dynamic [7], nonlinear dynamical element [6], computer music [5], free improvisation [5], continuum international publishing group [4], damped forced duffing oscillator [4], digital musical interface [4], experimental music group mapping [4], material oriented [4], midi control [4], musical background [4], non experimental group [4], non experimental music group [4], open university [4], overall score [4], sonic event [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851041
Zenodo URL: https://zenodo.org/record/851041
2015.35
Irish Traditional Ethnomusicology Analysis Using Decision Trees and High Level Symbolic Features
Martins, Mario Federal University of Technology of Paraná (UTFPR); Apucarana, Brazil
Silla Jr., Carlos Nascimento Federal University of Technology of Paraná (UTFPR); Apucarana, Brazil
Abstract
In this paper we investigate the suitability of decision tree classifiers to assist the task of massive computational ethnomusicology analysis. In our experiments we have employed a dataset of 10,200 traditional Irish tunes. In order to extract features from the Irish tunes, we have converted them into MIDI files and then extracted high level features from them. In our experiments with the traditional Irish tunes, we have verified that decision tree classifiers might be used for this task.
Keywords
computational ethnomusicology, decision trees, irish music
Paper topics
Computational musicology and Mathematical Music Theory
Easychair keyphrases
high level symbolic feature [24], decision tree classifier [19], decision tree [15], music information retrieval [14], short excerpt [12], abc notation [11], computational ethnomusicology [11], midi file [9], tune according [9], irish traditional [8], irish traditional music [7], irish music genre [6], machine learning [5], slip jig [5], traditional irish [5], abc format [4], association rule mining [4], data mining [4], folk music [4], irish traditional tune [4], midi format [4], naive listener [4], rule mining algorithm [4], time signature [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851095
Zenodo URL: https://zenodo.org/record/851095
2015.36
LICHTGESTALT: INTERACTION WITH SOUND THROUGH SWARMS OF LIGHT RAYS
Fehr, Jonas Aalborg University; Aalborg, Denmark
Erkut, Cumhur Aalborg University; Aalborg, Denmark
Abstract
We present a new interactive sound installation to be explored by movement. Specifically, movement qualities extracted from the motion tracking data excite a dynamical system (a synthetic flock of agents), which responds to the movement qualities and indirectly controls the visual and sonic feedback of the interface. In other words, the relationship between gesture and sound are mediated by synthetic swarms of light rays. Sonic interaction design of the system uses density as a design dimension, and maps the swarm parameters to sound synthesis parameters. Three swarm behaviors and three sound models are implemented, and evaluation suggests that the general approach is promising and the system has potential to engage the user.
Keywords
gesture sound mapping, Interactive sound installation, sonic interaction design
Paper topics
Interactive performance systems, Multimodality in sound and music computing, Sonic interaction design
Easychair keyphrases
light ray [11], sound synthesis [10], interactive sound installation [6], movement quality [6], sonic interaction design [6], computing system [4], high pitch sound texture [4], human factor [4], physical model [4], visual appearance [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851151
Zenodo URL: https://zenodo.org/record/851151
2015.37
Mapping brain signals to music via executable graphs
Crowley, Katie Trinity College Dublin; Maynooth, Ireland
McDermott, James University College Dublin (UCD); Dublin, Ireland
Abstract
A method for generating music in response to brain sig- nals is proposed. The brain signals are recorded using consumer-level brain-computer interface equipment. Each time-step in the signal is passed through a directed acyclic graph whose nodes execute simple numerical manipula- tions. Certain nodes also output MIDI commands, leading to patterned MIDI output. Some interesting music is ob- tained, and desirable system properties are demonstrated: the music is responsive to changes in input, and a sin- gle input signal passed through different graphs leads to similarly-structured outputs.
Keywords
adaptive composition, BCI, EEG, generative music, music
Paper topics
Auditory displays and data sonification, Multimodality in sound and music computing, Sound/music and the neurosciences, Sound/music signal processing algorithms
Easychair keyphrases
brain computer interface [9], output node [9], temporal structure [7], brain signal [6], bci data [5], brain computer [5], eeg signal [5], esense meter [5], midi note [5], time series [5], bci signal [4], executable graph [4], human computer interaction [4], inbound edge [4], multiple output [4], neural network [4], non static input signal [4], pmod unary pdiv sin [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851155
Zenodo URL: https://zenodo.org/record/851155
2015.38
MEPHISTO: A Source to Source Transpiler from Pure Data to Faust
Demir, Abdullah Onur Middle East Technical University; Ankara, Turkey
Hacıhabiboğlu, Hüseyin Middle East Technical University; Ankara, Turkey
Abstract
This paper introduces Mephisto, a transpiler for converting sound patches designed using the graphical computer music environment Pure Data to the functional DSP programming language Faust. Faust itself compiles into highly-optimized C++ code. The aim of the proposed transpiler is to enable creating highly optimized C++ code embeddable in games or other interactive media for sound designers, musicians and sound engineers using PureData in their workflows and to reduce the prototype-to-product delay. Mephisto's internal structure, its conventions and limitations and its performance are going to be presented and discussed.
Keywords
audio in games, faust, high performance sound processing, procedural sound design, pure data, transpiler
Paper topics
Computer environments for sound/music processing, High Performance Computing for Audio, Sound and music for VR and games
Easychair keyphrases
pure data [27], faust code [12], parse tree [9], dac object [8], highly optimized c code [8], object figure [8], programming language [7], optimized c code [6], average cpu utilization [4], block diagram [4], control mechanism [4], data structure [4], mephisto generated faust code [4], pd object tree [4], pure data patch [4], sound synthesis [4], standard ccitt dialing tone [4], transpiler generated faust code [4], tree traversal [4], tree walker [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851147
Zenodo URL: https://zenodo.org/record/851147
2015.39
MODELING OF PHONEME DURATIONS FOR ALIGNMENT BETWEEN POLYPHONIC AUDIO AND LYRICS
Dzhambazov, Georgi Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this work we propose how to modify a standard scheme for text-to-speech alignment for the alignment of lyrics and singing voice. To this end we model the duration of phonemes specific for the case of singing. We rely on a duration-explicit hidden Markov model (DHMM) phonetic recognizer based on mel frequency cepstral coefficients (MFCCs), which are extracted in a way robust to background instrumental sounds. The proposed approach is tested on polyphonic audio from the classical Turkish music tradition in two settings: with and without modeling phoneme durations. Phoneme durations are inferred from sheet music. In order to assess the impact of the polyphonic setting, alignment is evaluated as well on an acapella dataset, compiled especially for this study. We show that the explicit modeling of phoneme durations improves alignment accuracy by absolute 10 percent on the level of lyrics lines (phrases) and performs on par with state-of-the-art aligners for other languages.
Keywords
lyrics-to-audio alignment, phoneme durations, polyphonic audio, score-following, score-informed alignment, singing voice tracking, speech-to-text alignment, Turkish classical music
Paper topics
Computational musicology and Mathematical Music Theory, Content processing of music audio signals, Models for sound analysis and synthesis, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
musical score [9], alignment accuracy [7], singing voice [7], explicit hidden markov model [6], phoneme duration [6], audio alignment [5], duration explicit [5], automatic lyric [4], background instrument [4], classical turkish music [4], hidden markov model [4], hidden semi markov model [4], hmm singer adaptation [4], markov model [4], polyphonic audio [4], vocal activity detection [4]
Paper type
Full paper
2015.40
Movement Perception in Music Performance - A Mixed Methods Investigation
Schacher, Jan C. Zurich University of the Arts (ZHdK); Zurich, Switzerland
Järveläinen, Hanna Zurich University of the Arts (ZHdK); Zurich, Switzerland
Strinning, Christian Zurich University of the Arts (ZHdK); Zurich, Switzerland
Neff, Patrick University of Zurich (UZH); Zurich, Switzerland
Abstract
What are the effects of a musician's movement on the affective impact of experiencing a music performance? How can perceptual, sub-personal and cognitive aspects of music be investigated through experimental processes? This article describes the development of a mixed methods approach that tries to tackle such questions by blending quantitative and qualitative methods with observations and interpretations. Basing the core questions on terms and concepts obtained through a wide survey of literature on musical gesture and movement analysis, the iterative, cyclical advance and extension of a series of experiments is shown, and preliminary conclusions drawn from data and information collected in a pilot study. With the choice of particular canonical pieces from contemporary music, a multi-perspective field of questioning is opened up that provides ample materials and challenges for a process of converging, intertwining and cross-discipline methods development. The resulting interpretation points to significant affective impact of movement in music, yet these insights remain subjective and demand that further and deeper investigations are carried out.
Keywords
affective impact, blended interpretation, mixed methods, movement perception, music performance
Paper topics
Multimodality in sound and music computing, Music performance analysis and rendering, Perception and cognition of sound and music
Easychair keyphrases
mixed method research [15], musical gesture [15], music performance [12], audio rating [10], mixed method [10], perceived effort [6], video rating [6], affective impact [5], video condition [5], continuous self report method [4], median time series [4], movement analysis [4], musical performance [4], music perception [4], quantitative track [4], research project [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851107
Zenodo URL: https://zenodo.org/record/851107
2015.41
Mozart is still blue: a comparison of sensory and verbal scales to describe qualities in music
Murari, Maddalena Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Da Pos, Osvaldo Università di Padova; Padova, Italy
Schubert, Emery The University of New South Wales (UNSW); Sydney, Australia
Canazza, Sergio Università di Padova; Padova, Italy
De Poli, Giovanni Department of Information Engineering, Università di Padova; Padova, Italy
Abstract
An experiment was carried out in order to assess the use of non-verbal sensory scales for evaluating perceived music qualities, by comparing them with the analogous verbal scales.Participants were divided into two groups; one group (SV) completed a set of non-verbal scales responses and then a set of verbal scales responses to short musical extracts. A second group (VS) completed the experiment in the reverse order. Our hypothesis was that the ratings of the SV group can provide information unmediated (or less mediated) by verbal association in a much stronger way than the VS group. Factor analysis performed separately on the SV group, the VS group and for all participants shows a recurring patterning of the majority of sensory scales versus the verbal scales into different fac- tors. Such results suggest that the sensory scale items are indicative of a different semantic structure than the verbal scales in describing music, and so they are indexing different qualities (perhaps ineffable), making them potentially special contributors to understanding musical experience.
Keywords
music expressiveness, music qualities, non verbal sensory scales, semantic differential
Paper topics
Multimodality in sound and music computing, Perception and cognition of sound and music
Easychair keyphrases
sensory scale [41], verbal scale [38], non verbal sensory scale [28], musical excerpt [15], bizet mozart chopin [12], brahm vivaldi bizet [12], har sof smo rou [12], mal tak blu ora [12], mozart chopin bach [12], sof smo rou bit [12], vivaldi bizet mozart [12], blu ora har [9], hea lig col [9], lig col war [9], non verbal [9], cold warm [8], heavy light [8], bitter sweet [7], factor analysis [7], scale blue orange [7], soft smooth [7], age range [6], blue orange [6], chopin bach factor [6], equivalent verbal scale [6], factor score [6], mean age [6], rel mal tak blu [6], soft smooth sweet light warm [6], very familiar very unfamiliar [6]
Paper type
Full paper
DOI: 10.5281/zenodo.851099
Zenodo URL: https://zenodo.org/record/851099
2015.42
Multichannel Composition Using State-space Models and Sonification
Soria Luz, Rosalía The University of Manchester; Manchester, United Kingdom
Abstract
This paper investigates the use state space models and real time sonification as a tool for electroacoustic composition. State Space models provide mathematical representations of physical systems, making possible to virtually capture a real life system behavior in a matrix-vector equation. This representation provides a vector containing the so called states of the system describing how a system evolves over time. This paper shows different sonifications for state space models and ways of using them in multichannel electroacoustic composition. Even though conventional sound synthesis techniques are used for sonification, very peculiar timbres and effects can be generated when sonifiying state space models. The paper presents an inverted pendulum, a mass-spring-damper system, and a harmonic oscillator, implemented in Supercollider and different real time multichannel sonification approaches, as well as ways of using them in electroacoustic composition.
Keywords
Interactive System, Inverted Pendulum, Multichannel, Sonification, Spring Mass Damper, State Space Models
Paper topics
Auditory displays and data sonification, Interactive performance systems, Interfaces for sound and music, Models for sound analysis and synthesis, Spatial audio
Easychair keyphrases
real time [21], state space [21], mass spring damper system [18], state space model [17], inverted pendulum [10], sound synthesis [9], harmonic oscillator [7], system behaviour [6], time paradox [6], electroacoustic composition [5], sound transformation [5], mathematical model [4], model input value [4], multichannel sonification [4], sampling period ts [4], sonified state space model [4], state space form [4], state vector [4], stereo sonification [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851135
Zenodo URL: https://zenodo.org/record/851135
2015.43
MULTI-CHANNEL SPATIAL SONIFICATION OF CHINOOK SALMON MIGRATION PATTERNS IN THE SNAKE RIVER WATERSHED
Robertson, Ben Eastern Washington University; Cheney, United States
Middleton, Jonathan Eastern Washington University; Cheney, United States
Hegg, Jens University of Idaho; Moscow, United States
Abstract
Spatialization, pitch assignment, and timbral variation are three methods that can improve the perception of complex data in both an artistic and analytical context. This multi-modal approach to sonification has been applied to fish movement data with the dual goals of providing an aural representation for an artistic sound installation as well as qualitative data analysis tool useful to scientists studying fish movement. Using field data collected from three wild Chinook Salmon (Oncorhynchus tshawytscha) living in the Snake River Watershed, this paper will demonstrate how sonification offers new perspectives for interpreting migration pat-terns and the impact of environmental factors on the life-cycle associated with this species. Within this model, audio synthesis parameters guiding spatialization, microtonal pitch organization, and temporal structure are assigned to streams of data through software developed by Ben Luca Robertson. Guidance for the project has been provided by Dr. Jonathan Middleton of Eastern Washington University, while collection and interpretation of field data was performed by University of Idaho – Water Resources Program Ph.D. candidate, Jens Hegg.
Keywords
auditory display, microtones, salmon, sonification, spatialization
Paper topics
Auditory displays and data sonification
Easychair keyphrases
auditory display [12], strontium isotope [11], chemical signature [10], pacific ocean [10], water resource program [9], strontium isotope signature [7], marine environment [6], migration pattern [6], pitch assignment [6], strontium isotopic ratio [6], maturation period [5], idaho water resource [4], maternal signature [4], mean value [4], otolith sample [4], snake river [4], timbral variation [4], water system [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851027
Zenodo URL: https://zenodo.org/record/851027
2015.44
MUSE: a Music-making Sandbox Environment for Real-Time Collaborative Play
Popa, Iulius A.T. University of Calgary; Calgary, Canada
Boyd, Jeffrey Edwin University of Calgary; Calgary, Canada
Eagle, David University of Calgary; Calgary, Canada
Abstract
This paper reports the concept, design, and prototyping of MUSE, a real-time, turn based, collaborative music making game for users with little to no formal music education background. MUSE is a proof-of-concept, web application running exclusively in the Chrome web browser for four players using game pad controllers. First, we outline the proposed methodology with respect to related research and discuss our approach to designing MUSE through a partial gamification of music using a player-centric design framework. Second, we explain the implementation and prototyping of MUSE. Third, we highlight recent observations of participants using our proof-of-concept application during a short art/installation gallery exhibition. In conclusion, we reflect on our design methodology based on the informal user feedback we received and look at several approaches into improving MUSE.
Keywords
collaborative music, interactive music, music gamification, music sandbox
Paper topics
Interactive performance systems, Interfaces for sound and music, Perception and cognition of sound and music, Social interaction in sound and music computing, Sonic interaction design
Easychair keyphrases
real time [23], long term engagement [14], musical toy [11], serious musical instrument [11], musical output [9], game system [8], musical result [8], emotional response [7], end turn [6], game mechanic [6], game rule [6], motivational affordance [6], overall pleasant musical output [6], real time collaborative music [6], collaborative music [5], creative freedom [5], designing muse [5], music making [5], music output [5], passive player [5], provide user [5], chrome web browser [4], game component [4], game design element [4], low level musical control [4], musical concept [4], musical instrument [4], player block [4], real time pleasant musical output [4], web audio api [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851159
Zenodo URL: https://zenodo.org/record/851159
2015.45
MUSICALLY INFORMED SONIFICATION FOR SELF-DIRECTED CHRONIC PAIN PHYSICAL REHABILITATION
Newbold, Joseph University College London; London, United Kingdom
Bianchi-Berthouze, Nadia University College London; London, United Kingdom
Gold, Nicolas E. University College London; London, United Kingdom
Williams, Amanda University College London; London, United Kingdom
Abstract
Chronic pain is pain that persists past the expected time of healing. Unlike acute pain, chronic pain is often no longer a sign of damage and may never disappear. Remaining physically active is very important for people with chronic pain, but in the presence of such persistent pain it can be hard to maintain a good level of physical activity due to factors such as fear of pain or re-injury. This paper introduces a sonification methodology which makes use of characteristics and structural elements of Western tonal music to highlight and mark aspects of movement and breathing that are important to build confidence in peoples’ body capability in a way that is easy to attend to and devoid of pain. The design framework and initial conceptual design that uses musical elements such as melody, harmony, texture and rhythm for improving the efficiency of the sonification used to support physical activity for people with chronic pain is here presented and discussed. In particular, we discuss how such structured sonification can be used to facilitate movement and breathing during physical rehabilitation exercises that tend to cause anxiety in people with chronic pain. Experiments are currently being undertaken to investigate the use of these musical elements in sonification for chronic pain.
Keywords
Chronic pain, Implicit music understanding, Musically-informed, Physical rehabilitation, Sonification
Paper topics
Auditory displays and data sonification
Easychair keyphrases
chronic pain [15], physical activity [14], musically informed sonification [12], musical element [7], physical rehabilitation [7], exercise space [6], maximum target point [6], self efficacy [6], western tonal music [6], minimum amount [5], musical stability [4], musical training [4], provide information [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851111
Zenodo URL: https://zenodo.org/record/851111
2015.46
Music Content Driven Automated Choreography with Beat-wise Motion Connectivity Constraints
Fukayama, Satoru National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
We propose a novel method for generating choreographies driven by music content analysis. Although a considerable amount of research has been conducted in this field, a way to leverage various music features or music content in automated choreography has not been proposed. Previous methods suffer from a limitation in which they often generate motions giving the impression of randomness and lacking context. In this research, we first discuss what types of music content information can be used in automated choreography and then argue that creating choreography that reflects this music content requires novel beat-wise motion connectivity constraints. Finally, we propose a probabilistic framework for generating choreography that satisfies both music content and motion connectivity constraints. The evaluation indicates that the choreographies generated by our proposed method were chosen as having more realistic dance motion than those generated without the constraints.
Keywords
automated choreography, computer graphics, data driven, music analysis, probabilistic modeling
Paper topics
Multimodality in sound and music computing, Music and robotics
Easychair keyphrases
motion connectivity constraint [28], dance motion [22], motion fragment [22], musical constraint [21], music content [13], automated choreography [12], motion connectivity [10], cross entropy [8], chord label [7], generate choreography [7], music constraint [7], generating choreography [6], music content analysis [6], probabilistic model [6], various music feature [6], acoustic feature [5], beat location [4], hierarchical structure [4], kernel function [4], measure boundary [4], motion connectivity constrained choreography [4], motion database [4], musical feature [4], probabilistic framework [4], structural segmentation [4], structure label [4], subjective evaluation [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851119
Zenodo URL: https://zenodo.org/record/851119
2015.47
MUSICMEAN: FUSION-BASED MUSIC GENERATION
Hirai, Tatsunori Waseda University; Tokyo, Japan
Sasaki, Shoto CREST, JST, Waseda University; Tokyo, Japan
Morishima, Shigeo Waseda Research Institute for Science and Engineering, Waseda University; Tokyo, Japan
Abstract
In this paper, we propose MusicMean, a system that fuses existing songs to create an in-between song such as an average song, by calculating the average acoustic frequency of musical notes and the occurrence frequency of drum elements from multiple MIDI songs. We generate an in-between song for generative music by defining rules based on simple music theory. The system realizes the interactive generation of in-between songs. This represents new interaction between human and digital content. Using MusicMean, users can create personalized songs by fusing their favorite songs.
Keywords
Average song, Interactive music generation, Song morphing
Paper topics
Computer environments for sound/music processing, Interfaces for sound and music
Easychair keyphrases
blend rate [15], averaging operation [13], musical note [11], average song [10], drum pattern [10], existing song [7], drum pattern histogram [6], musical bar [6], music generation [6], music theory [6], midi file [5], musical key [5], average note [4], mashup music video [4], musical note averaging operation [4], music video generation [4], statistical model [4], user specified blend rate [4], video generation system [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851071
Zenodo URL: https://zenodo.org/record/851071
2015.48
Music Synthesis based on Impression and Emotion of Input Narratives
Kanno, Saya Ochanomizu University; Tokyo, Japan
Itoh, Takayuki Ochanomizu University; Tokyo, Japan
Takamura, Hiroya The University of Tokyo; Tokyo, Japan
Abstract
This paper presents a technique to synthesize the music based on the impression and emotion of the input narratives. The technique prepares a dictionary which record the sensibility polarity values of arbitrary words. The technique also supposes that users listen to the sample chords and rhythms, and input the fitness values to the pre-defined impression word pairs, so that the technique can learn the relations between chords/rhythms and these impression. After these processes, the technique interactively synthesize the music for input narratives.It estimates the fitness values of the narrative to the impression word pairs y applying the dictionary, and then estimates the chord and rhythm progressions those impressions and emotions are the closest to the input narrative. Finally, the technique synthesizes the output tune by combining the chord and rhythm. We suppose this technique encourages to express impression and emotion of the input narratives by generating music.
Keywords
Document analysis, Learning of user's sensibility, Music synthesis
Paper topics
Multimodality in sound and music computing, Music performance analysis and rendering, Perception and cognition of sound and music
Easychair keyphrases
impression word [33], musical feature [25], fitness value [24], rhythm progression [10], sample chord [8], brassy simple [7], light heavy [7], preliminary data construction [7], th impression word [7], bright dark [6], energetic calm musical feature [6], musical feature value [6], document analysis [5], enjoyable wistful [5], music synthesis [5], chord progression [4], dark enjoyable wistful tripping [4], energetic calm [4], fitness value vector [4], minor seventh chord impression [4], point likert scale [4], semantic orientation calculation technique [4], seventh chord impression word [4], user prepared musical pattern [4], user sensibility [4], wistful tripping quiet energetic [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851101
Zenodo URL: https://zenodo.org/record/851101
2015.49
Navigating the Mix-space: Theoretical and Practical Level-balancing Technique in Multitrack Music Mixtures
Wilson, Alex University of Salford; Salford, United Kingdom
Fazenda, Bruno University of Salford; Salford, United Kingdom
Abstract
The mixing of audio signals has been at the foundation of audio production since the advent of electrical recording in the 1920’s, yet the mathematical and psychological bases for this activity are relatively under-studied. This paper investigates how the process of mixing music is conducted. We introduce a method of transformation from a “gain-space” to a “mix-space”, using a novel representation of the individual track gains. An experiment is conducted in order to obtain time-series data of mix-engineers' exploration of this space as they balance levels within a multi-track session to create their desired mixture. It is observed that, while the exploration of the space is influenced by the initial configuration of track gains, there is agreement between individuals on the appropriate gain settings required to create a balanced mixture. Implications for the design of intelligent music production systems are discussed.
Keywords
Intelligent mixing systems, Mix-engineering, Music production, Subjective audio evaluation
Paper topics
Computational musicology and Mathematical Music Theory, Interfaces for sound and music, Perception and cognition of sound and music
Easychair keyphrases
mix space [28], mix engineer [9], audio engineering society convention [8], final mix [8], backing track [6], fader control [6], source position [6], relative loudness [5], track gain [5], audio engineering society [4], audio signal [4], dynamic range compression [4], final mix position [4], gain space [4], intelligent mixing system [4], intelligent music production system [4], level balancing [4], mix velocity [4], multitrack session [4], probability density function [4], rhythm section [4], source directivity [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851115
Zenodo URL: https://zenodo.org/record/851115
2015.50
Non-negative Sparse Decomposition of Musical Signal Using Pre-trained Dictionary of Feature Vectors of Possible Tones from Different Instruments
Nomura, Ryo Hiroshima University; Japan
Kurita, Takio Hiroshima University; Japan
Abstract
Decomposition of the music signal into the signals of the individual instruments is a fundamental task for music signal processing. This paper proposes a decomposition algorithm of the music signal based on non-negative sparse estimation. we estimate the coefficients of the linear combination by assuming the feature vector of the given music signal can be approximated as the linear combination of the elements in the pre-trained dictionary. Since the music sound is considered as a mixture of tones from several instruments and only a few tones are appeared at the same time, the coefficients must be non-negative and sparse if the music signals are represented by non-negative vectors. In this paper we used the feature vector based on the auto correlation functions. The experimental results show that the proposed decomposition method can accurately estimate the tone sequence from the music sound played using two instruments.
Keywords
Auto-correlation functions, Decomposition of music signal, Dictionary learning, Non-negative sparse coding
Paper topics
Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
auto correlation function [30], auto correlation [23], musical signal [23], non negative sparse coding [18], alto saxophone [16], music sound [14], sampling rate [14], individual instrument [12], non negative normalized auto [12], linear combination [11], negative sparse [11], cross correlation [10], dictionary matrix [10], non negative matrix factorization [8], normalized auto correlation [8], normalized auto correlation function [8], feature vector [7], midi sound source [7], negative normalized auto correlation [7], pre trained dictionary [7], alto saxophone part [6], decomposition algorithm [6], negative normalized auto correlation vector [6], non negative matrix [6], nonnegative matrix factorization [6], non negative sparse coefficient [6], sound signal [6], contrabass part [5], estimated coefficient [5], non negative coefficient [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851039
Zenodo URL: https://zenodo.org/record/851039
2015.51
ONLINE HARMONIC/PERCUSSIVE SEPARATION USING SMOOTHNESS/SPARSENESS CONSTRAINTS
Cañadas-Quesada, Francisco Jesús Universidad de Jaén; Jaén, Spain
Vera-Candeas, Pedro Universidad de Jaén; Jaén, Spain
Ruiz-Reyes, Nicolas Universidad de Jaén; Jaén, Spain
Alonso-Jorda, Pedro Universitat Politècnica de València; Valencia, Spain
Ranilla-Pastor, José Universidad de Oviedo; Oviedo, Spain
Abstract
The separation of percussive sounds fromharmonic sounds in audio recordings remains a challenging task since it has received much attention over the last decade. In a previous work, we described amethod to separate harmonic and percussive sounds based on a constrained Non-negative Matrix Factorization (NMF) approach. The approach distinguishes between percussive and harmonic bases integrating percussive and harmonic sound features, such as smoothness and sparseness, into the decomposition process. In this paper, we propose an online version of our previous work. Instead of decomposing the whole mixture, the online proposal decomposes a set of segments of the mixture selected by a sliding temporal window. Both percussive and harmonic bases of the next segment are initialized using the bases obtained in the decomposition of the previous segment. Results show that an online proposal can provide satisfactory separation performance but the sound quality of the separated signals depends inversely on the latency of the system.
Keywords
Constraints, Harmonic/Percussive separation, Latency, Non-negative Matrix Factorization, Online, Signal to Distortion Ratio (SDR), Signal to Interference Ratio (SIR), Smoothness, Sound source separation, Sparseness
Paper topics
Content processing of music audio signals, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
harmonic sound [26], online proposal [25], percussive sound [13], non negative matrix factorization [12], harmonic base [11], computation time [10], offline method [9], method online [8], percussive separation [7], separation performance [7], whole mixture [7], harmonic sound separation method [6], separated percussive signal [6], cost function [5], minimum local [5], next segment [5], proposal online [5], sir result [5], harmonic signal [4], language processing [4], magnitude spectrogram [4], matrix factorization [4], offline harmonic [4], percussive separation work [4], sliding window [4], source separation [4], whole mixture signal [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851017
Zenodo URL: https://zenodo.org/record/851017
2015.52
On the Musical Opportunities of Cylindrical Hexagonal Lattices: Mapping Flat Isomorphisms Onto Nanotube Structures
Hu, Hanlin Department of Computer Science, University of Regina; Regina, Canada
Park, Brett University of Regina; Regina, Canada
Gerhard, David University of Regina; Regina, Canada
Abstract
It possible to position equal-tempered discrete notes on a flat hexagonal grid in such a way as to allow musical constructs (chords, intervals, melodies, etc.) to take on the same shape regardless of the tonic. This is known as a musical isomorphism, and it has been shown to have advantages in composition, performance, and learning. Considering the utility and interest of such layouts, an extension into 3D interactions was sought, focussing on cylindrical hexagonal lattices which have been extensively studied in the context of carbon nanotubes. In this paper, we explore the notation of this class of cylindrical hexagonal lattices and develop a process for mapping a flat hexagonal isomorphism onto such a lattice. This mapping references and draws upon previous explorations of the helical and cyclical nature of western musical harmony.
Keywords
harmonic theory, hexagonal lattice, isomorphic layout, musical controller design, tonnetz, wicki-hayden
Paper topics
Computational musicology and Mathematical Music Theory, Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
isomorphic layout [21], chiral vector [13], cylindrical hexagonal lattice [12], isotone axis [10], chiral angle [9], hexagonal lattice [9], carbon nanotube [7], cylindrical hexagonal [7], cylindrical hexagonal tube [7], hexagonal grid [6], pitch axis [5], boundary shape [4], chiral vector direction [4], dashed green line [4], harmonic table [4], musical isomorphism [4], tone equal [4], typical isomorphic layout [4], whole number [4], wicki hayden layout [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851085
Zenodo URL: https://zenodo.org/record/851085
2015.53
Perceiving and Predicting Expressive Rhythm with Recurrent Neural Networks
Lambert, Andrew City University London; London, United Kingdom
Weyde, Tillman City University London; London, United Kingdom
Armstrong, Newton City University London; London, United Kingdom
Abstract
Automatically following rhythms by beat tracking is by no means a solved problem, especially when dealing with varying tempo and expressive timing. This paper presents a connectionist machine learning approach to expressive rhythm prediction, based on cognitive and neurological models. We detail a multi-layered recurrent neural network combining two complementary network models as hidden layers within one system. The first layer is a Gradient Frequency Neural Network (GFNN), a network of nonlinear oscillators which acts as an entraining and learning resonant filter to an audio signal. The GFNN resonances are used as inputs to a second layer, a Long Short-term Memory Recurrent Neural Network (LSTM). The LSTM learns the long-term temporal structures present in the GFNN's output, the metrical structure implicit within it. From these inferences, the LSTM predicts when the next rhythmic event is likely to occur. We train the system on a dataset selected for its expressive timing qualities and evaluate the system on its ability to predict rhythmic events. We show that our GFNN-LSTM model performs as well as state-of-the art beat trackers and has the potential to be used in real-time interactive systems, following and generating expressive rhythmic structures.
Keywords
Audio Signal Processing, Expressive Timing, Gradient Frequency Neural Networks, Machine Learning, Metre Perception, Music Information Retreival, Recurrent Neural Networks, Rhythm Prediction
Paper topics
Computer environments for sound/music processing, Interactive performance systems, Music information retrieval, Music performance analysis and rendering, Perception and cognition of sound and music, Sound/music signal processing algorithms
Easychair keyphrases
neural network [19], beat tracking [15], gradient frequency neural network [12], rhythmic event [11], recurrent neural network [9], expressive timing [8], hebbian learning [8], audio data [7], city university london [6], connectivity matrix [6], mean field [6], music information retrieval [6], rhythm prediction [6], short term memory [6], audio signal [5], metrical structure [5], rhythmic structure [5], beat induction [4], hierarchical metrical structure [4], integer ratio [4], long term structure [4], mean field network [4], mid level representation [4], neural network model [4], online initonline initonline lstm [4], online online initonline initonline [4], onset detection function [4], real time [4], standard deviation [4], th international society [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851063
Zenodo URL: https://zenodo.org/record/851063
2015.54
Pop Music Visualization Based on Acoustic Features and Chord Progression Patterns Applying Dual Scatterplots
Uehara, Misa Ochanomizu University; Tokyo, Japan
Itoh, Takayuki Ochanomizu University; Tokyo, Japan
Abstract
Visualization is an extremely useful tool to understand similarity of impressions among large number of tunes, or relationships of individual characteristics among artists, effectively in a short time. We expect chord progressions are beneficial in addition to acoustic features to understand the relationships among tunes; however, there have been few studies on visualization of music collections with the chord progression data. In this paper, we present a technique for integrated visualization of chord progression, meta information and acoustic features in collections of large number of tunes. This technique firstly calculates the acoustic feature values of the given set of tunes. At the same time, the technique collates typical chord progression patterns from the chord progressions of the tunes given as sequences of characters, and records which patterns are used in the tunes. Our implementation visualizes the above information applying the dual scatterplots, where one of the scatterplots arranges tunes based on their acoustic features, and the other figures co-occurrences among chord progression and meta information. In this paper, we introduce the experiment with tunes of 20 Japanese pop musicians using our visualization technique.
Keywords
acoustic feature, chord progression, information visualization, music recommendation
Paper topics
Interfaces for sound and music, Music information retrieval
Easychair keyphrases
chord progression pattern [44], meta information [39], chord progression [35], acoustic feature [32], progression pattern [17], meta information value [11], presented visualization technique [9], visualization technique [9], typical chord progression pattern [8], acoustic feature value [7], drag operation [7], music information retrieval [7], selected meta information [7], artist name [6], pop music [6], visualization result [6], selected dot [5], correlated meta information [4], japanese pop [4], music visualization [4], progression pattern matching [4], similar chord progression pattern [4], th meta information [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851029
Zenodo URL: https://zenodo.org/record/851029
2015.55
Psychoacoustic Impact Assessment of Smoothed AM/FM Resonance Signals
Goulart, Antonio University of São Paulo (USP); São Paulo, Brazil
Timoney, Joseph National University of Ireland Maynooth; Maynooth, Ireland
Queiroz, Marcelo University of São Paulo (USP); São Paulo, Brazil
Lazzarini, Victor National University of Ireland Maynooth; Maynooth, Ireland
Abstract
In this work we decompose analog musical resonant waveforms into their instantaneous frequency and amplitude envelope, and then smooth these information before resynthesis. The psychoacoustic impacts are evaluated from the point of view of dynamic brightness, tristimulus and spectrum irregularity. Signals with different amounts of resonance were analysed, and different types and lengths were tested for the smoothers. Experiments were carried out with amplitude smoothing only, frequency smoothing only, and simultaneous smoothing of amplitude and frequency signals. We draw conclusions relating the parameters explored and the results, which match with the sounds produced with the technique.
Keywords
AM-FM analysis resynthesis, analysis smoothing resynthesis, psychoacoustic impact of dafx
Paper topics
Models for sound analysis and synthesis, Perception and cognition of sound and music
Easychair keyphrases
instantaneous frequency [8], brightness value [6], musical instrument [6], env mod [5], order smoother [5], psychoacoustic metric [5], signal processing [5], tristimulus triangle [5], audio engineering society convention [4], frequency modulation [4], harmonics finding process [4], higher order [4], irregularity value [4], resonant waveform [4], waveform c figure [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851145
Zenodo URL: https://zenodo.org/record/851145
2015.56
Rendering and Subjective Evaluation of Real vs. Synthetic Vibrotactile Cues on a Digital Piano Keyboard
Fontana, Federico Università di Udine; Udine, Italy
Avanzini, Federico Università di Padova; Padova, Italy
Järveläinen, Hanna Zurich University of the Arts (ZHdK); Zurich, Switzerland
Papetti, Stefano Zurich University of the Arts (ZHdK); Zurich, Switzerland
Klauer, Giorgio Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Malavolta, Lorenzo Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Abstract
The perceived properties of a digital piano keyboard were studied in two experiments involving different types of vibrotactile cues in connection with sonic feedback. The first experiment implemented a free playing task in which subjects had to rate the perceived quality of the instrument according to five attributes: Dynamic control, Richness, Engagement, Naturalness, and General preference. The second experiment measured performance in timing and dynamic control in a scale playing task. While the vibrating condition was preferred over the standard non-vibrating setup in terms of perceived quality, no significant differences were observed in timing and dynamics accuracy. Overall, these results must be considered preliminary to an extension of the experiment involving repeated measurements with more subjects.
Keywords
digital piano, synthetic vibrations, tactile perception
Paper topics
Multimodality in sound and music computing, Perception and cognition of sound and music
Easychair keyphrases
vibrotactile feedback [10], dynamic control [9], general preference [9], vibration condition [9], digital keyboard [8], key vibration [8], digital piano [7], attribute scale [6], j arvel ainen [6], non vibrating standard [6], vibration sample [6], key velocity [5], negative group [5], perceived quality [5], piano synthesizer [5], control engagement richness [4], digital piano keyboard [4], individual consistency [4], positive group [4], significant difference [4], vibrotactile cue [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851015
Zenodo URL: https://zenodo.org/record/851015
2015.57
Sensor and Software Technologies for Lip Pressure Measurements in Trumpet and Cornet Playing - from Lab to Classroom
Großhauser, Tobias Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Abstract
Several technologies to measure lip pressure during brass instrument playing have already been developed as prototypes. This paper presents many technological improvements of previous methods and its optimization to use this technique as “easy to handle” tool in the classroom. It also offers new options for performance science studies gathering many intra- and inter-individual variabilities of playing parameters. Improvements include a wireless sensor setup to measure lip pressure in trumpet and cornet playing and to capture the orientation and motion of the instrument. Lightweight design and simple fixation allow to perform with a minimum of alteration of the playing conditions. Wireless connectivity to mobile devices is introduced for specific data logging. The app includes features like data recording, visualization, real-time feedback and server connectivity or other data sharing possibilities. Furthermore, a calibration method for the sensor setup is developed and the results showed measurement accuracy of less than 5% deviation and measurement range from 0.6N up to a peak load to 70N. A pilot study with 9 participants (beginners, advanced students and a professional player) confirmed practical usage. The integration of these real- time data visualizations into daily teaching and practicing could be just the next small step. Lip pressure forces are not only extremely critical for the upper register of the brass instruments, they are in general crucial for all brass instruments, especially playing in upper registers. Small changes of the fitting permit the use of the sensor for all brass instruments.
Keywords
app, biofeedback, brass, cornet, lip pressure, real-time, trumpet
Paper topics
Music performance analysis and rendering
Easychair keyphrases
lip pressure [17], sensor module [11], real time feedback [9], real time [6], professional player [5], sensor setup [5], brass instrument playing [4], data logging [4], dof imu [4], lip pressure measurement [4], miniature load cell [4], piston valve trumpet [4], real time data visualization [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851105
Zenodo URL: https://zenodo.org/record/851105
2015.58
Sensors2OSC
Deusany de Carvalho Junior, Antonio University of São Paulo (USP); São Paulo, Brazil
Mayer, Thomas Residuum, Independent; Germany
Abstract
In this paper we present an application that can send all events from any sensor available at an Android device using OSC and through Unicast or Multicast network communication. Sensors2OSC permits the user to activate and deactivate any sensor at runtime has forward compatibility with any new sensor that can become available without the need to upgrade the application for that. The sensors rate can be changed from the slowest to the fastest, and the user can configure any IP and Port to redirect the OSC messages. The application is described in detail with some discussion about Android devices limitations and the advantages of this application in contrast with so many others that we have on the market.
Keywords
android, interaction, ipv6, mobile, multicast, osc, unicast
Paper topics
Interactive performance systems, Sonic interaction design
Easychair keyphrases
mobile device [12], android device [11], sensor rate [10], android api [9], sensor available [9], osc message [8], multicast address [6], sensor value [6], available sensor [5], main screen [5], port number [5], forward compatibility [4], mobile application development [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851161
Zenodo URL: https://zenodo.org/record/851161
2015.59
Smooth Granular Sound Texture Synthesis by Control of Timbral Similarity
Schwarz, Diemo STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
O'Leary, Sean National University of Ireland Maynooth; Maynooth, Ireland
Abstract
Granular methods to synthesise environmental sound textures (e.g. rain, wind, fire, traffic, crowds) preserve the richness and nuances of actual recordings, but need a preselection of timbrally stable source excerpts to avoid unnaturally-sounding jumps in sound character. To overcome this limitation, we add a description of the timbral content of each sound grain to choose successive grains from similar regions of the timbre space. We define two different timbre similarity measures, one based on perceptual sound descriptors, and one based on MFCCs. A listening test compared these two distances to an unconstrained random grain choice as baseline and showed that the descriptor-based distance was rated as most natural, the MFCC based distance generally as less natural, and the random selection always worst.
Keywords
concatenative synthesis, corpus-based synthesis, granular synthesis, sound descriptors, sound texture synthesis
Paper topics
Sound and music for VR and games, Sound/music signal processing algorithms
Easychair keyphrases
sound texture [21], sound texture synthesis [15], crowd water faucet [7], desert wind stadium [7], lapping wave desert [7], stadium crowd water [7], traffic jam baby [7], water faucet formula [7], wave desert wind [7], wind stadium crowd [7], diemo schwarz [6], environmental sound texture [6], naturalness rating [6], texture synthesis [6], sound designer [5], baby total orig descr [4], corpus based concatenative synthesis [4], descriptor based similarity measure [4], mfcc based distance [4], scaled naturalness rating [4], signal processing [4], timbral similarity [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851125
Zenodo URL: https://zenodo.org/record/851125
2015.60
Songrium: Browsing and Listening Environment for Music Content Creation Community
Hamasaki, Masahiro National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
This paper describes a music browsing assistance service, Songrium (http://songrium.jp), that enables visualization and exploration of massive user-generated music content with the aim of enhancing user experiences in enjoying music. Such massive user-generated content has yielded ``web-native music'', which we defined as musical pieces that are published, shared, and remixed (have derivative works created) entirely on the web. Songrium has two interfaces for browsing and listening to web-native music from the viewpoints of scale and time: Songrium3D for gaining community-scale awareness and Interactive History Player for gaining community-history awareness. Both of them were developed to stimulate community activities for web-native music by visualizing massive music content spatially or chronologically and by providing interactive enriched experiences. Songrium has analyzed over 680,000 music video clips on the most popular Japanese video-sharing service, Niconico, which includes original songs of web-native music and their derivative works such as covers and dance arrangements. Analyses of more than 120,000 original songs reveal that over 560,000 derivative works have been generated and contributed to enriching massive user-generated music content.
Keywords
interactive system, music visualization, user-generated content, web application, web-native music
Paper topics
Interfaces for sound and music, Music information retrieval
Easychair keyphrases
derivative work [54], music content [29], interactive history player [28], music star map [15], visual effect [15], content creation community [12], music content creation [12], user generated music content [12], web native music [12], video clip [11], hatsune miku [10], browsing assistance service [9], music browsing assistance [9], music structure [7], music video clip [7], native music [7], dimensional space [6], embedded video player [6], video sharing service [6], vocaloid character [6], web native music content [6], music recommendation [5], public event [5], repeated section [5], vocaloid song [5], webnative music [5], crypton future medium [4], music video [4], popular japanese video sharing [4], web service [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851091
Zenodo URL: https://zenodo.org/record/851091
2015.61
Sound My Vision: Real-time video analysis on mobile platforms for controlling multimedia performances
Kreković, Miranda School of Computer and Communication Sciences , Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Grbac, Franco Independent; Switzerland
Kreković, Gordan Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Abstract
This paper presents Sound My Vision, an Android application for controlling music expression and multimedia projects. Unlike other similar applications which collect data only from sensors and input devices, Sound My Vision also analyses input video in real time and extracts low-level video features. Such a versatile controller can be used in various scenarios from entertainment and experimentation to live music performances, installations and multimedia projects. The application can replace complex setups that are usually required for capturing and analyzing a video signal in live performances. Additionally, mobility of smart-phones allows perspective changes in sense that the performer can become either an object or a subject involved in controlling the expression. The most important contributions of this paper are selection of general and low-level video feature and the technical solution for seamless real-time video extraction on the Android platform.
Keywords
mobile application, OSC, sensors, video analysis, video features
Paper topics
Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
moving object [15], video feature [15], mobile device [13], mobile application [10], musical expression [9], real time [9], real time video analysis [8], computer music [7], touch screen [6], international computer [5], multimedia project [5], use case [5], android application [4], android operating system [4], computer vision [4], low level video feature [4], multimedia system [4], real time video [4], seamless real time video [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851081
Zenodo URL: https://zenodo.org/record/851081
2015.62
Synchronizing Spatially Distributed Musical Ensembles
Hadjakos, Aristotelis Center of Music and Film Informatics, Detmold University of Music; Detmold, Germany
Berndt, Axel Center of Music and Film Informatics, Detmold University of Music; Detmold, Germany
Waloschek, Simon Center of Music and Film Informatics, Detmold University of Music; Detmold, Germany
Abstract
Spatially distributed musical ensembles play together while being distributed in space, e.g., in a park or in a historic building. Despite the distance between the musicians they should be able to play together with high synchronicity and realize complex rhythms (as far as the speed of sound permits). In this paper we propose systematic support of such ensembles based on electronic music stands that are synchronized to each other without using a permanent computer network or any network at all. This makes it possible to perform music for spatially distributed musical ensembles in places where it is difficult to get access to a computer network, e.g., in parks, historic buildings or big concert venues.
Keywords
Click Track, Electronic Music Stand, Synchronization
Paper topics
Interactive performance systems
Easychair keyphrases
m sync player [28], music stand [21], digital music stand [20], click track [13], distributed button [9], distributed musical ensemble [9], electronic music stand [9], page turning [9], computer music [6], continuous synchronization [6], playback model [6], radio time signal [6], shot synchronization [6], delta time [5], visual cue [5], auditory cue [4], ensemble member [4], low latency audio transmission [4], msync player [4], musical expression [4], music performance [4], sheet music [4], synchronized m sync player [4], tempo change [4], web based click track editor [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851131
Zenodo URL: https://zenodo.org/record/851131
2015.63
SynPy: a Python Toolkit for Syncopation Modelling
Song, Chunyang Queen Mary University of London; London, United Kingdom
Pearce, Marcus Queen Mary University of London; London, United Kingdom
Harte, Christopher University of York; York, United Kingdom
Abstract
In this paper we present SynPy, an open-source software toolkit for quantifying syncopation. It is flexible yet easy to use, providing the first comprehensive set of implementations for seven widely known syncopation models using a simple plugin architecture for extensibility. SynPy is able to process multiple bars of music containing arbitrary rhythm patterns and can accept time-signature and tempo changes within a piece. The toolkit can take input from various sources including text annotations and standard MIDI files. Results can also be output to XML and JSON file formats. This toolkit will be valuable to the computational music analysis community, meeting the needs of a broad range of studies where a quantitative measure of syncopation is required. It facilitates a new degree of comparison for existing syncopation models and also provides a convenient platform for the development and testing of new models.
Keywords
python, syncopation modelling, toolkit
Paper topics
Computational musicology and Mathematical Music Theory, Models for sound analysis and synthesis
Easychair keyphrases
rhythm pattern [14], syncopation model [13], note sequence [12], velocity sequence [11], standard midi file [9], time signature [7], time span [7], metrical weight [6], music perception [6], syncopation prediction [6], synpy toolkit [6], metrical hierarchy [5], metrical level [5], note duration [5], arbitrary rhythm pattern [4], computational music analysis community [4], json file [4], longuet higgin [4], metrical position [4], open source [4], plugin architecture [4], prediction value [4], quarter note [4], queen mary [4], son clave rhythm [4], syncopation value [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851079
Zenodo URL: https://zenodo.org/record/851079
2015.64
Target-Based Rhythmic Pattern Generation and Variation with Genetic Algorithms
Ó Nuanáin, Cárthach Pompeu Fabra University (UPF); Barcelona, Spain
Herrera, Perfecto Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Jordà, Sergi Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Composing drum patterns and musically developing them through repetition and variation is a typical task in electronic music production. We propose a system that, given an input pattern, automatically creates related patterns using a genetic algorithm. Two distance measures (the Hamming distance and directed-swap distance) that relate to rhythmic similarity are shown to derive usable fitness functions for the algorithm. A software instrument in the Max for Live environment presents how this can be used in real musical applications. Finally, a user survey was carried out to examine and compare the effectiveness of the fitness metrics in determining rhythmic similarity as well as the usefulness of the instrument for musical creation.
Keywords
Algorithmic Composition, Drums, Electronic Music, Genetic Algorithms, Rhythm Similarity
Paper topics
Computational musicology and Mathematical Music Theory, Computer environments for sound/music processing, Interfaces for sound and music, Models for sound analysis and synthesis, Perception and cognition of sound and music
Easychair keyphrases
genetic algorithm [32], target pattern [15], fitness function [12], hamming distance [11], rhythmic similarity [11], directed swap distance [9], drum pattern [9], distance measure [8], edit distance [7], swap distance [7], computer music [5], bit string [4], correlation matrix [4], next section [4], perceived similarity [4], rhythmic pattern [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851031
Zenodo URL: https://zenodo.org/record/851031
2015.65
TEMPO CURVING AS A FRAMEWORK FOR INTERACTIVE COMPUTER-AIDED COMPOSITION
Bresson, Jean STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
MacCallum, John Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley; Berkeley, United States
Abstract
We present computer-aided composition experiments related to the notions of polyrhythmic structures and variable tempo curves. We propose a formal context and some tools that allow to generate complex multi-varying-tempo polyrhythms integrated in compositional processes and performance, implemented as algorithms and prototype user interfaces.
Keywords
Computer-aided composition, Polytemporal music, Rhythm, Tempo
Paper topics
Computer environments for sound/music processing
Easychair keyphrases
tempo curve [16], computer aided composition [7], computer music [7], temporal pattern [7], simulated annealing algorithm [6], compositional process [4], musical material [4], recent work [4], target rhythm [4], varying tempo [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851109
Zenodo URL: https://zenodo.org/record/851109
2015.66
The "Harmonic Walk" and Enactive Knowledge: An Assessment Report
Mandanici, Marcella Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Abstract
The Harmonic Walk is an interactive, physical environment based on user’s motion detection and devoted to the study and practice of tonal harmony. When entering the rectangular floor surface within the application’s camera view, a user can actually walk inside the musical structure, causing a sound feedback depending on the occupied zone. We arranged a two masks projection set up to allow users to experience melodic segmentation and tonality harmonic space, and we planned two phase assessment sessions, submitting a 22 high school student group to various test conditions. Our findings demonstrate the high learning effectiveness of the Harmonic Walk application. Its ability to transfer abstract concepts in an enactive way, produces important improvement rates both for subjects who received explicit information and for subjects who didn’t.
Keywords
Interactive physical environments, Music cognition, Music learning applications
Paper topics
Interactive performance systems, Interfaces for sound and music
Easychair keyphrases
harmonic change [20], harmonization task [16], harmonic walk [15], effect size [12], non musician [10], high school student [9], circular ring [8], subject category [8], melody harmonization [7], second test [7], employed chord [6], enactive experience [6], instructed subject [6], melodic segmentation [6], standard deviation [6], test conductor [6], tonality harmonic space [6], zone tracker application [6], assessment session [5], assessment test [5], audio file [5], explicit information [5], high school [5], instructed musician [5], tonal function [5], tonal melody [5], uninstructed musician [5], catholic institute barbarigo [4], harmonic walk application [4], music high school [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851043
Zenodo URL: https://zenodo.org/record/851043
2015.67
The Virtuoso Composer and the Formidable Machine: A Path to Preserving Human Compositional Expression
Cullimore, Jason University of Regina; Regina, Canada
Gerhard, David University of Regina; Regina, Canada
Abstract
Many contemporary computer music systems can emulate as- pects of composers’ behaviour, creating and arranging struc- tural elements traditionally manipulated by composers. This raises the question as to how new computer music systems can act as effective tools that enable composers to express their personal musical vision–if a computer is acting as a composer’s tool, but is working directly with score structure, how can it preserve the composer’s artistic voice? David Wessel and Matthew Wright have argued that, in the case of musical instrument interfaces, a balance should be struck between ease of use and the potential for developing expres- sivity through virtuosity. In this paper, we adapt these views to the design of compositional interfaces. We introduce the idea of the virtuoso composer, and propose an understanding of computer music systems that may enhance the relation- ship between composers and their computer software tools. We conclude by arguing for a conceptualization of the com- poser/computer relationship that promotes the continued evo- lution of human musical expression.
Keywords
Critical Studies, Electronic Composition, Generative Music, Human-Computer Collaboration
Paper topics
Music and robotics, Music performance analysis and rendering, Social interaction in sound and music computing, Sound and music for VR and games
Easychair keyphrases
computer music system [19], musical work [10], computer music [7], musical instrument [7], computer based composition environment [6], musical idea [6], virtuoso composer [6], computer system [5], score structure [5], david cope experiment [4], musical intelligence [4], musical structure [4], real time [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851137
Zenodo URL: https://zenodo.org/record/851137
2015.68
To "Sketch-a-Scratch"
Del Piccolo, Alan Università Ca' Foscari; Venezia, Italy
Delle Monache, Stefano IUAV University of Venice; Venezia, Italy
Rocchesso, Davide IUAV University of Venice; Venezia, Italy
Papetti, Stefano Zurich University of the Arts (ZHdK); Zurich, Switzerland
Mauro, Davide Andrea IUAV University of Venice; Venezia, Italy
Abstract
A surface can be harsh and raspy, or smooth and silky, and everything in between. We are used to sense these features with our fingertips as well as with our eyes and ears: the exploration of a surface is a multisensory experience. Tools, too, are often employed in the interaction with surfaces, since they augment our manipulation capabilities. “Sketch a Scratch” is a tool for the multisensory exploration and sketching of surface textures. The user’s actions drive a physical sound model of real materials’ response to interactions such as scraping, rubbing or rolling. Moreover, different input signals can be converted into 2D visual surface profiles, thus enabling to experience them visually, aurally and haptically.
Keywords
Exploration, Interaction, Texture sketching
Paper topics
Computer environments for sound/music processing, Interactive performance systems, Interfaces for sound and music, Multimodality in sound and music computing, Sonic interaction design
Easychair keyphrases
haptic feedback [13], surface texture [10], surface profile [7], tool mediated exploration [6], virtual surface [6], impact model [5], audio signal [4], friction model [4], interactive surface [4], lateral force [4], multisensory exploration [4], real surface [4], rubbed object [4], self contained interactive installation [4], sound design toolkit [4], texture exploration [4], world voice day [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851051
Zenodo URL: https://zenodo.org/record/851051
2015.69
TRAP: TRAnsient Presence detection exploiting Continuous Brightness Estimation (CoBE)
Presti, Giorgio Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Mauro, Davide Andrea IUAV University of Venice; Venezia, Italy
Haus, Goffredo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Abstract
A descriptor of features’ modulation, useful in classification tasks and real time analysis, is proposed. This descriptor is computed in the time domain, ensuring fast computation speed and optimal temporal resolution. In this work we take into account amplitude envelope as inspected feature, so the outcome of this process can be useful to gain information about the input’ energy modulation and can be exploited to detect transients presence in audio segments. The proposed algorithm relays on an adaptation of Continuous Brightness Estimation (CoBE).
Keywords
Brightness, CoBE, Events detection, Feature extraction, MIR
Paper topics
Digital audio effects, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
envelope follower [7], event density [7], amplitude envelope [6], energy modulation [6], energy modulation amount [6], cobe value [5], energy envelope [5], low energy [5], attack leap [4], cobe ebf [4], continuous brightness estimation [4], crest factor [4], envelope brightness [4], feature extraction [4], modulation amount [4], onset detection [4], spectral flux [4], standard deviation [4], trap median [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851103
Zenodo URL: https://zenodo.org/record/851103
2015.70
Vibrotactile Discrimination of Pure and Complex Waveforms
Young, Gareth William University College Cork (UCC); Cork, Ireland
Murphy, Dave University College Cork (UCC); Cork, Ireland
Weeter, Jeffrey University College Cork (UCC); Cork, Ireland
Abstract
Here we present experimental results that investigate the application of vibrotactile stimulus of pure and complex waveforms. Our experiment measured a subject’s ability to discriminate between pure and complex waveforms based upon vibrotactile stimulus alone. Subjective same/different awareness was captured for paired combinations of sine, saw, and square waveforms at a fixed fundamental frequency of 160 Hz (f0). Each arrangement was presented non-sequentially via a gloved vibrotactile device. Audio and bone conduction stimulus were removed via headphone and tactile noise masking respectively. The results from our experiments indicate that humans possess the ability to distinguish between different waveforms via vibrotactile stimulation when presented asynchronously at f0 and that this form of interaction may be developed further to advance digital musical instrument (DMI) extra-auditory interactions in computer music.
Keywords
Interfaces for sound and music, Multimodality in sound and music computing, Perception and cognition of sound and music, Sound/music and the neurosciences
Paper topics
Interfaces for sound and music, Multimodality in sound and music computing, Perception and cognition of sound and music, Sound/music and the neurosciences
Easychair keyphrases
vibrotactile stimulus [10], complex waveform [7], vibrotactile feedback [7], audio tactile glove [6], multisensory integration [5], musical instrument [5], college cork cork [4], non musician [4], sub threshold [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851057
Zenodo URL: https://zenodo.org/record/851057
2015.71
"Virtual Tettix": Cicadas' Sound Analysis and Modeling at Plato's Academy
Georgaki, Anastasia University of Athens; Athens, Greece
Queiroz, Marcelo Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Abstract
This paper deals with the acoustic analysis of timbral and rhythmic patterns of the Cicada Orni sound activity, collected at the Plato Academy archaeological site during the summer period of 2014, comprising the Tettix soundscape database. The main purpose here is to use sound analysis for understanding the basic patterns of cicada calls and shrilling sounds, and subsequently use the raw material provided by the Tettix database in a statistical modeling framework for creating virtual sounds of cicadas, allowing the control of synthesis parameters spanning micro, meso and macro temporal levels.
Keywords
Cicada sound, Soundscape, Statistical models, Synthesis model, Timbre and rhythm analysis
Paper topics
Content processing of music audio signals, Models for sound analysis and synthesis, Sonic interaction design
Easychair keyphrases
virtual cicada [14], second order markov model [8], cicada orni [7], plato academy [7], macro temporal level [6], micro temporal [6], cicada call [5], cicada singing [5], low pass [5], macro temporal [5], synthesis model [5], temporal scale [5], tettix project [5], transition matrix [5], cicada chorus [4], high pass filter [4], lower right [4], low frequency [4], low pass filtered version [4], meso temporal [4], meso temporal scale [4], micro temporal scale [4], micro temporal synthesis engine [4], multi ethnic heterotopical soundscape [4], plato academy soundscape [4], precedence effect [4], statistical modeling [4], tettix database [4], upper left [4], upper right [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851141
Zenodo URL: https://zenodo.org/record/851141
2015.72
Voice quality transformation using an extended source-filter speech model
Huber, Stefan Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Roebel, Axel Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In this paper we present a flexible framework for parametric speech analysis and synthesis with high quality. It constitutes an extended source-filter model. The novelty of the proposed speech processing system lies in its extended means to use a Deterministic plus Stochastic Model (DSM) for the estimation of the unvoiced stochastic component from a speech recording. Further contributions are the efficient and robust means to extract the Vocal Tract Filter (VTF) and the modelling of energy variations. The system is evaluated in the context of two voice quality transformations on natural human speech. The voice quality of a speech phrase is altered by means of re-synthesizing the deterministic component with different pulse shapes of the glottal excitation source. A Gaussian Mixture Model (GMM) is used in one test to predict energies for the re-synthesis of the deterministic and the stochastic component. The subjective listening tests suggests that the speech processing system is able to successfully synthesize and arise to a listener the perceptual sensation of different voice quality characteristics. Additionally, improvements of the speech synthesis quality compared to a baseline method are demonstrated.
Keywords
Glottal Source, LF model, Source-Filter, Speech Analysis Transformation and Synthesis, Voice Quality
Paper topics
Content processing of music audio signals, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
voice quality [57], synthesis quality [17], mo synthesis quality [14], voice quality transformation [14], tense voice quality [12], signal processing [9], voice descriptor [9], voice quality rating [9], glottal pulse [8], quality rating [8], baseline method svln [7], rdgci contour [7], relaxed voice quality [7], sinusoidal content [7], time domain mixing [7], voice quality change [7], glottal excitation source [6], glottal flow [6], glottal source [6], spectral fading [6], spectral fading synthesis [6], spectral slope [6], speech communication association [6], synthesis quality rating [6], unvoiced signal [6], very tense voice [6], voice quality characteristic [6], energy measure [5], source filter [5], unvoiced component [5]
Paper type
Full paper
DOI: 10.5281/zenodo.851075
Zenodo URL: https://zenodo.org/record/851075
2015.73
Wave Voxel Synthesis
Haron, Anis Media Arts and Technology Program, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Wright, Matthew James Media Arts and Technology Program, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Abstract
We present research in sound synthesis techniques employing lookup tables higher than two dimensions. Higher dimensional wavetables have not yet been explored to their fullest potential due to historical resource restrictions, particularly memory. This paper presents a technique for sound synthesis by means of three-variable functions as an extension to existing multidimensional table lookup synthesis techniques.
Keywords
Multidimensional wavetable, Sound Synthesis, Three variable functions
Paper topics
Digital audio effects, Multimodality in sound and music computing, Sound/music signal processing algorithms
Easychair keyphrases
voxel stack [17], wave terrain [16], wave terrain synthesis [14], harmonic content [10], sound synthesis [10], computer music [9], linear frequency [9], linear phase [9], frequency sweep [8], orbit trajectory [8], amplitude value [7], wave voxel [7], international computer [6], dimensional space [5], orbit length [5], sine wave [5], table size [5], dimensional lookup table [4], dimensional wavetable [4], dynamic voxel stack content [4], indexing operation [4], real time video image [4], sub wavetable [4], term wave voxel [4], variable function [4], wave voxel synthesis [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851037
Zenodo URL: https://zenodo.org/record/851037
2015.74
Web Audio Evaluation Tool: A Browser-Based Listening Test Environment
Jillings, Nicholas Queen Mary University of London; London, United Kingdom
De Man, Brecht Queen Mary University of London; London, United Kingdom
Moffat, David Queen Mary University of London; London, United Kingdom
Reiss, Joshua Daniel Queen Mary University of London; London, United Kingdom
Abstract
Perceptual evaluation tests where subjects assess certain qualities of different audio fragments are an integral part of audio and music research. These require specialised software, usually custom-made, to collect large amounts of data using meticulously designed interfaces with carefully formulated questions, and play back audio with rapid switching between different samples. New functionality in HTML5 included in the Web Audio API allows for increasingly powerful media applications in a platform independent environment. The advantage of a web application is easy deployment on any platform, without requiring any other application, enabling multiple tests to be easily conducted across locations. In this paper we propose a tool supporting a wide variety of easily configurable, multi-stimulus perceptual audio evaluation tests over the web with multiple test interfaces, pre- and post-test surveys, custom configuration, collection of test metrics and other features. Test design and set up doesn't require programming background, and results are gathered automatically using web friendly formats for easy storing of results on a server.
Keywords
Audio Evaluation, HTML5, Listening Tests, Web Audio
Paper topics
Interfaces for sound and music, Music information retrieval, Perception and cognition of sound and music
Easychair keyphrases
web audio api [17], audio engineering society [15], listening test [10], comment box [8], perceptual evaluation [7], sample rate [7], audio sample [6], audio file [5], metricenable metricenable [5], audio fragment [4], audio perceptual evaluation [4], audio quality [4], browser based listening test environment [4], browser based perceptual evaluation [4], metricresult metricresult id [4], multiple stimulus [4], perceptual evaluation tool [4], setup file [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851157
Zenodo URL: https://zenodo.org/record/851157
2015.75
Web Audio Modules
Kleimola, Jari Department of Computer Science, Aalto University; Espoo, Finland
Larkin, Oliver Department of Music, University of York; York, United Kingdom
Abstract
This paper introduces Web Audio Modules (WAMs), which are high-level audio processing/synthesis units that represent the equivalent of Digital Audio Workstation (DAW) plug-ins in the browser. Unlike traditional browser plugins WAMs load from the open web with the rest of the page content without manual installation. We propose the WAM API – which integrates into the existing Web Audio API – and provide its implementation for JavaScript and C++ bindings. Two proof-of-concept WAM virtual instruments were implemented in Emscripten, and evaluated in terms of latency and performance. We found that the performance is sufficient for reasonable polyphony, depending on the complexity of the processing algorithms. Latency is higher than in native DAW environments, but we expect that the forthcoming W3C standard AudioWorkerNode as well as browser developments will reduce it.
Keywords
daw plugin, emscripten, sound synthesis, virtual instrument, web audio
Paper topics
Computer environments for sound/music processing, Digital audio effects, Interfaces for sound and music, Sound/music signal processing algorithms
Easychair keyphrases
web audio api [26], audio api [15], web browser [10], web audio api node [8], buffer size [7], parameter space [7], style virtual instrument [6], virtual instrument [6], virtual void [6], wam implementation [6], web page [6], web service [6], audio plug [5], daw style [5], manual installation [5], native plug [5], use case [5], wam sinsynth [5], web application [5], web audio [5], audio api node graph [4], audio module [4], open source [4], streamlined api [4], user interface [4], void data [4], wam api [4], web api [4], web component [4], web midi api [4]
Paper type
Full paper
DOI: 10.5281/zenodo.851149
Zenodo URL: https://zenodo.org/record/851149
Sound and Music Computing Conference 2016 (ed. 13)
Dates: from August 31 to September 03, 2016
Place: Hamburg, Germany
Proceedings info: Proceedings SMC 2016 | 31.8. - 3.9.2016, Hamburg, Germany, ISBN 978-3-00-053700-4
2016.1
Adapting a Computational Multi Agent Model for Humpback Whale Song Research for use as a Tool for Algorithmic Composition
Mcloughlin, Michael University of Plymouth; Plymouth, United Kingdom
Lamoni, Luca University of St Andrews; St Andrews, United Kingdom
Garland, Ellen University of St Andrews; St Andrews, United Kingdom
Ingram, Simon University of Plymouth; Plymouth, United Kingdom
Kirke, Alexis University of Plymouth; Plymouth, United Kingdom
Noad, Michael The University of Queensland; Sydney, Australia
Rendell, Luke University of St Andrews; St Andrews, United Kingdom
Miranda, Eduardo Reck University of Plymouth; Plymouth, United Kingdom
Abstract
Humpback whales (Megaptera Novaengliae) present one of the most complex displays of cultural transmission amongst non-humans. During the breeding season, male humpback whales create long, hierarchical songs, which are shared amongst a population. Every male in the popu- lation conforms to the same song in a population. During the breeding season these songs slowly change and the song at the end of the breeding season is significantly different from the song heard at the start of the breeding season. The song of a population can also be replaced, if a new song from a different population is introduced. This is known as song revolution. Our research focuses on building computational multi agent models, which seek to recreate these phenomena observed in the wild. Our research relies on methods inspired by computational multi agent models for the evolution of music. This inter- disciplinary approach has allowed us to adapt our model so that it may be used not only as a scientific tool, but also a creative tool for algorithmic composition. This paper discusses the model in detail, and then demon- strates how it may be adapted for use as an algorithmic composition tool.
Keywords
Algorithmic Composition, A-life, Multi Agent Modelling
Paper topics
improvisation and notation, Other, Real-time composition, Social interaction in sound and music computing, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851253
Zenodo URL: https://zenodo.org/record/851253
2016.2
A Faust Based Driving Simulator Sound Synthesis Engine
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Chafe, Chris Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Gang, Nick Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Johns, Mishel Center for Design Research, Stanford University; Stanford, United States
O'Modhrain, Sile University of Michigan; Ann Arbor, United States
Wright, Matthew James Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Sirkin, David Center for Design Research, Stanford University; Stanford, United States
Ju, Wendy Center for Design Research, Stanford University; Stanford, United States
Gowda, Nikhil Center for Design Research, Stanford University; Stanford, United States
Abstract
A driver’s awareness while on the road is a critical factor in his or her ability to make decisions to avoid hazards, plan routes and maintain safe travel. Situational awareness is gleaned not only from visual observation of the environment, but also the audible cues the environment provides — police sirens, honking cars, and crosswalk beeps, for instance, alert the driver to events around them. In our ongoing project on "investigating the influence of audible cues on driver situational awareness", we implemented a custom audio engine that synthesizes in real time the soundscape of our driving simulator and renders it in 3D. This paper describes the implementation of this system, evaluates it and suggests future improvements. We believe that it provides a good example of use of a technology developed by the computer music community outside of this field and that it demonstrates the potential of the use of driving simulators as a music performance venue.
Keywords
Autonomous Driving, Digital Signal Processing, Driving Simulator, Faust, Soundscape Synthesis, Sound Synthesis
Paper topics
Digital signal processing, Sonic interaction design, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851261
Zenodo URL: https://zenodo.org/record/851261
2016.3
A Hybrid Filter-Wavetable Oscillator Technique for Formant-Wave-Function Synthesis
Olsen, Michael Stanford University; Stanford, United States
Smith, Julius Orion III Stanford University; Stanford, United States
Abel, Jonathan S. Stanford University; Stanford, United States
Abstract
In this paper a hybrid filter-wavetable oscillator implmentation of Formant-Wave-Function (FOF) synthesis is presented where each FOF is generated using a second-order filter and wavetable oscillator pair. Similar to the original time-domain FOF implementation, this method allows for separate control of the bandwidth and skirtwidth of the formant region generated in the frequency domain by the FOF synthesis. Software considerations are also taken into account whihch improve the performance and flexibility of the synthesis technique.
Keywords
FAUST, formant-wave-function synthesis, synthesis techniques, vocal synthesis
Paper topics
Digital signal processing, Other, Software / computer music languages
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851283
Zenodo URL: https://zenodo.org/record/851283
2016.4
A Liberated Sonic Sublime: Perspectives on the Aesthetics & Phenomenology of Sound Synthesis
Bach Pedersen, Anders IT University of Copenhagen; Copenhagen, Denmark
Abstract
In this paper I will investigate the aesthetics of electronic sound synthesis and the contemporary sublime in an analysis and discussion of interrelated phenomenological, philosophical and cultural considerations through chosen sound and music examples. I argue that the aesthetic experience of sonic timbres that seem unearthly to us resembles that of a transcendental sublime in the uncanny experience of the synthesis of both known and unknown sounds and the overall immaterial materiality of electricity. Both experimental music and “switched-on” reinterpretations are addressed through explorations of sound in time, space and technology and I discuss if we as listeners are able to differentiate materiality from its superficial cognates when challenged by sonic doppelgängers. Concepts of sonorous perception are taken into account from a phenomenological point-of-reference with the purpose of suggesting a liberation of sound synthesis, arguing the transcendence of its boundaries in the physical world being possible through the aesthetics surrounding an un-fathomable technological sublime in the art of synthesizing electricity.
Keywords
Aesthetics, Materiality, Perception, Phenomenology, Sublime, Synthesis, Uncanny
Paper topics
History and aesthetics of electronic media, Music cognition and creativity
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851291
Zenodo URL: https://zenodo.org/record/851291
2016.5
A Model Selection Test for Factors Affecting the Choice of Expressive Timing Clusters for a Phrase
Li, Shengchen Queen Mary University of London; London, United Kingdom
Dixon, Simon Queen Mary University of London; London, United Kingdom
Black, Dawn Factum Radioscape; London, United Kingdom
Plumbley, Mark D. University of Surrey; Guildford, United Kingdom
Abstract
Expressive timing for a phrase in performed classical music is likely to be effected by two factors: the expressive timing in the previous phrase and the position of the phrase within the piece. In this work, we present a model selection test for evaluating candidate models that assert different dependencies on deciding the Cluster of Expressive Timing (CET) for a phrase. We use cross entropy and Kullback Leibler (KL) divergence to evaluate the resulting models: with theses criteria we find that both the expressive timing in the previous phrase and the position of a phrase in music score effect expressive timing in a phrase. The expressive timing in the previous phrase prioritises the position of the phrase as the position of the phrase only impacts the choice of expressive timing with the consideration of expressive timing in the previous phrase.
Keywords
classical piano performance, computational musicology, expressive timing, model selection
Paper topics
Computational musicology and mathematical music theory, Computer-based music analysis
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851245
Zenodo URL: https://zenodo.org/record/851245
2016.6
AN EXPLORATION ON WHOLE-BODY AND FOOT-BASED VIBROTACTILE SENSITIVITY TO MELODIC CONSONANCE
Fontana, Federico Università di Udine; Udine, Italy
Camponogara, Ivan New York University (NYU); New York, United States
Vallicella, Matteo Università di Verona; Verona, Italy
Ruzzenente, Marco Università di Verona; Verona, Italy
Cesari, Paola Università di Verona; Verona, Italy
Abstract
Consonance is a distinctive attribute of musical sounds, for which a psychophysical explanation has been found leading to the critical band perceptual model. Recently this model has been hypothesized to play a role also during tactile perception. In this paper the sensitivity to vibrotactile consonance was subjectively tested in musicians and non-musicians. Before the test, both such groups listened to twelve melodic intervals played with a bass guitar. After being acoustically isolated, participants were exposed to the same intervals in the form of either a whole-body or foot-based vibrotactile stimulus. On each trial they had to identify whether an interval was ascending, descending or unison. Musicians were additionally asked to label every interval using standard musical nomenclature. The intervals identification as well as their labeling was above chance, but became progressively more uncertain for decreasing consonance and when the stimuli were presented underfoot. Musicians’ labeling of the stimuli was incorrect when dissonant vibrotactile intervals were presented underfoot. Compared to existing literature on auditory, tactile and multisensory perception, our results reinforce the idea that vibrotactile musical consonance plays a perceptual role in both musicians and non-musicians. Might this role be the result of a process occurring at central and/or peripheral level, involving or not activation of the auditory cortex, concurrent reception from selective somatosensory channels, correlation with residual auditory information reaching the basilar membrane through bone conduction, is a question our preliminary exploration leaves open to further research work.
Keywords
melodic interval, musical consonance, tactile perception, underfoot vibrations, whole-body vibrations
Paper topics
Multi-modal perception and emotion
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851213
Zenodo URL: https://zenodo.org/record/851213
2016.7
An Online Tempo Tracker for Automatic Accompaniment based on Audio-to-audio Alignment and Beat Tracking
Burloiu, Grigore Politehnica University of Bucharest (UPB); Bucharest, Romania
Abstract
We approach a specific scenario in real-time performance following for automatic accompaniment, where a relative tempo value is derived from the deviation between a live target performance and a stored reference, to drive the playback speed of an accompaniment track. We introduce a system which combines an online alignment process with a beat tracker. The former aligns the target performance to the reference without resorting to any symbolic information. The latter utilises the beat positions detected in the accompaniment, reference and target tracks to (1) improve the robustness of the alignment-based tempo model and (2) take over the tempo computation in segments when the alignment error is likely high. While other systems exist that handle structural deviations and mistakes in a performance, the portions of time where the aligner is attempting to find the correct hypothesis can produce erratic tempo values. Our proposed system, publicly available as a Max/MSP external object, addresses this problem.
Keywords
audio-to-audio alignment, automatic accompaniment, beat tracking, Max/MSP external, tempo models
Paper topics
Interactive performance systems, Music information retrieval, Other
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851197
Zenodo URL: https://zenodo.org/record/851197
2016.8
A Score-Informed Computational Description of Svaras Using a Statistical Model
Şentürk, Sertan Pompeu Fabra University (UPF); Barcelona, Spain
Koduri, Gopala Krishna Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Musical notes are often modeled as a discrete sequence of points on a frequency spectrum with possibly different interval sizes such as just-intonation. Computational descriptions abstracting the pitch content in audio music recordings have used this model, with reasonable success in several information retrieval tasks. In this paper, we argue that this model restricts a deeper understanding of the pitch content. First, we discuss a statistical model of musical notes which widens the scope of the current one and opens up possibilities to create new ways to describe the pitch content. Then we present a computational approach that partially aligns the audio recording with its music score in a hierarchical manner first at metrical cycle-level and then at note-level, to describe the pitch content using this model. It is evaluated extrinsically in a classification test using a public dataset and the result is shown to be significantly better compared to a state-of-the-art approach. Further, similar results obtained on a more challenging dataset which we have put together, reinforces that our approach outperforms the other.
Keywords
audio-score alignment, Carnatic music, histogram, iterative subsequence dynamic time warping, kriti, note model, raga recognition, svara, varnam
Paper topics
Computational musicology and mathematical music theory, Digital signal processing, Music information retrieval
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851301
Zenodo URL: https://zenodo.org/record/851301
2016.9
A Study of the Use of Perceptual Features for Music Emotion Recognition
Abela Scicluna, Maria University of Malta; Msida, Malta
Muscat, Adrian University of Malta; Msida, Malta
Buttigieg, Victor University of Malta; Msida, Malta
Abstract
Perceptual features are defined as musical descriptors that closely match a listener’s understanding of musical characteristics. This paper tackles Music Emotion Recognition through the consideration of three kinds of perceptual feature sets, human rated, computational and modelled features. The human rated features are extracted through a survey and the computational features are estimated directly from the audio signal. Regressive modelling is used to predict the human rated features from the computational features. The latter predicted set constitute the modelled features. The regressive models performed well for all features except for Harmony, Timbre and Melody. All three feature sets are used to train three regression models (one for each set) to predict the components Energy and Valence, which are then used to recognise emotion. The model trained on the rated features performed well for both components. This therefore shows that emotion can be predicted from perceptual features. The models trained on the computational and modelled features performed well in predicting Energy, but not so well in predicting Valence. This is not surprising since the main predictors for Valence are Melody, Harmony and Timbre, which therefore need added or modified computational features that better match human perception.
Keywords
Classification, Feature Extraction, Music Emotion Recognition, Perceptual Features
Paper topics
Computer-based music analysis, Multi-modal perception and emotion, Music information retrieval
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851167
Zenodo URL: https://zenodo.org/record/851167
2016.10
Authoring Spatial Music with SpatDIF Version 0.4
Schacher, Jan C. Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Peters, Nils Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), Schulich School of Music, McGill University; Montreal, Canada
Lossius, Trond Bergen Centre for Electronic Arts (BEK); Bergen, Norway
Miyama, Chikashi Institute for Music and Acoustics, Center for Art and Media Karlsruhe (ZKM); Karlsruhe, Germany
Abstract
SpatDIF, the Spatial Sound Description Interchange Format is a light-weight, human-readable syntax for storing and transmitting spatial sound scenes, serving as an independent, cross-platform and host-independent solution for spatial sound composition. The recent update to version 0.4 of the specification introduces the ability to define and store continuous trajectories on the authoring layer in a human-readable way, as well as describing groups and source spreading. As a result, SpatDIF provides a new way to exchange higher level authoring data across authoring tools that help to preserve the artistic intent in spatial music.
Keywords
authoring, composition, interoperability, SpatDIF, spatial sound, trajectory
Paper topics
improvisation and notation, Real-time composition, Room acoustics and spatial audio, Software / computer music languages, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851297
Zenodo URL: https://zenodo.org/record/851297
2016.11
Automatic musical instrument recognition in audiovisual recordings by combining image and audio classification strategies
Slizovskaia, Olga Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Pompeu Fabra University (UPF); Barcelona, Spain
Haro, Gloria Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
The goal of this work is to incorporate the visual modality into a musical instrument recognition system. For that, we first evaluate state-of-the-art image recognition techniques in the context of music instrument recognition, using a database of about 20.000 images and 12 instrument classes. We then reproduce the results of state-of-the-art methods for audio-based musical instrument recognition, considering standard datasets including more than 9.000 sound excerpts and 45 instrument classes. We finally compare the accuracy and confusions in both modalities and we showcase how they can be integrated for audio-visual instrument recognition in music videos. We obtain around 0.75 F1-measure for audio and 0.77 for images and similar confusions between instruments. This study confirms that visual (shape) and acoustic (timbre) properties of music instruments are related to each other and reveals the potential of audiovisual music description systems and the fact.
Keywords
audiovisual content-based learning, multimodal musical instrument recognition, multimodal music information retrieval
Paper topics
Computer-based music analysis, Music information retrieval, Other
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851305
Zenodo URL: https://zenodo.org/record/851305
2016.12
A Virtual Acousmonium for Transparent Speaker Systems
Canfield-Dafilou, Elliot Kermit Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
An acousmonium, or loudspeaker orchestra, is a system of spatially-separated loudspeakers designed for diffusing electroacoustic music. The speakers in such a system are chosen based on their sonic properties and placed in space with the intention of imparting spatial and timbral effects on the music played through them. Acousmonia are in fact musical instruments that composers and sound artists use in concerts to perform otherwise static tape pieces. Unfortunately, acousmonia are large systems that are challenging to maintain, upgrade, transport, and reconfigure. Additionally, their sole task is limited to the diffusion of acousmatic music. On the other hand, most computer music centers have incorporated multichannel sound systems into their studio and concert setups. In this paper, we propose a virtual acousmonium that decouples an arbitrary arrangement of virtual, colored speakers from a transparent speaker system that the acousmonium is projected through. Using ambisonics and an appropriate decoder, we can realize the virtual acousmonium on almost any speaker system. Our software automatically generates a GUI for metering and OSC/MIDI responders for control, making the system portable, configurable, and simple to use.
Keywords
acousmatic music, acousmonium, diffusion tools, speaker orchestra
Paper topics
Computer environments for sound/music processing, History and aesthetics of electronic media, Interactive performance systems, Room acoustics and spatial audio, Virtual environments for music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851239
Zenodo URL: https://zenodo.org/record/851239
2016.13
Beatings: a web application to foster the renaissance of the art of musical temperaments
Penha, Rui Faculdade de Engenharia da Universidade do Porto (FEUP), INESC TEC / Universidade do Porto; Porto, Portugal
Bernardes, Gilberto INESC TEC; Porto, Portugal
Abstract
In this article we present beatings, a web application for the exploration of tuning and temperaments which pays particular attention to auditory phenomena resulting from the interaction of the spectral components of a sound, and in particular to the pitch fusion and the amplitude modulations occurring between the spectral peaks a critical bandwidth apart. By providing a simple, yet effective, visualization of the temporal evolution of this auditory phenomena we aim to foster new research in the pursuit of perceptually grounded principles explaining Western tonal harmonic syntax, as well as provide a tool for musical practice and education, areas where the old art of musical tunings and temperaments, with the notable exception of early music studies, appears to have long been neglected in favour of the practical advantages of equal temperament.
Keywords
harmony, javascript, temperament, tuning, voice leading, web application, Web Audio API, Web MIDI API
Paper topics
Computer-based music analysis, New interfaces for musical expression, Other, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851293
Zenodo URL: https://zenodo.org/record/851293
2016.14
CAMEL: CARNATIC PERCUSSION MUSIC GENERATION USING N-GRAM MODELS
Trochidis, Konstantinos New York University (NYU); New York, United States
Guedes, Carlos New York University (NYU); New York, United States
Anantapadmanabhan, Akshay Independent Musician, Independent; India
Klaric, Andrija New York University (NYU); New York, United States
Abstract
In this paper we explore a method for automatically generating Carnatic style rhythmic. The method uses a set of annotated Carnatic percussion performances to generate new rhythmic patterns. The excerpts are short percussion solo performances in ādi tāla (8 beat-cycle), performed in three different tempi (slow/moderate/fast). All excerpts were manually annotated with beats, downbeats and strokes in three different registers — Lo-Mid-Hi. N-gram analysis and Markov chains are used to model the rhythmic structure of the music and determine the progression of the generated rhythmic patterns. The generated compositions are evaluated by a Carnatic music percussionist through a questionnaire and the overall evaluation process is discussed. Results show that the system can successfully compose Carnatic style rhythmic performances and generate new patterns based on the original compositions.
Keywords
automatic music generation, Carnatic rhythmic patterns, rhythmic structure
Paper topics
Computer-based music analysis, improvisation and notation, Interactive performance systems, New interfaces for musical expression, Real-time composition, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851317
Zenodo URL: https://zenodo.org/record/851317
2016.15
Composition Identification in Ottoman-Turkish Makam Music Using Transposition-Invariant Partial Audio-Score Alignment
Şentürk, Sertan Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
The composition information of audio recordings is highly valuable for many tasks such as music auto-tagging, music discovery and recommendation. Given a music collection, two typical scenarios are retrieving the composition(s) performed in an audio recording and retrieving the audio recording(s), where a composition is performed. These tasks are challenging in many music traditions, where the musicians have a vast freedom of interpretation. We present a composition identification methodology for such a music culture, in a music collection consisting of audio recordings and music scores. Our methodology first attempts to align the music score of a composition partially with an audio recording by using either Hough transform or subsequence dynamic time warping (SDTW). Next, it computes a similarity from the alignment, which indicates the likelihood of the audio having a performance of this composition. By repeating this procedure over all queries (scores or recordings depending on the retrieval task) we obtain similarity-values between the document (score or recording) and each query. Finally, the queries emitting high similarities are selected by a simple approach using logistic regression. We evaluate our methodology on a dataset of Ottoman-Turkish classical makam music. Our methodology achieves 0.95 mean average precision (MAP) for both composition retrieval and performance retrieval tasks using optimal parameters.
Keywords
classical music, composition identification, composition retrieval, Hough transform, logistic regression, Mahalanobis distance, Ottoman-Turkish makam music, outlier detection, partial audio-score alignment, performance retrieval, Subsequence dynamic time warping, tonic identification
Paper topics
Computational musicology and mathematical music theory, Digital signal processing, Music information retrieval
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851303
Zenodo URL: https://zenodo.org/record/851303
2016.16
David Wessel's Slabs: A Case Study in Preventative Digital Musical Instrument Conservation
Freed, Adrian Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley; Berkeley, United States
Abstract
David Wessel's Slabs is being conserved as an important element of CNMAT's collection of electronic music and computer music instruments and controllers. This paper describes the strategies being developed to conserve the instrument and how we are reaching for the goals of both maintaining the symbolic value of the instrument as a prize-winning, highly-regarded example of the "composed instrument" paradigm and "use value" as an example students and scholars can interact with to develop their own composed instruments. Conservation required a sensitive reconfiguration and rehousing of this unique instrument that preserves key original components while rearranging them and protecting them from wear and damage.
Keywords
Conservation, David Wessel, DMI, Multitouch, Piezoresistive Trackpad, Slabs
Paper topics
Computer environments for sound/music processing, History and aesthetics of electronic media, Instrument building and virtuosity in Computer Music, Interactive performance systems, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851215
Zenodo URL: https://zenodo.org/record/851215
2016.17
deepGTTM-II: Automatic Generation of Metrical Structure based on Deep Learning Technique
Hamanaka, Masatoshi Kyoto University; Kyoto, Japan
Hirata, Keiji Future University Hakodate; Hakodate, Japan
Tojo, Satoshi Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Abstract
This paper describes an analyzer that automatically generates the metrical structure of a generative theory of tonal music (GTTM). Although a fully automatic time-span tree analyzer has been developed, musicologists have to correct the errors in the metrical structure. In light of this, we use a deep learning technique for generating the metrical structure of a GTTM. Because we only have 300 pieces of music with the metrical structure analyzed by musicologist, directly learning the relationship between the score and metrical structure is difficult due to the lack of training data. To solve this problem, we propose a multidimensional multitask learning analyzer called deepGTM-II that can learn the relationship between score and metrical structures in the following three steps. First, we conduct unsupervised pre-training of a network using 15,000 pieces in a non-labeled dataset. After pre-training, the network involves supervised fine-tuning by back propagation from output to input layers using a half-labeled dataset, which consists of 15,000 pieces labeled with an automatic analyzer that we previously constructed. Finally, the network involves supervised fine-tuning using a labeled dataset. The experimental results demonstrated that the deepGTTM-II outperformed the previous analyzers for a GTTM in F-measure for generating the metrical structure.
Keywords
A generative thory of tonal music (GTTM), Deep belief network, Deep learning, Metrical structure
Paper topics
Computational musicology and mathematical music theory, Computer-based music analysis
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851229
Zenodo URL: https://zenodo.org/record/851229
2016.18
Detection Thresholds in Audio-Visual Redirected Walking
Meyer, Florian Hamburg University of Technology (TUHH); Hamburg, Germany
Nogalski, Malte Hamburg University of Applied Sciences (HAW); Hamburg, Germany
Fohl, Wolfgang Hamburg University of Applied Sciences (HAW); Hamburg, Germany
Abstract
Redirected walking is a technique to present users a walkable virtual environment that is larger than the extent of the physical space of the reproduction room. For the proper application of this technique, it is necessary to determine the detection threshold for the applied manipulations. In this paper, an experiment to measure the detection levels of redirected walking manipulations in an audio-visual virtual environment is described, results are presented and compared to previous results of a purely acoustically controlled redirected walking experiment.
Keywords
Detection thresholds, Redirected walking, Virtual audio-visual environments
Paper topics
Interactive performance systems, Room acoustics and spatial audio, Sonic interaction design, Sound and music for virtual reality and games, Virtual environments for music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851259
Zenodo URL: https://zenodo.org/record/851259
2016.19
DEVELOPING A PARAMETRIC SPATIAL DESIGN FRAMEWORK FOR DIGITAL DRUMMING
Ham, Jeremy Royal Melbourne Institute of Technology (RMIT); Melbourne, Australia
Prohasky, Daniel Royal Melbourne Institute of Technology (RMIT); Melbourne, Australia
Abstract
This research operates at the intersection of music and spatial design within the context of improvised digital drumming. We outline a creative design research project founded on the generation of a large body of improvised drum output with the intention of identifying a set of ‘referent (Pressing 1987)’ improvisations, patterns and phrases within the phenomenology of improvisation. We outline the development of a parametric computational framework using software from the spatial design industry to provide affordance (Gibson 1979) to understanding the complexities of drum improvisation. The ‘ImprovSpace’ Grasshopper script, operating within Rhino3D enables the 3D spatialization of digital drum-based improvisations wherein the parameters of drum notes, duration and velocity all can be flexibly manipulated. Drum phrases and patterns can be compared individually and clusters of repeated elements can be found within a larger corpus of improvisations. The framework enables insights into the specific attributes that constitute individual style including playing behind and ahead of the beat, microtiming, rubato and other elements. It is proposed that, by bringing these improvisations into visual and spatial domain in plan, elevation and isometric projections, a theoretic musico-perspectival hinge may be deconstructed. This may provide insights for non-reading, visually and spatially dominant musi-cians within reflective, educational and other contexts
Keywords
Digital drumming, Improvisation, Music and Architecture, Parametric Modelling
Paper topics
Computer-based music analysis, improvisation and notation, Real-time composition
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851227
Zenodo URL: https://zenodo.org/record/851227
2016.20
Emerging Composition: Being and Becoming
Tipei, Sever University of Illinois at Urbana-Champaign; Champaign County, United States
Abstract
Emerging Composition: Being and Becoming envisions a work in continuous transformation, never reaching an equilibrium, a complex dynamic system whose components permanently fluctuate and adjust to global changes. The process never produces a definitive version, but provides at any arbitrary point in time a plausible variant of the work - a transitory being. Directed Graphs are used to represent the structural levels of a composition (vertices) and the relationships between them (edges); parent-children and ancestor-descendant type connections describe well potential hierarchies in a piece of music. By determining adjacencies and degrees of vertices and introducing weights for edges, one can define affinities and dependencies in the complex and flexible structure that is a musical composition. Ways in which the all-incidence matrix of a graph with weighted edges can evolve are discussed including the use for that purpose of elements of Information Theory. The Emerging Composition model is closer to the way composers actually write music and refine their output; it also creates the equivalent of a live organism, growing, developing, and transforming itself over time.
Keywords
computer-assisted composition, directed graph, dynamic system, high performance computing, information theory
Paper topics
High performance computing for audio, Other, Software / computer music languages
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851313
Zenodo URL: https://zenodo.org/record/851313
2016.21
Engagement and Interaction in Participatory Sound Art
Goudarzi, Visda Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Gioti, Artemi-Maria Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
This paper explores a variety of existing interactive and participatory sound systems and the role of different actors in them. In human computer interaction (HCI), the focal point on studying interactive systems has been the usability and functionality of the systems. We are trying to shift the focus more towards creative aspects of interaction in both technology development and sound creation. In some sound art works, the control is in the hand of the technology creators, in some others in the hand of composers, and sometimes in the hand of the performers or the audience members. Some challenges in such systems are the ownership of technical and aesthetic components, balancing engagement and interaction among different stakeholders (designer, composer, spectator, etc) and encouraging audience engagement. We propose a discussion on participation, human-computer and human-human interaction within the process of creation and interaction with the system.
Keywords
Human Computer Interaction, Interactive Sound Art, Participatory Performance
Paper topics
Interactive performance systems, Other, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851221
Zenodo URL: https://zenodo.org/record/851221
2016.22
Exploring Gesturality in Music Performance
Schacher, Jan C. Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Bisig, Daniel Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Neff, Patrick University of Zurich (UZH) / Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
Perception of gesturality in music performance is a multi-modal phenomenon and is carried by the differentiation of salient features in movement as well as sound. In a mix of quantitative and qualitative methods we collect sound and motion data, Laban effort qualifiers, and in a survey with selected participants subjective ratings and categorisations. The analysis aims at uncovering correspondences in the multi-modal information, using comparative processes to find similarity/differences in movement, sound as well categorical data. The resulting insights aim primarily at developing tools for automated gestural analysis that can be used both for musical research and to control interactive systems in live performance.
Keywords
gesturality, motion features, multi-modal analysis, music performance, surveys
Paper topics
Computer-based music analysis, Multi-modal perception and emotion, Music cognition and creativity, Music information retrieval
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851295
Zenodo URL: https://zenodo.org/record/851295
2016.23
Exploring Moment-form in Generative Music
Eigenfeldt, Arne Simon Fraser University; Vancouver, Canada
Abstract
Generative art is art created through the use of a system. A unique and distinguishing characteristic of generative artworks is that they change with each run of the system; in the case of generative music, a musical composition that re-explores itself, continually producing alternative versions. An open problem in generative music is large- scale structure: how can generative systems avoid creating music that meanders aimlessly, yet doesn’t require strict architectural forms into which it is forced inside? Moments is a generative installation that explores Moment-form, a term Stockhausen coined to describe (his) music that avoids directed narrative curves. Through the use of musebots – independent musical agents – that utilize a parameterBot to generate an overall template of “moments”, the agents communicate their intentions and coordinate conditions for collaborative machine composition.
Keywords
form, generative music, moment-form, musical metacreation
Paper topics
Computational musicology and mathematical music theory, Computer environments for sound/music processing, improvisation and notation, Interactive performance systems, New interfaces for musical expression, Real-time composition
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851207
Zenodo URL: https://zenodo.org/record/851207
2016.24
EXPRESSIVE HUMANOID ROBOT FOR AUTOMATIC ACCOMPANIMENT
Xia, Guangyu Carnegie Mellon University; Pittsburgh, United States
Dannenberg, Roger B. Carnegie Mellon University; Pittsburgh, United States
Kawai, Mao Waseda University; Tokyo, Japan
Matsuki, Kei Waseda University; Tokyo, Japan
Takanishi, Atsuo Waseda University; Tokyo, Japan
Abstract
We present a music-robotic system capable of performing an accompaniment for a musician and reacting to human performance with gestural and facial expression in real time. This work can be seen as a marriage between social robotics and computer accompaniment systems in order to create more musical, interactive, and engaging performances between humans and machines. We also conduct subjective evaluations on audiences to validate the joint effects of robot expression and automatic accompaniment. Our results show that robot embodiment and expression improve the subjective ratings on automatic accompaniment significantly. Counterintuitively, such improvement does not exist when the machine is performing a fixed media and the human musician simply follows the machine. As far as we know, this is the first interactive music performance between a human musician and a humanoid music robot with systematic subjective evaluation.
Keywords
automatic accompaniment, human-computer interaction, humanoid robotic
Paper topics
Interactive performance systems, Music and robotics
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851327
Zenodo URL: https://zenodo.org/record/851327
2016.25
Factors Influencing Vocal Pitch in Articulatory Speech Synthesis: A Study Using PRAAT
Meenakshisundaram, Sivaramakrishnan Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Kaimi, Irene School of Computing, Electronics and Mathematics, University of Plymouth; Plymouth, United Kingdom
Abstract
An extensive study on the parameters influencing the pitch of a standard speaker in articulatory speech synthesis is presented. The speech synthesiser used is the articulatory synthesiser in PRAAT. Categorically, the repercussion of two parameters: Lungs and Cricothyroid on the average pitch of the synthesised sounds are studied. Statistical analysis of synthesis data proclaims the extent to which each of the variables transforms the tonality of the speech signals.
Keywords
Articulatory Synthesis, Cricothyroid, Lungs, PRAAT, Vocal Pitch
Paper topics
Other
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851255
Zenodo URL: https://zenodo.org/record/851255
2016.26
FACTORSYNTH: A MAX TOOL FOR SOUND ANALYSIS AND RESYNTHESIS BASED ON MATRIX FACTORIZATION
Burred, Juan José Independent; France
Abstract
Factorsynth is a new software tool, developed in the Max environment, that implements sound processing based on matrix factorization techniques. In particular, Non-negative Matrix Factorization is applied to the input sounds, which produces a set of temporal and spectral components that can be then freely manipulated and combined to produce new sounds. Based on a simple graphical interface that visualizes the factorization output, Factorsynth aims at bringing the ideas of matrix factorization to a wider audience of composers and sound designers.
Keywords
analysis/synthesis, cross-synthesis, matrix factorization, max/msp, nmf
Paper topics
Computer environments for sound/music processing, Software / computer music languages
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851199
Zenodo URL: https://zenodo.org/record/851199
2016.27
FaucK!! Hybridizing the FAUST and ChucK Audio Programming Languages
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Wang, Ge Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
This paper presents a hybrid audio programming environment, called FaucK, which combines the powerful, succinct Functional AUdio STream (FAUST) language with the strongly-timed ChucK audio programming language. FaucK allows programmers to on-the-fly evaluate FAUST code directly from ChucK code and control FAUST signal processors using ChucK’s sample-precise timing and concurrency mechanisms. The goal is to create an amalgam that plays to the strengths of each language, giving rise to new possibilities for rapid prototyping, interaction design and controller mapping, pedagogy, and new ways of working with both FAUST and ChucK. We present our motivations, approach, implementation, and preliminary evaluation. FaucK is open-source and freely available.
Keywords
ChucK, DSP, FAUST, Programming Languages
Paper topics
Computer environments for sound/music processing, Digital signal processing, Software / computer music languages
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851265
Zenodo URL: https://zenodo.org/record/851265
2016.28
FONASKEIN: An interactive application software for the practice of the singing voice
Moschos, Fotis National and Kapodistrian University of Athens; Athens, Greece
Georgaki, Anastasia National and Kapodistrian University of Athens; Athens, Greece
Kouroupetroglou, Georgios National and Kapodistrian University of Athens; Athens, Greece
Abstract
A number of software applications for the practice of the singing voice have been introduced the last decades, but all of them are limited to equal tempered scales. In this work, we present the design and development of FONASKEIN, a novel modular interactive software application for the practice of singing voice in real time and with visual feedback for both equal and non-equal tempered scales. Details of the Graphical User Interface of FONASKEIN are given, along with its architecture. The evaluation results of FONASKEIN in a pilot experiment with eight participants and with four songs in various musical scales showed its positive effect in practice of the singing voice in all cases.
Keywords
Computer aided singing, non-equal tempered scales, Singing, Singing in non-equal tempered scales, Visual feedback singing software
Paper topics
Computer-based music analysis, Computer environments for sound/music processing, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851271
Zenodo URL: https://zenodo.org/record/851271
2016.29
FORM-AWARE, REAL-TIME ADAPTIVE MUSIC GENERATION FOR INTERACTIVE EXPERIENCES
Aspromallis, Christodoulos University College London; London, United Kingdom
Gold, Nicolas E. University College London; London, United Kingdom
Abstract
Many experiences offered to the public through interactive theatre, theme parks, video games, and virtual environments use music to complement the participants’ activity. There is a range of approaches to this, from straightforward playback of ‘stings’, to looped phrases, to on-the-fly note generation. Within the latter, traditional genres and forms are often not represented, with the music instead being typically loose in form and structure. We present work in progress on a new method for real-time music generation that can preserve traditional musical genres whilst being reactive in form to the activities of participants. The results of simulating participant trajectories and the effect this has on the music generation algorithms are presented, showing that the approach can successfully handle variable length forms whilst remaining substantially within the given musical style.
Keywords
functional music, generative music, interactive systems, musical grammars, music applications in theatre
Paper topics
improvisation and notation, Interactive performance systems, Real-time composition, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851177
Zenodo URL: https://zenodo.org/record/851177
2016.30
Gestural Control of Wavefield Synthesis
Grani, Francesco Aalborg University; Aalborg, Denmark
Serafin, Stefania Aalborg University; Aalborg, Denmark
Abstract
We present a report covering our preliminary research on the control of spatial sound sources in wavefield synthesis through gesture based interfaces. After a short general introduction on spatial sound and few basic concepts on wavefield synthesis, we presents a graphical application called spAAce which let users con- trol real-time movements of sound sources by drawing tra- jectories on a screen. The first prototype of this application has been developed bound to WFSCollider, an open-source software based on Supercollider which let users control wavefield synthesis. The spAAce application has been im- plemented using Processing, a programming language for sketches and prototypes within the context of visual arts, and communicates with WFSCollider through the Open Sound Control protocol. This application aims to create a new way of interaction for live performance of spatial composition and live electronics. In a subsequent section we present an auditory game in which players can walk freely inside a virtual acoustic en- vironment (a room in a commercial ship) while being ex- posed to the presence of several “enemies”, which the player needs to localise and eliminate by using a Nintendo Wi- iMote game controller to “throw” sounding objects towards them. Aim of this project was to create a gestural interface for a game based on auditory cues only, and to investigate how convolution reverberation can affects people’s percep- tion of distance in a wavefield synthesis setup environment.
Keywords
gestural control, spatialization, wavefield synthesis
Paper topics
Room acoustics and spatial audio, Sonic interaction design, Virtual environments for music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851223
Zenodo URL: https://zenodo.org/record/851223
2016.31
GestureChords: Transparency in Gesturally Controlled Digital Musical Instruments through Iconicity and Conceptual Metaphor
Brown, Dom University of the West of England (UWE Bristol); Bristol, United Kingdom
Nash, Chris University of the West of England (UWE Bristol); Bristol, United Kingdom
Mitchell, Tom University of the West of England (UWE Bristol); Bristol, United Kingdom
Abstract
This paper presents GestureChords, a mapping strategy for chord selection in freehand gestural instruments. The strategy maps chord variations to a series of hand postures using the concepts of iconicity and conceptual metaphor, influenced by their use in American Sign Language (ASL), to encode meaning in gestural signs. The mapping uses the conceptual metaphors MUSICAL NOTES ARE POINTS IN SPACE and INTERVALS BETWEEN NOTES ARE SPACES BETWEEN POINTS, which are mapped respectively to the number of extended fingers in a performer’s hand and the abduction or adduction between them. The strategy is incorporated into a digital musical instrument and tested in a preliminary study for transparency by both performers and spectators, which gave promising results for the technique.
Keywords
American Sign Language, Conceptual Metaphor, Digital Musical Instruments, Gestural Interaction, Iconicity, Mapping, Transparency
Paper topics
Instrument building and virtuosity in Computer Music, New interfaces for musical expression, Sonic interaction design
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851193
Zenodo URL: https://zenodo.org/record/851193
2016.32
IMPROVISATION AND GESTURE AS FORM DETERMINANTS IN WORKS WITH ELECTRONICS
Aska, Alyssa University of Calgary; Calgary, Canada
Abstract
This paper examines several examples that use electronics as form determinants in works with some degree of structured improvisation. Three works created by the author are discussed, each of which uses gestural controller input to realize an indeterminate form in some way. The application of such principles and systems to venues such as networked performance is explored. While each of these discussed works contains an improvisatory and/or aleatoric element, much of their content is composed, which brings the role of the composer into question. The “improviser”, who in these works advances the work temporally and determines the overall form, is actually taking on the more familiar role of the conductor. Therefore, these works also bring up important conversation topics regarding performance practice in works that contain electronics and how they are realized.
Keywords
algorithmic music, improvisation, interaction, motion tracking, performance aesthetics
Paper topics
improvisation and notation, Interactive performance systems, New interfaces for musical expression, Real-time composition, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851175
Zenodo URL: https://zenodo.org/record/851175
2016.33
INTERACTION WITH A LARGE SIZED AUGMENTED STRING INSTRUMENT INTENDED FOR A PUBLIC SETTING
Paloranta, Jimmie KTH Royal Institute of Technology; Stockholm, Sweden
Lundström, Anders KTH Royal Institute of Technology; Stockholm, Sweden
Elblaus, Ludvig KTH Royal Institute of Technology; Stockholm, Sweden
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Frid, Emma KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
In this paper we present a study of the interaction with a large sized string instrument intended for a large installation in a museum, with focus on encouraging creativity, learning, and providing engaging user experiences. In the study, nine participants were video recorded while playing with the string on their own, followed by an interview focusing on their experiences, creativity, and the functionality of the string. In line with previous research, our results highlight the importance of designing for different levels of engagement (exploration, experimentation, challenge). However, results additionally show that these levels need to consider the users’ age and musical background as these profoundly affect the way the user plays with and experiences the string.
Keywords
creativity, digital musical instruments, engagement, interactive installations, museum exhibits, sensor design, string instruments
Paper topics
Instrument building and virtuosity in Computer Music, Interactive performance systems, Multi-modal perception and emotion, Music cognition and creativity, New interfaces for musical expression, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851289
Zenodo URL: https://zenodo.org/record/851289
2016.34
Interfaces for Sound: Representing Material in Pop Music Productions
Grote, Florian Native Instruments GmbH; Berlin, Germany
Abstract
Sound is the foundation of music composition in contemporary popular cultures. As the medium of popular music, sound is an important dimension in which artists establish their identities and become recognizable. This presents a radical departure from the focus on written notation and a pre-set corpus of instrument timbres found in classical Western-European music. To create in the medium of sound, contemporary composers utilize digital production systems with new interfaces, many of which are built upon the waveform representation as their cornerstone. This waveform representation is an interesting bridge between the analog world, from where it borrows its appearance as a seemingly continuous line, and the digital world in which it exists as a visualization of a digital model describing continuous audio material in discrete sample points. This opens up possibilities to augment the waveform representation with interactions for algorithmic transformations of the audio material. The paper investigates the cultural implications of such interfaces and provides an outlook into their possible futures.
Keywords
Composition, Culture, Interfaces, Sound
Paper topics
Computer environments for sound/music processing, History and aesthetics of electronic media, Music cognition and creativity, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851225
Zenodo URL: https://zenodo.org/record/851225
2016.35
Lazy Evaluation in Microsound Synthesis
Nishino, Hiroki Imagineering Institute; Iskandar Puteri, Malaysia
Cheok, Adrian David Imagineering Institute; Iskandar Puteri, Malaysia
Abstract
The microsound synthesis framework in the LC computer music programing language developed by Nishino integrates objects and library functions that can directly represent microsounds and related manipulations for microsound synthesis. Together with the seamless collaboration mechanism with the unit-generator-based sound synthesis framework, such abstraction can help provide a simpler and terser programing model for various microsound synthesis techniques. However, while the framework can achieve the practical real-time sound synthesis performance in general, it was observed that the temporal suspension in sound synthesis can occur, when a very large microsound object beyond microsound time-scale is manipulated, missing the deadline for real-time sound synthesis. Such an issue may not be desirable when considering more general applications beyond microsound synthesis. In this paper, we describe our solution to this problem. By lazily evaluating microsound objects, the computation is delayed until when the samples are actually needed (e.g., for the DAC output), and only the amount of samples required at the point is computed; thus, the temporal suspension in real-time sound synthesis can be avoided by dis- tributing the computation among the DSP cycles.
Keywords
lazy evaluation, microsound synthesis, performance efficiency, real-time sound synthesis, software design
Paper topics
High performance computing for audio, Software / computer music languages
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851279
Zenodo URL: https://zenodo.org/record/851279
2016.36
LyricListPlayer: A Consecutive-Query-by-Playback Interface for Retrieving Similar Word Sequences from Different Song Lyrics
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
This paper presents LyricListPlayer, a music playback interface for an intersong navigation and browsing that enables a set of musical pieces to be played back by music zapping based on lyrics words. In other words, this paper proposes a novel concept we callconsecutive-query-by-playback, which is for retrieving similar word sequences during music playback by using lyrics words as candidate queries. Lyrics can be used to retrieve musical pieces from the perspectives of the meaning and the visual scene of the song. A user of LyricListPlayer can see time-synchronized lyrics while listening, can see word sequences of other songs similar to the sequence currently being sung, and can jump to and listen to one of the similar sequences. Although there are some systems for music playback and retrieval that use lyrics text or time-synchronized lyrics and there is an interface generating lyrics animation by using kinetic typography, LyricListPlayer provides a new style of music playback with lyrics navigation based on the local similarity of lyrics.
Keywords
consecutive-query-by-playback, latent Dirichlet allocation, lyrics, music information retrieval, user interface
Paper topics
Music information retrieval, Other
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851277
Zenodo URL: https://zenodo.org/record/851277
2016.37
Melody extraction based on a source-filter model using pitch contour selection
Bosch, Juan J. Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
This work proposes a melody extraction method which combines a pitch salience function based on source-filter modelling with melody tracking based on pitch contour selection. We model the spectrogram of a musical audio signal as the sum of the leading voice and accompaniment. The leading voice is modelled with a Smoothed Instantaneous Mixture Model (SIMM), and the accompaniment is modelled with a Non-negative Matrix Factorization (NMF). The main benefit of this representation is that it incorporates timbre information, and that the leading voice is enhanced, even without an explicit separation from the rest of the signal. Two different salience functions based on SIMM are proposed, in order to adapt the output of such model to the pitch contour based tracking. Candidate melody pitch contours are then created by grouping pitch sequences, using auditory streaming cues. Finally, melody contours are selected using contour characteristics and smoothness constraints. An evaluation on a large set of challenging polyphonic music material, showed that the proposed salience functions helps increasing the salience of melody pitches in comparison to similar methods. The complete melody extraction method is also compared against related state-of-the-art approaches, achieving a higher overall accuracy when evaluated on both vocal and instrumental music.
Keywords
evaluation, melody, pitch contour, pitch salience, source-filter model, symphonic music, timbre
Paper topics
Computer-based music analysis, Digital signal processing, Music information retrieval
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851187
Zenodo URL: https://zenodo.org/record/851187
2016.38
Modulating or 'Transferring' Between Non-octave Microtonal Scales
Harrop, Todd Hochschule für Musik und Theater Hamburg; Hamburg, Germany
Abstract
The author searches for non-octave scales which approx- imate a 6:7:9 septimal minor triad, settling on 8, 13 and 18 equal divisions of the perfect fifth, then proposes three methods for modulating dynamically in between each scale.
Keywords
microtonal, modulation, non-octave
Paper topics
Computational musicology and mathematical music theory, improvisation and notation, Real-time composition, Software / computer music languages, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851231
Zenodo URL: https://zenodo.org/record/851231
2016.39
Movement Sonification of Musical Gestures: Investigating Perceptual Processes Underlying Musical Performance Movements
Hohagen, Jesper Universität Hamburg; Hamburg, Germany
Wöllner, Clemens Universität Hamburg; Hamburg, Germany
Abstract
Truslit (1938) developed a theory on the gestural quality of musical interpretations. Self-other judgment paradigms of visual point-light movements allow elucidating action-perception coupling processes underlying musical performance movements as described by Truslit. Employing movement sonification with a continuous parameter mapping approach may further show parallels between the audio information of music, physical movements, and audio information based on sonified movement parameters. The present study investigates Truslit’s hypothesis of prototypical musical gestures by comparing free movements and movements following detailed instructions recorded by a 12-camera optical motion capture system. The effects of watching these movements and listening to the sonification were tested within a multimodal self-other recognition task. A total of 26 right-handed participants were tracked with a motion capture system while executing arm movements along with Truslit’s (1938) original musical examples. The second experimental part consisted of a multimodal self-other perception judgment paradigm, presenting sequences to the same participants (matched with those of two other participants, unbeknown to them) under four different conditions. Signal detection analyses of the self-other recognition task addressed judgment sensitivity by calculating for individual participants. While self-recognition was successful for visual, audiovisual and still image examples, movement sonification did not provide sufficient detail on performer’s agency. Nevertheless, a number of relevant sonification parameters is discussed.
Keywords
Movement Sonification, Musical Gestures, Self-other Perception
Paper topics
Auditory displays and data sonification, Multi-modal perception and emotion
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851235
Zenodo URL: https://zenodo.org/record/851235
2016.40
Musical sonification in electronic therapy aids for motor-functional treatment - a smartphone approach
Stahl, Benjamin Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Zmölnig, Iohannes Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
This work presents a system which uses an Android smartphone to measure the wrist motion of patients in ergotherapy and creates musical sounds out of it, which can make exercises more attractive for patients. The auditory feedback is used in a bimodal context (together with visual feedback on the smartphone's display). The underlying concept is to implement a therapy aid that transports the principles of music therapy to motor-functional therapy using a classical sonification approach and to create an electronic instrument in this way. Wind chime sounds are used to sonify the patient's wrist motion, a three-dimensional parameter mapping was implemented. The system was evaluated in a qualitative pilot study with one therapist and five patients. The responses to the musical auditory feedback were different from patient to patient. Musical auditory feedback in therapy can encourage patients on one hand, on the other hand it can also be perceived disturbing or discouraging. From this observation we conclude that sound in electronic therapy aids in fields other than music therapy should be made optional. Multimodal electronic therapy aids, where sound can be toggled on and off, are possible applications.
Keywords
ergotherapy, mobile devices, movement sonification, music therapy
Paper topics
Auditory displays and data sonification
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851307
Zenodo URL: https://zenodo.org/record/851307
2016.41
Nuance: Adding Multi-Touch Force Detection to the iPad
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Smith, Julius Orion III Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Chafe, Chris Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Wang, Ge Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Wright, Matthew James Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
Nuance is a new device adding multi-touch force detection to the iPad touch screen. It communicates with the iPad using the audio jack input. Force information is sent at an audio rate using analog amplitude modulation (AM). Nuance provides a high level of sensitivity and responsiveness by only using analog components. It is very cheap to make. Nuance has been developed in the context of a larger project on augmenting mobile devices towards the creation of a form of hybrid lutherie where instruments are based on physical and virtual elements.
Keywords
Force Touch, iPad, Musical Instrument, NIME
Paper topics
Digital signal processing, Instrument building and virtuosity in Computer Music, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851263
Zenodo URL: https://zenodo.org/record/851263
2016.42
Optical or Inertial? Evaluation of Two Motion Capture Systems for Studies of Dancing to Electronic Dance Music
Solberg, Ragnhild Torvanger University of Agder; Kristiansand, Norway
Jensenius, Alexander Refsum University of Oslo; Oslo, Norway
Abstract
What type of motion capture system is best suited for studying dancing to electronic dance music? The paper discusses positive and negative sides of using camera-based and sensor-based motion tracking systems for group studies of dancers. This is exemplified through experiments with a Qualisys infrared motion capture system being used alongside a set of small inertial trackers from Axivity and regular video recordings. The conclusion is that it is possible to fine-tune an infrared tracking system to work satisfactory for group studies of complex body motion in a “club-like” environment. For ecological studies in a real club setting, however, inertial tracking is the most scalable and flexible solution.
Keywords
dancing, electronic dance music, motion capture
Paper topics
Computer-based music analysis, Multi-modal perception and emotion, Music cognition and creativity, Other
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851315
Zenodo URL: https://zenodo.org/record/851315
2016.43
Pitch Contour Segmentation for Computer-aided Jingju Singing Training
Gong, Rong Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Yang, Yile Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Imitation is the main approach of jingju (also known as Beijing opera) singing training through its inheritance of nearly 200 years. Students learn singing by receiving auditory and gestural feedback cues. The aim of computer-aided training is to visually reveal the student’s intonation problem by representing the pitch contour on segment- level. In this paper, we propose a technique for this purpose. Pitch contour of each musical note is segmented automatically by a melodic transcription algorithm incorporated with a genre-specific musicological model of jingju singing: bigram note transition probabilities defining the probabilities of a transition from one note to another. A finer segmentation which takes into account the high variability of steady segments in jingju context enables us to analyse the subtle details of the intonation by subdividing the note’s pitch contour into a chain of three basic vocal expression segments: steady, transitory and vibrato. The evaluation suggests that this technique outperforms the state of the art methods for jingju singing. The web prototype implementation of these techniques offers a great potential for both in-class learning and self-learning.
Keywords
Computer-aided singing training, Intonation, Jingju, Melodic transcription, Pitch contour segmentation
Paper topics
Music information retrieval, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Full paper
2016.44
POLYTEMPO COMPOSER: A TOOL FOR THE COMPUTATION OF SYNCHRONISABLE TEMPO PROGRESSIONS
Kocher, Philippe Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
The accurate synchronisation of tempo progressions is a compositional challenge. This paper describes the development of a method based on Bezier curves that facilitates the construction of musical tempo polyphonies up to an arbitrary level of complexity, and its implementation in a software tool. The motivation for this work is to enable and encourage composers to create music with different simultaneously varying tempos which otherwise would be too complex to manage.
Keywords
Computer assisted composition, Tempo polyphony, Tempo synchronisation
Paper topics
Computational musicology and mathematical music theory, Computer environments for sound/music processing, Software / computer music languages
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851241
Zenodo URL: https://zenodo.org/record/851241
2016.45
Precision Finger Pressing Force Sensing in the Pianist-Piano Interaction
Flückiger, Matthias Electronics Laboratory, Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Großhauser, Tobias Electronics Laboratory, Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Tröster, Gerhard Electronics Laboratory, Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Abstract
Playing style, technique and touch quality are essential for musical expression in piano playing. From a mechanical point of view, this is mainly influenced by finger pressing force, finger position and finger contact area size. To measure these quantities, we introduce and evaluate a new sensor setup suited for the in-depth investigation of the pianist-piano interaction. A strain gauge based load cell is installed inside a piano key to measure finger pressing force via deflection. Several prototypes of the finger pressing force sensor have been tested and the final sensor measures from 0 N to 40 N with a resolution smaller than 8 mN and a sample rate of 1000 Hz. Besides an overview of relevant findings from psychophysics research, two pilot experiments with a single key piano action model are presented to explore the capability of the force sensor and discuss applications.
Keywords
augmented instruments, finger pressing force, force measurement, force sensor, load cell, musical instrument, performance analysis, pianist-piano interaction, piano key, pressure measurement
Paper topics
New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851211
Zenodo URL: https://zenodo.org/record/851211
2016.46
Primary-ambient Extraction in Audio Signals Using Adaptive Weighting and Principal Component Analysis
Ibrahim, Karim M. Nile University; Giza, Egypt
Allam, Mahmoud Nile University; Giza, Egypt
Abstract
Most audio recordings are in the form of a 2-channel stereo recording while new playback sound systems make use of more loudspeakers that are designed to give a more spatial and surrounding atmosphere that is beyond the content of the stereo recording. Hence, it is essential to extract more spatial information from stereo recording in order to reach an enhanced upmixing techniques. One way is by extracting the primary/ambient sources. The problem of primary-ambient extraction (PAE) is a challenging problem where we want to decompose a signal into a primary (direct) and ambient (surrounding) source based on their spatial features. Several approaches have been used to solve the problem based mainly on the correlation between the two channels in the stereo recording. In this paper, we propose a new approach to decompose the signal into primary and ambient sources using Principal Component Analysis (PCA) with an adaptive weighting based on the level of correlation between the two channels to overcome the problem of low ambient energy in PCA-based approaches.
Keywords
Audio Source Separation, Primary/ambient Separation, Surrounding Sound Systems, Upmixing
Paper topics
Computer-based music analysis, Digital signal processing, Room acoustics and spatial audio
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851237
Zenodo URL: https://zenodo.org/record/851237
2016.47
Prototyping a Wireless Integrated Wearable Interactive Music System: Musfit
Tseng, Yu-Chung National Chiao Tung University; Hsinchu, Taiwan
Li, Bo-Ting National Chiao Tung University; Hsinchu, Taiwan
Wang, Tsung-Hua National Chiao Tung University; Hsinchu, Taiwan
Abstract
This paper presents the development of a wireless integrated wearable interactive music system - Musfit. The system was built according the intension of integrating the motion of hands (fingers), head, and feet of a performer to music performance. The device of the system consists of a pair of gloves, a pair of shoes, and a cap, which were embedded various sensors to detect the body motion of a performer. The data from detecting was transmitted to computer via wireless device and then mapped into various parameters of sound effectors built on Max/MSP for interactive music performance. The ultimate goal of the system is to free the performing space of the player, to increase technological transparency of performing and, as a result, to promote the interests of interactive music performance. At the present stage, the progression of prototyping a wireless integrated wearable interactive music system has reached the goal we expected. Further studies are needed in order to assess and improve playability and stability of the system, in such a way that it can be effectively employed in concerts eventually.
Keywords
integrated, interactive music, Musfit, sensor, wearable, wireless
Paper topics
Interactive performance systems, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851319
Zenodo URL: https://zenodo.org/record/851319
2016.48
Rethinking the audio workstation : tree-based sequencing with i-score and the LibAudioStream
Celerier, Jean-Michaël Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Desainte-Catherine, Myriam Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Couturier, Jean-Michel Blue Yeti; St Georges de Didonne, France
Abstract
The field of digital music authoring provides a wealth of creative environments in which music can be created and authored : patchers, programming languages, and multitrack sequencers. By combining the i-score interactive sequencer to the LibAudioStream audio engine, a new music software able to represent and play rich interactive audio sequences is introduced. We present new stream expressions compatible with the LibAudioStream, and use them to create an interactive audio graph : hierarchical stream and send - return streams. This allows to create branching and arbitrarily nested musical scores, in an OSC-centric environment. Three examples of interactive musical scores are presented : the recreation of a traditional multi-track sequencer, an interactive musical score, and a temporal effect graph.
Keywords
audio sequencing, digital audio workstation, interactive music, i-score, LibAudioStream
Paper topics
Computer environments for sound/music processing, Interactive performance systems, Software / computer music languages
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851203
Zenodo URL: https://zenodo.org/record/851203
2016.49
REVEALING THE SECRET OF "GROOVE" SINGING: ANALYSIS OF J-POP MUSIC
Arai, Masaru Kwansei Gakuin University; Osaka, Japan
Hashida, Mitsuyo Soai University; Osaka, Japan
Katayose, Haruhiro Kwansei Gakuin University; Osaka, Japan
Matoba, Tastuya Kwansei Gakuin University; Osaka, Japan
Abstract
In music, "groove" refers to the sense of rhythmic "feel" or swing. Groove, which was originally introduced to describe the taste of a band’s rhythm section, has been expanded to non-rhythmic sections and to several genres and has become a key facet of popular music. Some studies have analyzed groove by investigating the delicate beat nuances of playing the drums. However, the nature of groove that is found in continuous sound has not yet been elucidated. To describe the nature of groove, we conducted an evaluative study using a questionnaire and balance method based on signal processing for vocal melodies sung by a professional popular music vocalist. We found that the control over (voiced) consonants followed by vowels constitutes an expression that is crucial to groove in J-pop vocal melodies. The experimental results suggest that time-prolongation and pitch overshoot added to voiced consonants made listeners perceive the vowels that follow to be more accentuated, eventually enhancing listeners’ perceptions of groove elements in vocal melodies.
Keywords
groove sensation, pitch-overshoot of voiced consonants, vocal expression
Paper topics
Computer-based music analysis, Multi-modal perception and emotion, Music cognition and creativity
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851173
Zenodo URL: https://zenodo.org/record/851173
2016.50
RHYTHM TRANSCRIPTION OF POLYPHONIC MIDI PERFORMANCES BASED ON A MERGED-OUTPUT HMM FOR MULTIPLE VOICES
Nakamura, Eita Kyoto University; Kyoto, Japan
Yoshii, Kazuyoshi Kyoto University; Kyoto, Japan
Sagayama, Shigeki Meiji University; Tokyo, Japan
Abstract
This paper presents a statistical method of rhythm transcription that, given a polyphonic MIDI performance (e.g. piano) signal, simultaneously estimates the quantised durations (note values) and the voice structure of the musical notes, as in music scores. Hidden Markov models (HMMs) have been used in rhythm transcription to combine a model for music scores and a model describing the temporal fluctuations in music performances. Conventionally, for polyphonic rhythm transcription, a polyphonic score is represented as a linear sequence of chords and models for monophonic performances are simply extended to include chords (simultaneously sounding notes). A major problem is that this extension cannot properly describe the structure of multiple voices, which is most manifest in polyrhythmic scores, or the phenomenon of loose synchrony between voices. We therefore propose a statistical model in which each voice is described with an HMM and polyphonic performances are described as merged outputs from multiple HMMs that are loosely synchronous. We derive an efficient Viterbi algorithm that can simultaneously separate performed notes into voices and estimate their note values. We found that the proposed model outperformed previously studied HMM-based models for rhythm transcription of polyrhythmic performances.
Keywords
Machine learning for music processing, Rhythm transcription (quantisation), Statistical model of music scores and performances, Symbolic music processing
Paper topics
Music information retrieval
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851275
Zenodo URL: https://zenodo.org/record/851275
2016.51
SEED: Resynthesizing Environmental Sounds from Examples
Bernardes, Gilberto INESC TEC; Porto, Portugal
Aly, Luis Faculdade de Engenharia da Universidade do Porto (FEUP), Universidade do Porto; Porto, Portugal
Davies, Matthew E. P. INESC TEC; Porto, Portugal
Abstract
In this paper we present SEED, a generative system capable of infinitely extending recorded environmental sounds while preserving their inherent structure. The system architecture is grounded in concepts from concatenative sound synthesis and includes three top-level modules for segmentation, analysis, and generation. An input audio signal is first temporally segmented into a collection of audio events, which are then reduced into a dictionary of audio classes, by means of an agglomerative clustering algorithm. This representation, together with a concatenation cost between audio segment boundaries, is finally used to generate sequences of audio segments with arbitrary-long duration. The system output can be varied in the generation process by the simple and yet effective parametric control over the creation of the natural, temporally coherent, and varied audio renderings of environmental sounds.
Keywords
audio resynthesis, concatenative sound synthesis, environmental sounds, generative music
Paper topics
Computer environments for sound/music processing, Sonic interaction design, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851183
Zenodo URL: https://zenodo.org/record/851183
2016.52
SKETCHING SONIC INTERACTIONS BY IMITATION-DRIVEN SOUND SYNTHESIS
Baldan, Stefano IUAV University of Venice; Venezia, Italy
Delle Monache, Stefano IUAV University of Venice; Venezia, Italy
Rocchesso, Davide IUAV University of Venice; Venezia, Italy
Lachambre, Hélène Genesis Acoustics; Marseille, France
Abstract
Sketching is at the core of every design activity. In visual design, pencil and paper are the preferred tools to produce sketches for their simplicity and immediacy. Analogue tools for sonic sketching do not exist yet, although voice and gesture are embodied abilities commonly exploited to communicate sound concepts. The EU project SkAT-VG aims to support vocal sketching with computer-aided technologies that can be easily accessed, understood and controlled through vocal and gestural imitations. This imitation-driven sound synthesis approach is meant to overcome the ephemerality and timbral limitations of human voice and gesture, allowing to produce more refined sonic sketches and to think about sound in a more designerly way. This paper presents two main outcomes of the project: The Sound Design Toolkit, a palette of basic sound synthesis models grounded on ecological perception and physical description of sound-producing phenomena, and SkAT-Studio, a visual framework based on sound design workflows organized in stages of input, analysis, mapping, synthesis, and output. The integration of these two software packages provides an environment in which sound designers can go from concepts, through exploration and mocking-up, to prototyping in sonic interaction design, taking advantage of all the possibilities offered by vocal and gestural imitations in every step of the process.
Keywords
Imitation-driven, Sketching, Sonic Interaction Design, Sound synthesis
Paper topics
Computer environments for sound/music processing, Sonic interaction design
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851181
Zenodo URL: https://zenodo.org/record/851181
2016.53
Smart Instruments: Towards an Ecosystem of Interoperable Devices Connecting Performers and Audiences
Turchet, Luca Department of Automatic Control, KTH Royal Institute of Technology; Stockholm, Sweden
McPherson, Andrew P. Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom
Fischione, Carlo Department of Automatic Control, KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper proposes a new class of augmented musical instruments, ``Smart Instruments'', which are characterized by embedded computational intelligence, bidirectional wireless connectivity, an embedded sound delivery system, and an onboard system for feedback to the player. Smart Instruments bring together separate strands of augmented instrument, networked music and Internet of Things technology, offering direct point-to-point communication between each other and other portable sensor-enabled devices, without need for a central mediator such as a laptop. This technological infrastructure enables an ecosystem of interoperable devices connecting performers as well as performers and audiences, which can support new performer-performer and audience-performer interactions. As an example of the Smart Instruments concept, this paper presents the Sensus Smart Guitar, a guitar augmented with sensors, onboard processing and wireless communication.
Keywords
augmented instruments, Internet of Things, New Interfaces for Musical Expression, Smart Instruments
Paper topics
New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851325
Zenodo URL: https://zenodo.org/record/851325
2016.54
SONIFICATION AS CATALYST IN TRAINING MANUAL WHEELCHAIR OPERATION FOR SPORTS AND EVERYDAY LIFE
Almqvist Gref, Andreas KTH Royal Institute of Technology; Stockholm, Sweden
Elblaus, Ludvig KTH Royal Institute of Technology; Stockholm, Sweden
Hansen, Kjetil Falkenberg KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
In this paper, a study on sonification of manual wheelchair movements is presented. The aim was to contribute to both rehabilitation contexts and in wheelchair sports contexts, by providing meaningful auditory feedback for training of manual wheelchair operation. A mapping approach was used where key parameters of manual wheelchair maneuvering were directly mapped to different sound models. The system was evaluated with a qualitative approach in experiments. The results indicate that there is promise in utilizing sonification for training of manual wheelchair operation but that the approach of direct sonification, as opposed to sonification of the deviation from a predefined goal, was not fully successful. Participants reported that there was a clear connection between their wheelchair operation and the auditory feedback, which indicates the possibility of using the system in some, but not all, wheelchair training contexts.
Keywords
Motion Capture, Sonification, Training, Wheelchair
Paper topics
Auditory displays and data sonification, Sonic interaction design
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851169
Zenodo URL: https://zenodo.org/record/851169
2016.55
Sonification of Dark Matter: Challenges and Opportunities
Bonet, Nuria Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Kirke, Alexis Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Abstract
A method for the sonification of dark matter simulations is presented. The usefulness of creating sonifications to accompany and complement the silent visualisations of the simulation data is discussed. Due to the size and complexity of the data used, a novel method for analyz-ing and sonifying the data sets is presented. A case is made for the importance of aesthetical considerations, for example musical language used. As a result, the sonifications are also musifications; they have an artistic value beyond their information transmitting value. The work has produced a number of interesting conclusions which are discussed in an effort to propose an improved solution to complex sonifications. It has been found that the use primary and secondary data parameters and sound mappings is useful in the compositional process. Finally, the possibilities for public engagement in science and music through audiences’ exposure to sonification is discussed.
Keywords
Dark Matter, Electroacoustic Music, Sonification
Paper topics
Auditory displays and data sonification
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851185
Zenodo URL: https://zenodo.org/record/851185
2016.56
SOUND FOREST/LJUDSKOGEN: A LARGE-SCALE STRING-BASED INTERACTIVE MUSICAL INSTRUMENT
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Elblaus, Ludvig KTH Royal Institute of Technology; Stockholm, Sweden
Frid, Emma KTH Royal Institute of Technology; Stockholm, Sweden
Favero, Federico KTH Royal Institute of Technology; Stockholm, Sweden
Annersten, Lars Musikverket (Swedish Performing Arts Agency); Sweden
Berner, David Musikverket (Swedish Performing Arts Agency); Sweden
Morreale, Fabio Queen Mary University of London; London, United Kingdom
Abstract
In this paper we present a string-based, interactive, large-scale interface for musical expression that will constitute the main element of an installation for a new museum dedicated to performing arts, Scenkonstmuseet, which will be inaugurated in 2017 in Stockholm, Sweden. The installation will occupy an entire room that measures 10x5 meters. A key concern is to create a digital musical instrument (DMI) that facilitates intuitive musical interaction, thereby enabling visitors to quickly start creating music either alone or together. The interface should be able to serve as a pedagogical tool; visitors should be able to learn about concepts related to music and music making by interacting with the DMI. Since the lifespan of the installation will be approximately five years, one main concern is to create an experience that will encourage visitors to return to the museum for continued instrument exploration. In other words, the DMI should be designed to facilitate long-term engagement. An important aspect in the design of the installation is that the DMI shall be accessible and provide a rich experience for all museum visitors, regardless of age or abilities.
Keywords
haptics, large-scale interactive musical instrument, museum installation, sensor technology, string-based interaction
Paper topics
Auditory displays and data sonification, Instrument building and virtuosity in Computer Music, Interactive performance systems, Multi-modal perception and emotion, Music cognition and creativity, New interfaces for musical expression, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851191
Zenodo URL: https://zenodo.org/record/851191
2016.57
Soundscape Preference Rating Using Semantic Differential Pairs and the Self-assessment Manikin
Stevens, Francis University of York; York, United Kingdom
Murphy, Damian University of York; York, United Kingdom
Smith, Stephen University of York; York, United Kingdom
Abstract
This paper presents the findings of a soundscape preference rating study designed to assess the suitability of the self-assessment manikin (SAM) for measuring an individual's subjective response to a soundscape. The use of semantic differential (SD) pairs for this purpose is a well established method, but one that can be quite time consuming and not immediately intuitive to the non-expert. The SAM is a questionnaire tool designed for the measurement of emotional response to a given stimulus. Whilst the SAM has seen some limited use in a soundscape context, it has yet to be explicitly compared to the established SD pairs methodology. This study makes use of B-format soundscape recordings, made at a range of locations including rural, suburban, and urban environments, presented to test participants over a 16-speaker surround-sound listening setup. Each recording was rated using the SAM and set of SD pairs chosen following a survey of previous studies. Results show the SAM to be a suitable method for the evaluation of soundscapes that is more intuitive and less time-consuming than SD pairs.
Keywords
emotion, preference rating, self assessment manikin, semantic differential, soundscape, spatial audio
Paper topics
Multi-modal perception and emotion, Room acoustics and spatial audio, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851311
Zenodo URL: https://zenodo.org/record/851311
2016.58
SoundScavenger: An Interactive Soundwalk
Bosse, Naithan University of Calgary; Calgary, Canada
Abstract
SoundScavenger is an open-form, networked soundwalk composition for iOS devices. Embedded GPS sensors are used to track user positions within a series of regions. Each region is associated with a different series of soundfiles. The application supports networked interactions, allowing multiple users to explore and communicate within a semi-shared soundscape.
Keywords
interactivity, mobile-music, network music
Paper topics
Computer environments for sound/music processing, New interfaces for musical expression, Social interaction in sound and music computing, Sonic interaction design
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851189
Zenodo URL: https://zenodo.org/record/851189
2016.59
Speculative Digital Sound Synthesis
Nishino, Hiroki Imagineering Institute; Iskandar Puteri, Malaysia
Cheok, Adrian David Imagineering Institute; Iskandar Puteri, Malaysia
Abstract
In this paper, we propose a novel technique, speculative digital sound synthesis. Our technique first optimistically assumes that there will be no change to the control parameters for sound synthesis and compute by audio vectors at the beginning of a DSP cycle, and then recomputes only the necessary amount of the output when any change is made in the same cycle after the speculation. As changes to control parameters are normally quite sporadic in most situations, the recomputation is rarely performed. Thus, the computational efficiency can be maintained mostly equivalent to the computation by audio vectors, without any speculation when no changed is made to control parameters. Even when any change is made, the additional overhead can be minimized since the recomputation is only applied to those sound objects that had their control parameters updated. Thus, our speculative digital sound synthesis technique can provide both better performance efficiency by the audio vectors and sample-rate accurate control in sound synthesis at once; in other words, we provided a practical solution to one of the most well-known long-standing problems in computer music software design.
Keywords
digital sound synthesis, performance efficiency, samle-rate acuracy, software framework, speculative execution
Paper topics
Digital signal processing, High performance computing for audio, Software / computer music languages
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851281
Zenodo URL: https://zenodo.org/record/851281
2016.60
STATISTICAL GENERATION OF TWO-VOICE FLORID COUNTERPOINT
Padilla, Víctor University of the Basque Country (UPV/EHU); San Sebastián, Spain
Conklin, Darrell University of the Basque Country (UPV/EHU); San Sebastián, Spain
Abstract
In this paper, we explore a method for statistical generation of music based on the style of Palestrina. First, we find patterns in one piece that are selected and organized according to a probabilistic distribution, using horizontal viewpoints to describe melodic properties of events. Once the template is chosen and covered, two-voice counterpoint in a florid style is generated using a first-order Markov model with constraints obtained from the template. For constructing the model, vertical slices of pitch and rhythm are compiled from a corpus of Palestrina masses. The template enforces different restrictions that filter the possible paths through the generation process. A double backtracking algorithm is implemented to handle cases where no solutions are found at some point within a path.
Keywords
machine learning, musical patterns, Palestrina counterpoint, statistical model
Paper topics
Computational musicology and mathematical music theory, Computer-based music analysis, Music information retrieval
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851287
Zenodo URL: https://zenodo.org/record/851287
2016.61
SYNCHRONIZATION IN CHAINS OF VAN DER POL OSCILLATORS
Henrici, Andreas ZHAW Zurich University of Applied Sciences; Zurich, Switzerland
Neukom, Martin Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
In this paper we describe some phenomena arising in the dynamics of a chain of coupled van der Pol oscillators, mainly the synchronisation of the frequencies of these oscillators, and provide some applications of these phenomena in sound synthesis.
Keywords
Coupled Oscillators, Sound Sythesis, Synchronization, Van der Pol Oscillator
Paper topics
Digital signal processing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851233
Zenodo URL: https://zenodo.org/record/851233
2016.62
Teaching Audio Programming using the Neonlicht Engine
Milde, Jan-Torsten Fulda University of Applied Sciences (Hochschule Fulda); Fulda, Germany
Abstract
In this paper we describe the ongoing development of an efficient, easily programmable, scalable synthesizer engine: Neonlicht. Neonlicht serves as the basis for teaching in the field of audio programming as part of a bachelor's degree program in Digital Media.
Keywords
building synthesizers, builduing audio effects, synthesizer engine on Raspberry 3, teaching audio programming
Paper topics
Instrument building and virtuosity in Computer Music, Software / computer music languages, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851267
Zenodo URL: https://zenodo.org/record/851267
2016.63
The Hyper-Hurdy-Gurdy
Turchet, Luca Department of Automatic Control, KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper describes the concept, design, implementation, and evaluation of the Hyper-Hurdy-Gurdy, which is the augmentation of the conventional hurdy-gurdy musical instrument. The augmentation consists of the enhancement of the instrument with different types of sensors and microphones, as well as of novel types of real-time control of digital effects during the performer's act of playing. The placing of the added technology is not a hindrance to the acoustic use of the instrument and is conveniently located. Audio and sensors data processing is accomplished by an application coded in Max/MSP and running on an external computer. Such an application also allows the use of the instrument as a controller for digital audio workstations. On the one hand, the rationale behind the development of the instrument was to provide electro-acoustic hurdy-gurdy performers with an interface able to achieve radically novel types for musical expression without disrupting the natural interaction with the traditional instrument. On the other hand, this research aimed to enable composers with a new instrument capable of allowing them to explore novel pathways for musical creation.
Keywords
Augmented Instruments, hurdy-gurdy, New Interfaces for Musical Expression
Paper topics
New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851323
Zenodo URL: https://zenodo.org/record/851323
2016.64
The Hyper-Zampogna
Turchet, Luca Department of Automatic Control, KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper describes a design for the Hyper-Zampogna, which is the augmentation of the traditional Italian zampogna bagpipe. The augmentation consists of the enhancement of the acoustic instrument with various microphones used to track the sound emission of the various pipes, different types of sensors used to track some of the player's gestures, as well as novel types of real-time control of digital effects. The placing of the added technology is not a hindrance to the acoustic use of the instrument and is conveniently located. Audio and sensors data processing is accomplished by an application coded in Max/MSP and running on an external computer. Such an application also allows for the use of the instrument as a controller for digital audio workstations. On the one hand, the rationale behind the development of such augmented instrument was to provide electro-acoustic zampogna performers with an interface capable of achieving novel types of musical expression without disrupting the natural interaction with the traditional instrument. On the other hand, this research aimed to provide composers with a new instrument enabling the exploration of novel pathways for musical creation.
Keywords
Augmented Instruments, New Interfaces for Musical Expression, zampogna bagpipe
Paper topics
New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851321
Zenodo URL: https://zenodo.org/record/851321
2016.65
THE LOOP ENSEMBLE - OPEN SOURCE INSTRUMENTS FOR TEACHING ELECTRONIC MUSIC IN THE CLASSROOM
Schultz, Christof Martin Technische Universität Berlin (TU Berlin); Berlin, Germany
Seedorf, Marten Technische Universität Berlin (TU Berlin); Berlin, Germany
Abstract
The electronic production, processing and dissemination of music is an essential part of the contemporary, di\-gi\-ta\-lized music culture. Digital media play an important role for children and adolescents in their everyday handling of music. These types of media call for an active participation instead of mere reception and thus offer new ways of musical socialization. Despite their cultural relevance and being lively discussed in German music education, these aspects still are marginalized in the educational practice in German classrooms. In the context of the interdisciplinary research project 3DMIN, we developed the loop ensemble. It consists of three virtual instruments and is designed for the practical pedagogical dissemination of electronic music and its technical basics. The ensemble is released as an Open Educational Resource. We evaluated the instruments' usability in three ways. They were cross-checked with relevant ISO standards, three workshops were held and the participants interviewed and, finally, an accompanying analysis using the GERD model was performed, focusing gender and diversity aspects. The results show a distinct practical suitability of the ensemble, yet further empirical research is needed for a profound evaluation.
Keywords
Instruments, Media Literacy, Open Educational Resource, Open Source, Sound Synthesis
Paper topics
Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851299
Zenodo URL: https://zenodo.org/record/851299
2016.66
The Perceptual Similarity of Tone Clusters: An Experimental Approach to the Listening of Avant-garde Music
Ong, Arvid Hanover University of Music, Drama and Media (HMTM); Hannover, Germany
Kopiez, Reinhard Hanover University of Music, Drama and Media (HMTM); Hannover, Germany
Abstract
This study examines the musical tone cluster as a prototypical sound of avant-garde music in the 20th and 21st century. Tone clusters marked a turning point from pitch-related techniques of composing in earlier epochs to the sound-based materials used in avant-garde music. Henry Cowell offered the first theoretical reflection about the structure of clusters with a focus on tone density which relies on the number of tones and the ambitus of the cluster. In this paper we show first results of a sound discrimination experiment when participants had to rate sound similarity of prototypical cluster sounds varying in density. The results show congruency between theoretical features of the cluster structure, results of the timbre feature analysis, and perceptual evaluation of stimuli. The correlation between tone cluster density and psychoacoustical roughness was r = .95 and between roughness and similarity ratings r = .74. Overall, the similarity ratings of cluster sounds can be grouped into two classes of sounds: (a) those clusters with a high grade of perceptual discrimination depending on the cluster density and (b) those clusters of a more aurally saturated structure making it difficult to separate and evaluate them. Additionally, the relation between similarity ratings and psychoacoustic features was also examined. Our findings can provide valuable insights into aural training methods for avant-garde music.
Keywords
avant-garde music, Henry Cowell, perception, sound, tone cluster
Paper topics
Music cognition and creativity, Other
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851285
Zenodo URL: https://zenodo.org/record/851285
2016.67
The SelfEar Project: A Mobile Application for Low-cost Pinna-related Transfer Function Acquisition
Geronazzo, Michele Department of Neurological & Movement Sciences, Università di Verona; Verona, Italy
Fantin, Jacopo Università di Padova; Padova, Italy
Sorato, Giacomo Università di Padova; Padova, Italy
Baldovino, Guido Università di Padova; Padova, Italy
Avanzini, Federico Università di Padova; Padova, Italy
Abstract
Virtual and augmented reality are expected to become more and more influential even in everyday life in the next future; the role of spatial audio technologies over headphones will be pivotal for application scenarios which involve mobility. This paper faces the issue of head-related transfer function (HRTF) acquisition with low-cost mobile devices, affordable to anybody, anywhere and possibly in a faster way than the existing measurement methods. In particular, the proposed solution, called the SelfEar project, focuses on capturing individual spectral features included in the pinna-related transfer function (PRTF) guiding the user in collecting non-anechoic HRTFs through a self-adjustable procedure. Acoustic data are acquired by an audio augmented reality headset which embedded a pair of microphones at listener ear-canals. The proposed measurement session captures PRTF spectral features of KEMAR mannequin which are consistent to those of anechoic measurement procedures. In both cases, the results would be dependent on microphone placement, minimizing subject movements which would occur with human users. Considering quality and variability of the reported results as well as the resources needed, the SelfEar project proposes an attractive solution for low-cost HRTF personalization procedure.
Keywords
audio augmented reality, head-related transfer function, mobile, personalization, spatial audio
Paper topics
Auditory displays and data sonification, Digital signal processing, Room acoustics and spatial audio
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851219
Zenodo URL: https://zenodo.org/record/851219
2016.68
The Sound Bubble: An Aesthetic Additive Design Approach to Actively Enhance Acoustic Office Environments
Ljungdahl Eriksson, Martin University West; Trollhättan, Sweden
Atienza, Ricardo University of Arts, Crafts and Design (Konstfack); Stockholm, Sweden
Pareto, Lena University West; Trollhättan, Sweden
Abstract
Moving towards more open and collaborative workplaces has been an emerging trend in the last decades. This change has led to workers sharing a common open space, with seating’s based on current activity. This makes it difficult to design sonic environments that cater to different needs in the same space. In this study we explored the possibility of adding adaptive sound environments to enhance the experience of an activity-based office workplace. For this purpose, we developed the concept of the “sound bubble,” a micro-space in which the user is embedded by a semi-transparent added sound environment. This makes it possible for the user to stay in “everyday listening” mode, i.e., not focusing on anything particular in the surrounding environment while being able to keep the link with it. A total of 43 test subjects participated in an experience-based test, conducting their usual work tasks in an office landscape. Our results show that the sound bubble can enhance auditory work conditions for individual work requiring concentration.
Keywords
acoustic design, place-specific designed ambience, sonic interactive design, sonic micro-milieu, sound bubble, sound design
Paper topics
Room acoustics and spatial audio, Sonic interaction design, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851247
Zenodo URL: https://zenodo.org/record/851247
2016.69
The state of the art on the educational software tools for electroacoustic composition
Anatrini, Alessandro Hochschule für Musik und Theater Hamburg; Hamburg, Germany
Abstract
In the past twenty years technological development has led to an increasing interest in the employment of the information and communication technology (ICT) in music education. Research still indicates that most music teachers use technology to facilitate working in traditional composing contexts, such as score writing or MIDI keyboard sequencing, revealing a common and unhealthy conception of ICT as mere “toolkit” with limited application. Despite this, the exploration of the electroacoustic practices and their techniques, that are at the core of sound-based music, have led to valuable composition projects thanks to ad hoc created educational pieces of software. In this paper I first give a short overview of the significant premises for an effective curriculum for middle and secondary education that can authentically include the electroacoustic techniques, then I summarise the state of the art in the development of the most significant educational software packages pointing out to possible future developments.
Keywords
development, education, electroacoustic music, software
Paper topics
Computer environments for sound/music processing, Social interaction in sound and music computing, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851171
Zenodo URL: https://zenodo.org/record/851171
2016.70
This is an important message for Julie Wade: Emergent Performance Events in an Interactive Installation
Lee, Brent University of Windsor; Windsor, Canada
Abstract
This is an important message for Julie Wade exists both as a multimedia performance piece and as an interactive audiovisual installation. Each version of the work was publicly presented between 2013 and 2015; a recent 2016 version seeks to incorporate elements of both of the earlier performance and installation versions. Currently, the work may be installed in a gallery space and controlled by Max/Jitter patches that randomly generate related audio and visual events; at the same time, this new installation remains open to interactive musical performance, responding to such interventions with extra layers of sound and revealing an extra set of video clips. This hybrid environment raises a number of ontological questions. In what ways are these musical interactions with the installation “performances”? Is a musician interacting with the installation a “performer” in the conventional sense, and does this interaction impose a different role on a casual gallery visitor witnessing this interaction? Can this mode of presentation of an audiovisual work transcend the limitations of conventional performance and installation? This paper explores these questions within the context of the evolution and 2016 presentation of This is an important message for Julie Wade.
Keywords
audience studies, audiovisual installation, interactivity, performance
Paper topics
Interactive performance systems, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851243
Zenodo URL: https://zenodo.org/record/851243
2016.71
Towards a Virtual-Acoustic String Instrument
Mehes, Sandor Queen's University Belfast; Belfast, United Kingdom
van Walstijn, Maarten Queen's University Belfast; Belfast, United Kingdom
Stapleton, Paul Queen's University Belfast; Belfast, United Kingdom
Abstract
In acoustic instruments, the controller and the sound producing system often are one and the same object. If virtual-acoustic instruments are to be designed to not only simulate the vibrational behaviour of a real-world counterpart but also to inherit much of its interface dynamics, it would make sense that the physical form of the controller is similar to that of the emulated instrument. The specific physical model configuration discussed here reconnects a (silent) string controller with a modal synthesis string resonator across the real and virtual domains by direct routing of excitation signals and model parameters. The excitation signals are estimated in their original force-like form via careful calibration of the sensor, making use of adaptive filtering techniques to design an appropriate inverse filter. In addition, the excitation position is estimated from sensors mounted under the legs of the bridges on either end of the prototype string controller. The proposed methodology is explained and exemplified with preliminary results obtained with a number of off-line experiments.
Keywords
adaptive filtering, interaction design, inverse filtering, modal synthesis, physical model, position estimation, sensor calibration, synthesis control, vibrating string, virtual-acoustic instrument
Paper topics
Digital signal processing, Instrument building and virtuosity in Computer Music, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851257
Zenodo URL: https://zenodo.org/record/851257
2016.72
"Trees": An Artistic-scientific Observation System
Maeder, Marcus Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Zweifel, Roman Swiss Federal Institute for Forest, Snow and Landscape Research (WSL); Birmensdorf, Switzerland
Abstract
In our research project «trees: Rendering eco-physiological processes audible» we connected acoustic emissions of plants with ecophysiological processes and rendered audible natural phenomena that aren’t normally noticeable in an artistic way. The acoustic emissions of a tree in the Swiss Alps were recorded with special sensors, and all other non-auditory ecophysiological measurement data (e.g. the trunk and branch diameters that change depending on water content, the sap flow rate in the branches, the water present in the soil, air moisture, solar radiation, etc.) were sonified, i.e. translated into sounds. The recordings and sonified measurements were implemented in a number of different media art installations, which at the same time served as a research environment, in order to examine and experiment artistically with the temporal and spatial connections between plant sounds, physiological processes and environmental conditions in an artistic-scientific observation system.
Keywords
Climate Change, Data Sonification, Plant Ecophysiology, Soundscapes/Environmental Arts
Paper topics
Auditory displays and data sonification, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851249
Zenodo URL: https://zenodo.org/record/851249
2016.73
TSAM: A TOOL FOR ANALYZING, MODELING, AND MAPPING THE TIMBRE OF SOUND SYNTHESIZERS
Fasciani, Stefano University of Wollongong in Dubai; Dubai, United Arab Emirates
Abstract
Synthesis algorithms often have a large number of adjustable parameters that determine the generated sound and its psychoacoustic features. The relationship between parameters and timbre is valuable for end users, but it is generally unknown, complex, and difficult to analytically derive. In this paper we introduce a strategy for the analysis of the sonic response of synthesizers subject to the variation of an arbitrary set of parameters. We use an extensive set of sound descriptors which are ranked using a novel metric based on statistical analysis. This enables study of how changes to a synthesis parameter affect timbre descriptors, and provides a multidimensional model for the mapping of the synthesis control through specific timbre spaces. The analysis, modeling and mapping are integrated in the Timbre Space Analyzer & Mapper (TSAM) tool, which enables further investigation on synthesis sonic response and on perceptually related sonic interactions.
Keywords
generative mapping, open source software, synthesis analysis, timbre spaces
Paper topics
Computer environments for sound/music processing, Digital signal processing, New interfaces for musical expression, Software / computer music languages
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851209
Zenodo URL: https://zenodo.org/record/851209
2016.74
Using EarSketch to Broaden Participation in Computing and Music
Freeman, Jason Georgia Institute of Technology; Atlanta, United States
Magerko, Brian Georgia Institute of Technology; Atlanta, United States
Edwards, Doug Georgia Institute of Technology; Atlanta, United States
Miller, Morgan SageFox Consulting; Amherst, United States
Moore, Roxanne Georgia Institute of Technology; Atlanta, United States
Xambó, Anna Georgia Institute of Technology; Atlanta, United States
Abstract
EarSketch is a STEAM learning intervention that com- bines a programming environment and API for Python and JavaScript, a digital audio workstation, an audio loop library, and a standards-aligned curriculum to teach in- troductory computer science together with music tech- nology and composition. It seeks to address the imbal- ance in contemporary society between participation in music-making and music-listening activities and a paral- lel imbalance between computer usage and computer programming. It also seeks to engage a diverse popula- tion of students in an effort to address long-standing is- sues with underrepresentation of women and minorities in both computing and music composition. This paper introduces the core motivations and design principles behind EarSketch, distinguishes the project from related computing and music learning interventions, describes the learning environment and its deployment contexts, and summarizes the results of a pilot study.
Keywords
computer science, diversity, education, music
Paper topics
Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851217
Zenodo URL: https://zenodo.org/record/851217
2016.75
Using Multidimensional Sequences For Improvisation In The OMax Paradigm
Déguernel, Ken Institut national de recherche en informatique et en automatique (INRIA); France
Vincent, Emmanuel Institut national de recherche en informatique et en automatique (INRIA); France
Assayag, Gérard UMR STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Automatic music improvisation systems based on the OMax paradigm use training over a one-dimensional sequence to generate original improvisations. Different systems use different heuristics to guide the improvisation but none of these benefits from training over a multidimensional sequence. We propose a system creating improvisation in a closer way to a human improviser where the intuition of a context is enriched with knowledge. This system combines a probabilistic model taking into account the multidimensional aspect of music trained on a corpus, with a factor oracle. The probabilistic model is constructed by interpolating sub-models and represents the knowledge of the system, while the factor oracle (structure used in OMax) represents the context. The results show the potential of such a system to perform better navigation in the factor oracle, guided by the knowledge on several dimensions.
Keywords
Automatic improvisation, Factor Oracle, Interpolation, Machine Learning, Probabilistic Models
Paper topics
improvisation and notation, Real-time composition
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851205
Zenodo URL: https://zenodo.org/record/851205
2016.76
VIRTUAL RECONSTRUCTION OF AN ANCIENT GREEK PAN FLUTE
Avanzini, Federico Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
De Poli, Giovanni Department of Information Engineering, Università di Padova; Padova, Italy
Fantozzi, Carlo Università di Padova; Padova, Italy
Micheloni, Edoardo Università di Padova; Padova, Italy
Pretto, Niccolò Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Gasparotto, Silvia IUAV University of Venice; Venezia, Italy
Salemi, Giuseppe Università di Padova; Padova, Italy
Abstract
This paper presents ongoing work aimed at realizing an interactive museum installation that aids museum visitors learn about a musical instrument that is part of the exhibit: an exceptionally well preserved ancient pan flute, most probably of greek origins. The paper first discusses the approach to non-invasive analysis on the instrument, which was based on 3D scanning using computerized tomography (CT scan), and provided the starting point to inspect the geometry and some aspects of the construction of the instrument. A tentative reconstruction of the instrument tuning is then presented, which is based on the previous analysis and on elements of theory of ancient Greek music. Finally, the paper presents the design approach and the first results regarding the interactive museum installation that recreates the virtual flute and allows intuitive access to several related research facets.
Keywords
Interactive Museum Installations, Mobile applications, Virtual instruments
Paper topics
Interactive performance systems, New interfaces for musical expression, Virtual environments for music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851179
Zenodo URL: https://zenodo.org/record/851179
2016.77
VISA3: REFINING THE VOICE INTEGRATION/SEGREGATION ALGORITHM
Makris, Dimos Department of Informatics, Ionian University; Corfu, Greece
Karydis, Ioannis Department of Informatics, Ionian University; Corfu, Greece
Cambouropoulos, Emilios Department of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
Human music listeners are capable of identifying multiple ‘voices’ in musical content. This capability of grouping notes of polyphonic musical content into entities is of great importance for numerous processes of the Music Information Research domain, most notably for the better understanding of the underlying musical content’s score. Accordingly, we present the VISA3 algorithm, a refinement of the family of VISA algorithms for integration/segregation of voice/streams focusing on musical streams. VISA3 builds upon its previous editions by introduction of new characteristics that adhere to previously unused general perceptual principles, address assignment errors that accumulate affecting the precision and tackle more generic musical content. Moreover, a new small dataset with human expert ground-truth quantised symbolic data annotation is utilised. Experimental results indicate the significant performance amelioration the proposed algorithm achieves in relation to its predecessors. The increase in precision is evident for both the dataset of the previous editions as well as for a new dataset that includes musical content with characteristics such that of non-parallel motion that are common and have not yet been examined.
Keywords
Auditory Streaming, Computational Modeling, General Perceptual Principles, Stream Segregation, Voice Separation
Paper topics
Computational musicology and mathematical music theory, Music cognition and creativity, Music information retrieval
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851251
Zenodo URL: https://zenodo.org/record/851251
2016.78
Visually Representing and Interpreting Multivariate Data for Audio Mixing
Mycroft, Josh Queen Mary University of London; London, United Kingdom
Reiss, Joshua Daniel Queen Mary University of London; London, United Kingdom
Stockman, Tony Queen Mary University of London; London, United Kingdom
Abstract
The majority of Digital Audio Workstation designs represent mix data using a channel strip metaphor. While this is a familiar design based on physical mixing desk layout, it can lead to a visually complex interface incorporating a large number of User Interface objects which can increase the need for navigation and disrupt the mixing workflow. Within other areas of data visualisation, multivariate data objects such as glyphs are used to simultaneously represent a number of parameters within one graphical object by assigning data to specific visual variables. This can reduce screen clutter, enhance visual search and support visual analysis and interpretation of data. This paper reports on two subjective evaluation studies that investigate the efficacy of different design strategies to visually encode mix information (volume, pan, reverb and delay) within a stage metaphor mixer using multivariate data objects and a channel strip design using faders and dials. The analysis of the data suggest that compared to channels strip designs, multivariate objects can lead to quicker visual search without any subsequent reduction in search accuracy.
Keywords
Audio Mixing, DAWs, Human Computer Interaction
Paper topics
Computer environments for sound/music processing, Multi-modal perception and emotion, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851273
Zenodo URL: https://zenodo.org/record/851273
2016.79
VR 'Space Opera': Mimetic Spectralism in an Immersive Starlight Audification System
Carey, Benedict Hochschule für Musik und Theater Hamburg; Hamburg, Germany
Ulas, Burak İzmir Ozel Turk College Planetarium; Izmir, Turkey
Abstract
This paper describes a system designed as part of an interactive VR opera, which immerses a real-time composer and an audience (via a network) in the historical location of Göbekli Tepe, in southern Turkey during an imaginary scenario set in the Pre-Pottery Neolithic period (8500-5500 BCE), viewed by some to be the earliest example of a temple, or observatory. In this environment music can be generated through user interaction, where the harmonic material is determined based on observations of light variation from pulsating stars, that would have theoretically been overhead on the 1st of October 8000 BC at 23:00 and animal calls based on the reliefs in the temple. Based on theoretical observations of the stars V465 Per, HD 217860, 16 Lac, BG CVn, KIC 6382916 and KIC6462033, frequency collections were derived and applied to the generation of musical sound and notation sequences within a custom VR environment using a novel method incorporating spectralist techniques. Parameters controlling this ‘resynthesis’ can be manipulated by the performer using a Leap Motion controller and Oculus Rift HMD, yielding both sonic and visual results in the environment. The final opera is to be viewed via Google Cardboard and delivered over the Internet. This entire process aims to pose questions about real-time composition through time distortion and invoke a sense of wonder and meaningfulness through a ritualistic experience.
Keywords
ASTRONOMY, AUDIFICATION, GÖBEKLI TEPE, SONIFICATION, SPECTRALISM, VIRTUAL REALITY
Paper topics
Auditory displays and data sonification, Computer environments for sound/music processing, improvisation and notation, Instrument building and virtuosity in Computer Music, Interactive performance systems, Multi-modal perception and emotion, New interfaces for musical expression, Real-time composition, Sound and music for virtual reality and games, Virtual environments for music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851201
Zenodo URL: https://zenodo.org/record/851201
2016.80
Zirkonium, SpatDIF, and mediaartbase.de; an archiving strategy for spatial music at ZKM
Miyama, Chikashi Center for Art and Media Karlsruhe (ZKM); Karlsruhe, Germany
Dipper, Götz Center for Art and Media Karlsruhe (ZKM); Karlsruhe, Germany
Krämer, Robert Center for Art and Media Karlsruhe (ZKM); Karlsruhe, Germany
Schacher, Jan C. Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
ZKM | Institute for Music and Acoustics has been contributing to the production and realization of spatial music for more than 20 years. This paper introduces how the institute archives the spatial compositions, maximizing the universality, reusability, and accesibility for performances and research in the future by combining three key elements: Zirkonium, SpatDIF, and mediaartbase.de.
Keywords
3D audio, archive, fixed-media, Klangdom, mediaartbase.de, multi channel, SpatDIF, spatialization, Zirkonium
Paper topics
History and aesthetics of electronic media, Room acoustics and spatial audio, Software / computer music languages
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851269
Zenodo URL: https://zenodo.org/record/851269
Sound and Music Computing Conference 2017 (ed. 14)
Dates: from July 01 to July 04, 2017
Place: Espoo, Finland
Proceedings info: Proceedings of the 14th Sound and Music Computing Conference 2017, ISBN 978-952-60-3729-5
2017.1
A Constraint-Based Framework to Model Harmony for Music Composition
Anders, Torsten University of Bedfordshire; Luton, United Kingdom
Abstract
Music constraint systems provide a rule-based approach to composition. Existing systems allow users to constrain the harmony, but the constrainable harmonic information is restricted to pitches and intervals between pitches. More abstract analytical information such as chord or scale types, their root, scale degrees, enharmonic note representations, whether a note is the third or fifth of a chord and so forth are not supported. However, such information is important for modelling various music theories. This research proposes a framework for modelling harmony at a high level of abstraction. It explicitly represents various analytical information to allow for complex theories of harmony. It is designed for efficient propagation-based constraint solvers. The framework supports the common 12-tone equal temperament, and arbitrary other equal temperaments. Users develop harmony models by applying user-defined constraints to its music representation. Three examples demonstrate the expressive power of the framework: (1) an automatic melody harmonisation with a simple harmony model; (2) a more complex model implementing large parts of Schoenberg's tonal theory of harmony; and (3) a composition in extended tonality. Schoenberg's comprehensive theory of harmony has not been computationally modelled before, neither with constraints programming nor in any other way.
Keywords
algorithmic composition, computer aided composition, constraint programming, harmony, music theory
Paper topics
accompaniment, and improvisation, Automatic composition, Computational musicology and mathematical music theory
Easychair keyphrases
pitch class [33], constraint programming [15], integer variable [13], scale type [12], chord type [10], scale degree [10], chord root [9], harmony model [8], underlying harmony [8], analytical information [7], microtonal music [6], music constraint system [6], music representation [6], nonharmonic tone [6], propagation based constraint solver [6], variable domain [6], allow user [5], chord tone [5], contained object [5], element constraint [5], end time [5], equal temperament [5], formal detail [5], harmonic rhythm [5], melodic interval [5], music theory [5], note pitch [5], dominant seventh chord [4], pitch class integer [4], voice leading distance [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401977
Zenodo URL: https://zenodo.org/record/1401977
2017.2
AN ADAPTIVE KARAOKE SYSTEM THAT PLAYS ACCOMPANIMENT PARTS OF MUSIC AUDIO SIGNALS SYNCHRONOUSLY WITH USERS' SINGING VOICES
Wada, Yusuke Kyoto University; Kyoto, Japan
Bando, Yoshiaki Kyoto University; Kyoto, Japan
Nakamura, Eita Kyoto University; Kyoto, Japan
Itoyama, Katsutoshi Kyoto University; Kyoto, Japan
Yoshii, Kazuyoshi Kyoto University; Kyoto, Japan
Abstract
This paper presents an adaptive karaoke system that can extract accompaniment sounds from music audio signals in an online manner and play those sounds synchronously with users' singing voices. This system enables a user to expressively sing an arbitrary song by dynamically changing the tempo of the user's singing voices. A key advantage of this systems is that users can immediately enjoy karaoke without preparing musical scores (MIDI files). To achieve this, we use online methods of singing voice separation and audio-to-audio alignment that can be executed in parallel. More specifically, music audio signals are separated into singing voices and accompaniment sounds from the beginning using an online extension of robust nonnegative matrix factorization. The separated singing voices are then aligned with a user's singing voices using online dynamic time warping. The separated accompaniment sounds are played back according to the estimated warping path. The quantitative and subjective experimental results showed that although there is room for improving the computational efficiency and alignment accuracy, the system has a great potential for offering a new singing experience.
Keywords
adaptive karaoke system, audio-to-audio alignment, automatic accompaniment, singing voice, singing voice separation
Paper topics
accompaniment, Analysis, and improvisation, and modification of sound, Automatic composition, Computer-based music analysis, High-performance computing for audio, Music performance, Music performance analysis and rendering, synthesis
Easychair keyphrases
singing voice [72], singing voice separation [42], user singing voice [30], accompaniment sound [24], music audio signal [17], stretch rate [14], audio alignment [12], audio signal [12], warping path [12], musical audio signal [9], musical score [9], real time [9], adaptive karaoke system [7], cost matrix [7], mini batch [7], real time audio [7], separated singing voice [7], singing voice alignment [7], automatic accompaniment [6], robust principal component analysis [6], user interface [6], karaoke system [5], deep recurrent neural network [4], hidden markov model [4], low rank [4], online dynamic time warping [4], phase vocoder [4], polyphonic midi score following [4], robust nonnegative matrix factorization [4], score alignment [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401897
Zenodo URL: https://zenodo.org/record/1401897
2017.3
AN EXPLORATORY STUDY ON THE EFFECT OF AUDITORY FEEDBACK ON GAZE BEHAVIOR IN A VIRTUAL THROWING TASK WITH AND WITHOUT HAPTIC FEEDBACK
Frid, Emma KTH Royal Institute of Technology; Stockholm, Sweden
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Moll, Jonas Uppsala University; Uppsala, Sweden
Sallnäs Pysander, Eva-Lotta KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper presents findings from an exploratory study on the effect of auditory feedback on gaze behavior. A total of 20 participants took part in an experiment where the task was to throw a virtual ball into a goal in different conditions: visual only, audiovisual, visuohaptic and audiovisuohaptic. Two different sound models were compared in the audio conditions. Analysis of eye tracking metrics indicated large inter-subject variability; difference between subjects was greater than difference between feedback conditions. No significant effect of condition could be observed, but clusters of similar behaviors were identified. Some of the participants’ gaze behaviors appeared to have been affected by the presence of auditory feedback, but the effect of sound model was not consistent across subjects. We discuss individual behaviors and illustrate gaze behavior through sonification of gaze trajectories. Findings from this study raise intriguing questions that motivate future large-scale studies on the effect of auditory feedback on gaze behavior.
Keywords
auditory feedback, eye tracking, gaze behaviour, haptic feedback, multimodal feedback, sonification
Paper topics
Multi-modal perception and emotion, Sonification, Virtual reality applications and technologies for sound and music
Easychair keyphrases
total fixation duration [30], gaze behavior [28], total fixation [26], auditory feedback [25], ball aoi [23], total fixation count [22], fixation duration [19], goal aoi [16], eye tracking [14], sound model [13], median value [12], throwing gesture [12], eye tracking metric [11], lowest median value [11], total fixation duration index [10], error rate [9], fixation count [9], averaged left [7], gaze trajectory [7], highest median value [7], longer fixation [7], movement sonification [7], visual attention [7], eye movement [6], eye tracking data [6], feedback condition [6], inter quartile range [6], right eye gaze position [6], total fixation count index [6], virtual ball [6]
Paper type
unknown
DOI: 10.5281/zenodo.1401927
Zenodo URL: https://zenodo.org/record/1401927
2017.4
A SINGING INSTRUMENT FOR REAL-TIME VOCAL-PART ARRANGEMENT OF MUSIC AUDIO SIGNALS
Ojima, Yuta Kyoto University; Kyoto, Japan
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Fukayama, Satoru National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Kato, Jun National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Itoyama, Katsutoshi Kyoto University; Kyoto, Japan
Yoshii, Kazuyoshi Kyoto University; Kyoto, Japan
Abstract
This paper presents a live-performance system that enables a user to arrange the vocal part of music audio signals and to add a harmony or troll part by modifying the original vocal part. The pitches and rhythms of the original singing voices can be manipulated in real time while preserving the lyrics. This leads to an interesting experience that the user can feel as if the original singer is directed to sing a song as the user likes. More specifically, a user is asked to play a MIDI keyboard according to the user's favorite melody. Since the vocal part is divided into short segments corresponding to musical notes, those segments are played back one by one from the beginning such that the pitch and duration of each segment matches a key pushed by the user. The functions needed for this system are singing voice separation, vocal-part segmentation, key-to-segment association, and real-time pitch modification. We propose three kinds of key-to-segment association to restrict the degree of freedom in manipulation of pitches and durations and to easily generate a harmony or troll part. Subjective experiments showed the potential of the proposed system.
Keywords
a MIDI keyboard, arrangement, harmony, interface, live-performance, real time, singing voice
Paper topics
Analysis, and modification of sound, Interactive performance systems and new interfaces, synthesis
Easychair keyphrases
vocal part [33], singing voice [28], pitch modification [18], easy arrangement mode [15], free arrangement mode [15], real time [15], time fixed mode [15], midi keyboard [13], arrangement mode [12], musical note [11], target note [10], existing song [9], user interface [8], onset time [7], singing voice separation [7], time stretching [7], musical note estimation [6], signal processing method [6], harmonic part [5], key operation [5], sound quality [5], accompaniment source separation [4], active music listening [4], assignment mode [4], drum part [4], pitch information [4], robust principle component analysis [4], rwc music database [4], troll part [4], vocal arrangement system [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401987
Zenodo URL: https://zenodo.org/record/1401987
2017.5
A Sonification Interface Unifying Real-Time and Offline Processing
Rutz, Hanns Holger Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Höldrich, Robert Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
SysSon is a sonification platform originally developed in collaboration with climatologists. It contains a domain-specific language for the design of sonification templates, providing abstractions for matrix input data and accessing it in real-time sound synthesis. A shortcoming of the previous version had been the limited breadth of transformations applicable to this matrix data in real-time. We observed that the development of sonification objects often requires pre-processing stages outside the real-time domain, limiting the possibilities of fully integrating models directly into the platform. We designed a new layer for the sonification editor that provides another, semantically similar domain-specific language for offline rendering. Offline and real-time processing are unified through common interfaces and through a mechanism by which the latter can make use of the outputs of the former stage. Auxiliary data calculated in the offline stage is captured by a persisting caching mechanism, avoiding waiting time when running a sonification repeatedly.
Keywords
Offline, Sonification, Stream Processing
Paper topics
Analysis, and modification of sound, Computer music languages and software, Sonification, synthesis
Easychair keyphrases
real time [33], pre processing stage [11], sonification model [11], ugen graph [11], blob detection [10], offline program [8], attribute map [7], real time program [7], val val val [7], offline processing [6], real time sound synthesis [6], temperature anomaly [6], blob data [5], multi rate [5], audio sampling rate [4], blob matrix [4], development process [4], domain specific language [4], floating point number [4], general ide [4], pre processing [4], quasi biennial oscillation [4], real time program source [4], real time ugen graph [4], signal processing [4], sonification editor [4], sound model [4], structural data [4], sysson ide [4], user interface [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401879
Zenodo URL: https://zenodo.org/record/1401879
2017.6
AUDIO-TO-SCORE ALIGNMENT OF PIANO MUSIC USING RNN-BASED AUTOMATIC MUSIC TRANSCRIPTION
Kwon, Taegyun Graduate school of Culture and Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Jeong, Dasaem Graduate school of Culture and Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Nam, Juhan Graduate school of Culture and Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Abstract
We propose a framework for audio-to-score alignment on piano performance that employs automatic music transcription (AMT) using neural networks. Even though the AMT result may contain some errors, the note prediction output can be regarded as a learned feature representation that is directly comparable to MIDI note or chroma representation. To this end, we employ two recurrent neural networks that work as the AMT-based feature extractors to the alignment algorithm. One predicts the presence of 88 notes or 12 chroma in frame-level and the other detects note onsets in 12 chroma. We combine the two types of learned features for the audio-to-score alignment. For comparability, we apply dynamic time warping as an alignment algorithm without any additional post-processing. We evaluate the proposed framework on the MAPS dataset and compare it to previous work. The result shows that the alignment framework with the learned features significantly improves the accuracy, achieving less than 10 ms in mean onset error.
Keywords
automatic music transcription, music feature extraction, recurrent neural network, score alignment
Paper topics
Analysis, and modification of sound, Computer-based music analysis, Music information retrieval, synthesis
Easychair keyphrases
score alignment [16], amt system [13], chroma onset feature [12], chroma onset [10], dynamic time warping [9], onset feature [8], carabias ortis algorithm [7], ewert algorithm [7], piano music [7], alignment algorithm [6], automatic music transcription [6], mean onset error [6], neural network [6], recurrent neural network [6], fastdtw algorithm [5], midi note [5], onset error [5], truncated backpropagation [5], ground truth [4], informa tion retrieval [4], map dataset [4], music informa tion [4], note onset [4], piecewise onset error [4], score midi [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401969
Zenodo URL: https://zenodo.org/record/1401969
2017.7
Audio-Visual Source Association for String Ensembles through Multi-Modal Vibrato Analysis
Li, Bochen University of Rochester; Rochester, United States
Xu, Chenliang University of Rochester; Rochester, United States
Duan, Zhiyao University of Rochester; Rochester, United States
Abstract
With the proliferation of video content of musical performances, audio-visual analysis becomes an emerging topic in music information retrieval. Associating the audio and visual aspects of the same source, or audio-visual source association, is a fundamental problem for audio-visual analysis of polyphonic musical performances. In this paper, we propose an approach to solve this problem for string ensemble performances by analyzing the vibrato patterns. On the audio side, we extract the pitch trajectories of vibrato notes of each string player in a score-informed fashion. On the video side, we track the left hand of string players and capture their fine-grained left-hand vibration due to vibrato. We find a high correlation between the pitch fluctuation and the hand vibration for vibrato notes, and use this correlation to associate the audio and visual aspects of the same players. This work is a complementary extension to our previous work on source association for string ensembles based on bowing motion analysis. Experiments on 19 pieces of chamber musical performances with at most one non-string instrument show more accurate and robust association performance than our previous method.
Keywords
Multi-modal Music Analysis, Source Association, Vibrato Analysis
Paper topics
Interactive performance systems and new interfaces, Music information retrieval, Music performance, Music performance analysis and rendering
Easychair keyphrases
pitch trajectory [22], source association [18], vibrato note [18], audio visual source association [16], audio visual [15], hand displacement curve [11], note level matching [11], sound source [11], source separation [11], signal process [10], score informed fashion [9], visual aspect [9], displacement curve [8], musical performance [8], score informed source separation [8], string ensemble [8], bounding box [7], music information retrieval [7], non string instrument [7], pitch fluctuation [7], audio visual analysis [6], detected vibrato note [6], level matching accuracy [6], matching score [6], motion velocity [6], note onset [6], correct association [5], fingering hand [5], hand motion [5], optical flow [5]
Paper type
unknown
DOI: 10.5281/zenodo.1401863
Zenodo URL: https://zenodo.org/record/1401863
2017.8
AUDITORY, VISUAL AND SOMATOSENSORY LOCALIZATION OF PIANO TONES: A PRELIMINARY STUDY
Fontana, Federico Università di Udine; Udine, Italy
Scappin, Debora Università di Udine; Udine, Italy
Avanzini, Federico Università di Padova; Padova, Italy
Bernardi, Mattia Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Bianco, Devid Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Klauer, Giorgio Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Abstract
The paper presents an experiment in which subjects had to localize head\-phone-reproduced binaural piano tones while in front of a grand Disklavier instrument. Three experimental conditions were designed: when the fallboard was closed the localization was auditory only; when the fallboard was open the localization was auditory and visual, since the Disklavier's actuated key could be seen moving down while the corresponding note was produced; when the listener actively played the note the localization was auditory, visual and somatosensory. In all conditions the tones were reproduced using binaural recordings previously acquired on the same instrument. Such tones were presented either transparently or by reversing the channels. Thirteen subjects participated in the experiment. Results suggest that if auditory localization associates the tone to the corresponding key, then the visual and somatosensory feedback refine the localization. Conversely, if auditory localization is confused then the visual and somatosensory channels cannot improve it. Further experimentation is needed to explain these results in relation with i) possible activation of the auditory precedence effect at least for some notes, and ii) potential locking of the sound source position that visual and/or somatosensory cues might cause when subjects observe a key moving down, or depress it.
Keywords
Binaural sound, Multimodal perception, Piano tones
Paper topics
Multi-modal perception and emotion, Music performance, Spatial sound
Easychair keyphrases
piano tone [12], passive closed condition [11], somatosensory feedback [10], passive open condition [9], routing setting [9], active condition [8], auditory localization [8], key position [8], perceived position [8], listening condition [6], reverse routing setting [6], significantly different position [6], standard routing setting [6], active listening [5], binaural recording [5], binaural sample [5], note position [5], precedence effect [5], visual feedback [5], acoustic piano [4], auditory precedence effect [4], digital piano [4], musical instrument [4], passive open [4], perceived note position [4], reverse setting [4], somatosensory cue [4], sound source [4], sound source position [4], velocity value [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401931
Zenodo URL: https://zenodo.org/record/1401931
2017.9
Auralization in space and in rooms of arbitrary D dimensions
Orduña Bustamante, Felipe National Autonomous University of Mexico (UNAM); Mexico City, Mexico
Abstract
Signal processing and computing procedures are presented to imprint, into any given audio signal (preferably obtained from a dry anechoic recording), the temporal and spectral characteristics of radiation of simple sources in free field, and in reverberant rectangular rooms, that could virtually be obtained in space of any spatial dimensions $D{\ge}1$. These techniques are based on mathematically exact solutions of the conventional acoustic field equations, usually expressed and solved for space of three dimensions or less, but generalized formally to describe the analogue to sound waves in space of higher dimensions. Processing as presented here is monaural, but the mathematical tools exist to imprint a hyper-angular dependence in higher dimensions, and to map that, into conventional binaural presentations. Working computer implementations, and sound samples are presented. The foreseen applications include: sonic art, virtual reality, extended reality, videogames, computer games, and others.
Keywords
image source method, simulation of room acoustics, sound in space of arbitrary D dimensions
Paper topics
Analysis, and modification of sound, Room acoustics modeling and auralization, synthesis, Virtual reality applications and technologies for sound and music
Easychair keyphrases
image source [16], impulse response [10], higher dimension [7], source transfer function [6], image method [5], sound pressure [5], space dimension [5], frequency weighting [4], monopole source [4], reflection coefficient [4], transfer function [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401929
Zenodo URL: https://zenodo.org/record/1401929
2017.10
Automatic Arranging Musical Score for Piano using Important Musical Elements
Takamori, Hirofumi Waseda University; Tokyo, Japan
Sato, Haruki Waseda University; Tokyo, Japan
Nakatsuka, Takayuki Waseda University; Tokyo, Japan
Morishima, Shigeo JST ACCEL, Waseda Research Institute for Science and Engineering, Waseda University; Tokyo, Japan
Abstract
Arranging the music composed of multiple instruments for the solo piano is demanded because there are many pianists who want to practice playing their favorite song or music. In general, the method which is reducing original notes so as to fit on a two-line staff is used for piano arrangement. However, their approaches still have not reached a fundamental solution which improve not only an originality, and a playability but a quality of the score. In this paper, we propose a new approach to arrange a musical score for the piano using four musical components - a melody, a chords, rhythm and the number of notes - that can be extracted from an original score. In our method, we input an original score and then generate both right and left hand playing parts of piano scores. For the right part, we add optional notes from a chord to the melody. For the left part, we select appropriate accompaniments from database constructed from pop musical piano scores. The selected accompaniments are considered the impression of an original score. We generate high quality solo piano scores reflected original characteristics and considered part of playability.
Keywords
accompaniment selection, music arrangement, piano reduction
Paper topics
accompaniment, and improvisation, Automatic composition
Easychair keyphrases
piano arranged score [42], piano arrangement [23], accompaniment database [14], hand part [14], accompaniment matrix [12], high quality piano arrangement [12], root note [12], piano score [11], right hand part [11], musical component [9], special interest group [9], musical piece [8], musical score [8], pop musical piano score [8], rhythm part [7], maximum musical interval [6], note value [6], pianoarranged score [6], subjective evaluation [6], high quality [5], selected accompaniment [5], solo piano [5], sounding start [5], additional note [4], extant study [4], left part [4], piano arrangement process [4], piano arrangement system [4], quarter note [4], sugar song [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401875
Zenodo URL: https://zenodo.org/record/1401875
2017.11
CONSTRUCTING PEDB 2nd EDITION: A MUSIC PERFORMANCE DATABASE WITH PHRASE INFORMATION
Hashida, Mitsuyo Soai University; Osaka, Japan
Nakamura, Eita Kyoto University; Kyoto, Japan
Katayose, Haruhiro Kwansei Gakuin University; Osaka, Japan
Abstract
Performance databases that can be referred to as numerical values play important roles in the research of music interpretation, the analysis of expressive performances, automatic transcription, and performance rendering technology. The authors have promoted the creation and public release of the CrestMuse PEDB (Performance Expression DataBase), which is a performance expression database of more than two hundred virtuoso piano performances of classical music from the Baroque period through the early twentieth century, including music by Bach, Mozart, Beethoven and Chopin. The CrestMuse PEDB has been used by more than fifty research institutions around the world. It has especially contributed to research on performance rendering systems as training data. Responding to the demand to increase the database, we have started a new three-year project to enhance the CrestMuse PEDB with a second edition that started in 2016. In the second edition, phrase information that pianists had in mind while playing the performance is included, in addition to the performance data that can be referred to as numerical values. This paper introduces an overview of the ongoing project.
Keywords
Music database, Music performance analysis, Phrase structure and interpretation
Paper topics
Computer-based music analysis, Music games and educational tools, Music performance analysis and rendering
Easychair keyphrases
self self [20], self self self [17], performance data [12], beta version [9], performance expression [6], performance expression database [6], phrase structure [6], piano sonata [6], musical structure [5], music performance [5], score note [5], structure data [5], acoustic signal [4], alignment information [4], apex note [4], audio signal [4], early twentieth century [4], extra note [4], matching file format [4], musical structure data [4], music information retrieval [4], music performance database [4], performance deviation data [4], performance expression data [4], performance rendering system [4], performed note [4], recorded performance [4], waltz self [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401963
Zenodo URL: https://zenodo.org/record/1401963
2017.12
Design Implications for Technology-Mediated Audience Participation in Live Music
Hödl, Oliver Vienna University of Technology (TU Wien); Vienna, Austria
Kayali, Fares Vienna University of Technology (TU Wien); Vienna, Austria
Fitzpatrick, Geraldine Vienna University of Technology (TU Wien); Vienna, Austria
Holland, Simon The Open University; Milton Keynes, United Kingdom
Abstract
Mobile and sensor-based technologies have created new interaction design possibilities for technology-mediated audience participation in live music performance. However, there is little if any work in the literature that systematically identifies and characterises design issues emerging from this novel class of multi-dimensional interactive performance systems. As an early contribution towards addressing this gap in knowledge, we present the analysis of a detailed survey of technology-mediated audience participation in live music, from the perspective of two key stakeholder groups - musicians and audiences. Results from the survey of over two hundred spectators and musicians are presented, along with descriptive analysis and discussion. These results are used to identify emerging design issues, such as expressiveness, communication and appropriateness. Implications for interaction design are considered. While this study focuses on musicians and audiences, lessons are noted for diverse stakeholders, including composers, performers, interaction designers, media artists and engineers.
Keywords
design implications, interaction design, interactive performance systems, live music, participatory performance, quantitative methods, survey, technology-mediated audience participation (TMAP)
Paper topics
Interactive performance systems and new interfaces, Music performance
Easychair keyphrases
live concert [22], most spectator [20], technology mediated audience participation [18], audience participation [16], live music [16], most musician [9], research question [9], mobile phone [8], mobile technology [7], survey participant [5], survey result [5], computer music [4], design implication [4], general design implication [4], interaction design [4], interactive performance system [4], interquartile range [4], live music performance [4], musical expression [4], music related information [4], special experience [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401873
Zenodo URL: https://zenodo.org/record/1401873
2017.13
Does Singing a Low-Pitch Tone Make You Look Angrier?
Ahrendt, Peter Aalborg University; Aalborg, Denmark
Bach, Christian Aalborg University; Aalborg, Denmark
Dahl, Sofia Aalborg University; Aalborg, Denmark
Abstract
While many studies have shown that auditory and visual information influence each other, the link between some intermodal associations are less clear. We here replicate and extend an earlier experiment with ratings of pictures of people singing high and low-pitched tones. To this aim, we video recorded 19 participants singing high and low pitches and combined these into picture pairs. In a two-alternative forced choice test, two groups of six assessors were then asked to view the 19 picture pairs and select the "friendlier", and "angrier" expression respectively. The Result is that assessors chose the high-pitch picture when they were asked to rate "friendlier" expression. Asking about "angrier" expression resulted in choosing the low-pitch picture. A non significant positive correlation between sung pitch ranges from every participant to the number of chosen high-pitch resp. low-pitch pictures was found.
Keywords
Emotion, Facial Expression, Inter-modal Perception, Pitch
Paper topics
Multi-modal perception and emotion, Social interaction in sound and music computing
Easychair keyphrases
low pitch [25], high pitch [21], pitch range [21], facial expression [17], midi note [14], low pitch picture [12], pitch picture [8], high pitch picture [7], inter assessor agreement [7], intermodal association [7], low note [6], low pitch face [6], vocal pitch height [6], angrier expression [5], non threatening [5], sung pitch [5], vocal pitch [5], aalborg university [4], actual produced pitch [4], assessor agreement [4], chosen high pitch picture [4], low pitch tone [4], produced pitch range [4], rating experiment [4], sung interval size [4], threatening display [4], vocal pitch range [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401909
Zenodo URL: https://zenodo.org/record/1401909
2017.14
Electric grammars. Algorithmic design and construction of experimental music circuits
Valle, Andrea Interdipartimental Center for Research on Multimedia and Audiovideo (CIRMA), Dipartimento di Studi Umanistici, Università di Torino; Torino, Italy
Pappalardo, Simone Conservatorio Statale di Musica “O. Respighi” di Latina; Latina, Italy
Abstract
The paper discusses a generative approach to the design of experimental electronic circuits for musical application. The model takes into account rewriting rules inspired by L-systems constrained by domain-specific features depending on electronic components, and generates families of circuits. An integrated production pipeline is introduced, that ranges from algorithmic design to simulation up to hardware printing.
Keywords
Digital/Analog audio modeling, Experimental sound processing, Generative electronics, Physical computing
Paper topics
Analysis, and modification of sound, synthesis
Easychair keyphrases
amp op amp [17], buffer buffer buffer [14], buffer buffer [11], electronic circuit [8], audio circuit [6], circuit design [6], dc buffer buffer [6], root circuit [6], electronic component [5], generative model [5], algorithmic design [4], analog audio [4], audio circuit design [4], data structure [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401961
Zenodo URL: https://zenodo.org/record/1401961
2017.15
Electronic hearing protection for musicians
Albrecht, Robert Aalto University; Espoo, Finland
Jaatinen, Jussi Department of Musicology, University of Helsinki; Helsinki, Finland
Lokki, Tapio Aalto University; Espoo, Finland
Abstract
Many people are exposed to large sound pressure levels either occasionally or regularly, and thus need to protect their hearing in order to prevent hearing loss and other hearing disorders. Earplugs are effective at attenuating sound from the environment, but they do not attenuate bone-conducted sound, but instead amplify it at low frequencies due to the occlusion effect. This is a problem, e.g., for many musicians and especially wind instrument players, since this low-frequency amplification greatly affects the sound of their own instruments. This makes it difficult for the musicians to play while using hearing protectors, and therefore many musicians choose not to use hearing protectors at all. In this paper, we propose electronic hearing protectors that mitigate the problems associated with musicians' hearing protection through several different approaches: reduction of the occlusion effect, adjustable attenuation with natural timbre, and monitoring of the musician's own instrument. We present the design of prototype electronic hearing protectors and the evaluation of these by professional musicians, where they were shown to alleviate the problems associated with conventional hearing protectors.
Keywords
earplugs, hearing protection, musician, occlusion effect
Paper topics
Analysis, and modification of sound, Music performance, synthesis
Easychair keyphrases
ear canal [33], hearing protector [33], occlusion effect [28], hearing protection [18], occlusion reduction [16], bone conducted sound [15], occlusion reduction circuit [15], low frequency [14], electronic hearing protection solution [12], electronic hearing protector [12], instrument microphone [10], air conducted sound [9], conducted sound [8], electronic hearing [8], hearing aid [7], instrument microphone signal [7], natural timbre [7], adjustable attenuation [6], ear canal simulator [6], feedback loop [6], hearing protection solution [6], magnitude response [6], musician instrument [5], sound pressure [5], dashed red line [4], high pass filter [4], low frequency boost [4], musician hearing protection [4], problem used hearing protector [4], solid blue line [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401949
Zenodo URL: https://zenodo.org/record/1401949
2017.16
Environment-Mediated Coupling of Autonomous Sound-Generating Systems in Live Performance: An Overview of the Machine Milieu Project
Sanfilippo, Dario Reid School of Music, The University of Edinburgh; Edinburgh, United Kingdom
Di Scipio, Agostino Conservatorio Statale di Musica "Alfredo Casella" di L'Aquila; L'Aquila, Italy
Abstract
Today, a large variety of technical configurations are used in live performance contexts. In most of them, computers and other devices act usually as powerful yet subordinated agencies, typically piloted by performers: with few notable exceptions, large-scale gestures and structural developments are left either to the performer’s actions or to well-planned automations and/or composing algorithms. At the same time, the performance environment is either ignored or ‘tuned out’, ideally kept neutral with regard to the actual sound events and the overall performance process. This paper describes a different approach. The authors investigate the complex dynamics arising in live performance when multiple autonomous sound systems are coupled through the acoustic environment. In order to allow for more autonomous and adaptive -- or better: ecosystemic -- behaviour on the part of the machines, the authors suggest that the notion of interaction should be replaced with that of a permanent and continuing structural coupling between machine(s), performer(s) and environment(s). More particularly, the paper deals with a specific configuration of two (or more) separate computer-based audio systems co-evolving in their autonomic processes based on permanent mutual exchanges through and with the local environment, i.e.: in the medium of sound only. An attempt is made at defining a self-regulating, situated, and hybrid dynamical system having its own agency and manifesting its potential behaviour in the performance process. Human agents (performers) can eventually intrude and explore affordances and constraints specific to the performance ecosystem, possibly biasing or altering its emergent behaviours. In so doing, what human agents actually achieve is to specify their role and function in the context of a larger, distributed kind of agency created by the whole set of highly interdependent components active in sound. That may suggest new solutions in the area of improvised or structured performance and in the sound arts in general.
Keywords
autonomous sound generating systems, complexity, distributed agency, environmental agency, feedback systems, live electronics performance, structural coupling
Paper topics
accompaniment, Analysis, and improvisation, and modification of sound, Automatic composition, Computer-based music analysis, Interactive performance systems and new interfaces, Music information retrieval, Music performance analysis and rendering, synthesis
Easychair keyphrases
control signal [10], machine milieu project [9], performance ecosystem [9], live performance [7], signal processing [7], feedback delay network [6], human agent [6], complex system [5], audio signal processing [4], audio system [4], autonomous sound generating system [4], control signal processing [4], dynamical behaviour [4], dynamical system [4], electroacoustic music study network [4], live electronic [4], machine milieu [4], performer action [4], real time [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401871
Zenodo URL: https://zenodo.org/record/1401871
2017.17
Evaluation of an Acoustic Interface for Tremor Analysis
Weger, Marian University of Music and Performing Arts (KUG); Graz, Austria
Pirrò, David University of Music and Performing Arts (KUG); Graz, Austria
Höldrich, Robert University of Music and Performing Arts (KUG); Graz, Austria
Abstract
We present the evaluation of a sonification approach for the acoustic analysis of tremor diseases. The previously developed interactive tool offers two methods for sonification of measured 3-axes acceleration data of patients' hands. Both sonifications involve a bank of oscillators whose amplitudes and frequencies are controlled by either frequency analysis similar to a vocoder or Empirical Mode Decomposition (EMD) analysis. In order to enhance the distinct rhythmic qualities of tremor signals, additional amplitude modulation based on measures of instantaneous energy is applied. The sonifications were evaluated in two experiments based on pre-recorded data of patients suffering from different tremor diseases. In Experiment 1, we tested the ability to identify a patient's disease by using the interactive sonification tool. In Experiment 2, we examined the perceptual difference between acoustic representations of different tremor diseases. Results indicate that both sonifications provide relevant information on tremor data and may complement already available diagnostic tools.
Keywords
diagnosis, emd, empirical mode decomposition, evaluation, sonification, tremor
Paper topics
Sonification
Easychair keyphrases
test participant [28], tremor type [20], ess psy dy [12], vocoder sonification [12], pilot study [11], emd sonification [10], dystonic tremor [9], percent correct response [9], tremor disease [9], interactive sonification [7], interactive sonification interface [7], empirical mode decomposition analysis [6], graphical user interface [6], hilbert huang transform [6], percent correct [6], pre recorded movement data [6], psychogenic tremor [6], reference diagnosis [6], right arm sensor [6], tremor analysis [6], correct diagnosis [5], identification task [5], response time [5], sonification method [5], sonification parameter [5], sound characteristic [5], available diagnostic tool [4], empirical mode decomposition [4], expert listening panel [4], pooled result [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401925
Zenodo URL: https://zenodo.org/record/1401925
2017.18
Evaluation of the Learnability and Playability of Pitch Layouts in New Musical Instruments
Macritchie, Jennifer Western Sydney University; Sydney, Australia
Milne, Andrew Western Sydney University; Sydney, Australia
Abstract
Certain properties of isomorphic layouts are proposed to offer benefits to learning and performances on a new musical instrument. However, there is little empirical investigation of the effects of these properties. This paper details an experiment that examines the effect of pitch adjacency and shear on the performances of simple melodies by 24 musically-trained participants after a short training period. In the adjacent layouts, pitches a major second apart are adjacent. In the unsheared layouts, major seconds are horizontally aligned but the pitch axis is slanted; in the sheared layouts, the pitch axis is vertical but major seconds are slanted. Qualitative user evaluations of each layout are collected post-experiment. Preliminary results are outlined in this paper, focusing on the themes of learnability and playability. Users show strong preferences towards layouts with adjacent major seconds, focusing on the potential for learning new pitch patterns. Users confirm advantages of both unsheared and sheared layouts, one in terms of similarity to traditional instrument settings, and the other to ergonomic benefits. A model of participants' performance accuracy shows that sheared layouts are learned significantly faster. Results from this study will inform new music instrument/interface design in terms of features that increase user accessibility.
Keywords
learning, new musical interfaces, performance, pitch layouts
Paper topics
Interactive performance systems and new interfaces, Music performance
Easychair keyphrases
non adjacent [13], pitch axis [13], isomorphic layout [12], non adjacent layout [12], adjacent layout [10], major second [10], adjacent m2 layout [9], octave axis [8], pitch layout [8], adjacent major second [7], unsheared layout [7], linear mixed effect model [6], pitch pattern [6], user evaluation [6], correct note [5], musical instrument [5], sheared layout [5], shear perfno [5], correct note score [4], first performance [4], first presented layout [4], known nursery rhyme fr [4], motor skill [4], negative statement [4], non adjacent m2 layout [4], octave axis pitch axis [4], participant selecting layout [4], positive impact [4], positive statement [4], training paradigm [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401989
Zenodo URL: https://zenodo.org/record/1401989
2017.19
Experimental assessment of descriptive statistics and adaptive methodologies for threshold establishment in onset selection functions
Valero-Mas, Jose J. Universidad de Alicante; Alicante, Spain
Iñesta, José Manuel Universidad de Alicante; Alicante, Spain
Abstract
Onset detection methods generally work on a two-stage basis: a first step which processes an audio stream and computes a time series depicting the estimated onset positions as local maxima in the function; and a second one which evaluates this time series to select some of the local maxima as onsets, typically with the use of peak picking and thresholding methodologies. Nevertheless, while the former stage has received considerable attention from the community, the second one typically ends up being one of a reduced catalogue of procedures. In this work we focus on this second stage and explore previously unconsidered methods based on descriptive statistics to obtain the threshold function. More precisely, we consider the use of the percentile descriptor as a design parameter and compare it to classic strategies, as for instance the median value. Additionally, a thorough comparison of methodologies considering the temporal evolution of the time series (adaptive techniques) against the use of static threshold values (non-adaptive) is carried out. The results obtained report several interesting conclusions, being the most remarkable two the fact that the percentile descriptor can be considered a competitive possible alternative for this task and that adaptive approaches do not always imply an improvement over static methodologies.
Keywords
Descriptive statistics, Music information retrieval, Onset detection, Signal processing
Paper topics
Music information retrieval
Easychair keyphrases
onset detection [23], window size [20], percentile value [14], music information retrieval [11], overall performance [10], sliding window [10], adaptive methodology [9], static threshold value [7], median value [6], odf process [6], signal processing [6], time series [6], odf method [5], osf method [5], adaptive threshold [4], best figure [4], digital audio effect [4], friedman test [4], local maxima [4], onset selection function [4], percentile parameter [4], static methodology [4], th international society [4], threshold value [4], wilcoxon rank sum [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401899
Zenodo URL: https://zenodo.org/record/1401899
2017.20
Explorations with Digital Control of MIDI-enabled Pipe Organs
Wang, Johnty McGill University; Montreal, Canada
Pritchard, Bob The University of British Columbia (UBC); Vancouver, Canada
Nixon, Bryn Ryerson United Church; Hamilton, Canada
Wanderley, Marcelo M. McGill University; Montreal, Canada
Abstract
This paper describes the use of a MIDI-enabled pipe organ console at Ryerson United Church and various explorations performed in expanding the music service as well as possibilities for exploration in alternative control of the instrument via various gestural interfaces. The latter provides new possibilities for expression and extended performance practice including dance. Future work on both the artistic use of the system as well as technical development of the interfacing system is then proposed.
Keywords
mapping, new interfaces, pipe organ
Paper topics
accompaniment, and improvisation, Automatic composition, Interactive performance systems and new interfaces, Music performance, Sound installation
Easychair keyphrases
ryerson united church [11], midi enabled pipe organ [10], pipe organ [7], enabled pipe organ console [6], alternative control [5], kinect controlled pipe organ [4], live performance [4], music service [4], open sound control [4], organ console [4], solid state organ system [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401983
Zenodo URL: https://zenodo.org/record/1401983
2017.21
EXPLORING MELODY AND MOTION FEATURES IN "SOUND-TRACINGS"
Kelkar, Tejaswinee University of Oslo; Oslo, Norway
Jensenius, Alexander Refsum University of Oslo; Oslo, Norway
Abstract
Pitch and spatial height are often associated when describing music. In this paper we present results from a sound-tracing study in which we investigate such sound-motion relationships. The subjects were asked to move as if they were creating the melodies they heard, and their motion was captured with an infrared, marker-based camera system. The analysis is focused on calculating feature vectors typically used for melodic analysis, and investigating the relationships of melodic contour typologies with motion contour typologies. This is based on using proposed feature sets for melodic contour similarity measurement. We test these features by applying them to both the melodies and the motion contours to establish whether there is a correspondence between the two, and find the features that match the most. We find there to be a relationship between vertical motion and pitch contour when evaluated through features rather than simply comparing contours.
Keywords
melodic contour, motion capture, music and motion
Paper topics
Computational musicology and mathematical music theory, Computer-based music analysis, Music performance analysis and rendering
Easychair keyphrases
melodic contour [32], feature vector [12], vertical motion [11], pitch contour [10], melodic contour typology [7], melodic similarity [7], sound tracing [7], mean segmentation bin [6], melodic contour similarity [6], signed relative distance [6], motion capture [5], motion contour [5], melodic feature [4], melodic fragment [4], motion capture recording [4], note mean motion [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401893
Zenodo URL: https://zenodo.org/record/1401893
2017.22
Exploring Social Mobile Music with Tiny Touch-Screen Performances
Martin, Charles Department of Informatics, University of Oslo; Oslo, Norway
Tørresen, Jim Department of Informatics, University of Oslo; Oslo, Norway
Abstract
Touch-screen musical performance has become commonplace since the widespread adoption of mobile devices such as smartphones and tablets. However, mobile digital musical instruments are rarely designed to emphasise collaborative musical creation, particularly when it occurs between performers who are separated in space and time. In this article, we introduce an app that enables users to perform together asynchronously. The app takes inspiration from popular social media applications, such as a timeline of contributions from other users, deliberately constrained creative contributions, and the concept of a reply, to emphasise frequent and casual musical performance. Users' touch-screen performances are automatically uploaded for others to play back and add reply performances which are layered as musical parts. We describe the motivations, design, and early experiences with this app and discuss how musical performance and collaboration could form a part of social media interactions.
Keywords
asynchronous collaboration, distributed collaboration, group creativity, performance, smartphone, social media, touch-screen
Paper topics
Interactive performance systems and new interfaces, Music performance, Social interaction in sound and music computing, Sonic interaction design
Easychair keyphrases
touch screen [13], social medium [12], musical performance [11], music making [11], mobile device [9], tiny touch screen performance [8], mobile music [7], tiny performance [7], touch interaction [7], musical expression [6], early experience [5], sound scheme [5], mobile digital musical instrument [4], mobile music making [4], mobile phone orchestra [4], music therapy [4], screen musical performance [4], social medium app [4], social mobile music [4], touch area [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401907
Zenodo URL: https://zenodo.org/record/1401907
2017.23
EXPLORING SOUND-MOTION TEXTURES IN DRUM SET PERFORMANCE
Godøy, Rolf Inge University of Oslo; Oslo, Norway
Song, Minho University of Oslo; Oslo, Norway
Dahl, Sofia Aalborg University; Aalborg, Denmark
Abstract
A musical texture, be that of an ensemble or of a solo instrumentalist, may be perceived as combinations of both simultaneous and sequential sound events, however, we believe that also sensations of the corresponding sound-producing events (e.g. hitting, stroking, bowing, blowing) contribute to our perceptions of musical textures. Musical textures could thus be understood as multimodal, with features of both sound and motion, hence the idea here of sound-motion textures in music. The study of such multimodal sound-motion textures will necessitate collecting and analyzing data of both the produced sound and of the sound-producing body motion, thus entailing a number of methodological challenges. In our current work on sound-motion textures in music, we focus on short and idiomatic figures for different instruments (e.g. ornaments on various instruments), and in this paper, we present some ideas, challenges, and findings on typical sound-motion textures in drum set performance. Drum set performance is particularly interesting because the at times complex textures are produced by one single performer, entailing a number of issues of human motion and motor control.
Keywords
constraints, drum set, motion capture, motion hierarchies, sound-motion, textures
Paper topics
Multi-modal perception and emotion, Music performance, Music performance analysis and rendering
Easychair keyphrases
sound motion [33], sound motion texture [33], drum set [17], sound motion object [15], drum set performance [14], sound producing body motion [14], motor control [12], body motion [11], human motor control [7], phase transition [7], drum set sound motion [6], bass drum [5], impact point [5], motion trajectory [5], drum set music [4], high frame rate [4], human body [4], infrared motion capture system [4], motion capture [4], motion event [4], motor control constraint [4], musical experience [4], passive marker [4], set sound motion texture [4], vertical displacement [4], very high frame [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401859
Zenodo URL: https://zenodo.org/record/1401859
2017.24
Extraction, Mapping, and Evaluation of Expressive Acoustic Features for Adaptive Digital Audio Effects
Holfelt, Jonas Aalborg University; Aalborg, Denmark
Csapo, Gergely Aalborg University; Aalborg, Denmark
Andersson, Nikolaj Aalborg University; Aalborg, Denmark
Zabetian, Sohejl Aalborg University; Aalborg, Denmark
Castanieto, Michael Aalborg University; Aalborg, Denmark
Dahl, Sofia Aalborg University; Aalborg, Denmark
Overholt, Daniel Aalborg University; Aalborg, Denmark
Erkut, Cumhur Aalborg University; Aalborg, Denmark
Abstract
This paper describes the design and implementation of a real-time adaptive digital audio effect with an emphasis on using expressive audio features that control effect parameters. Research in A-DAFx is covered along with studies about expressivity and important perceptual sound descriptors for communicating emotions. This project was aiming to exploit sounds as expressive indicators to create novel sound transformations. A test was conducted to see if guitar players could differentiate between an adaptive and non-adaptive version of a digital audio effect. The participants could hear a difference, especially when performing expressively. However, the adaptive effect did not seem to enhance their expressive capabilities, and preference over the two versions varied evenly between participants.
Keywords
adaptive digital audio effects, expressive performance, feature extraction, mapping
Paper topics
Analysis, and modification of sound, Interactive performance systems and new interfaces, Music performance, synthesis
Easychair keyphrases
adaptive digital audio effect [18], adaptive version [16], non adaptive version [12], adaptive effect [11], real time [9], digital audio effect [7], fundamental frequency [7], effect parameter [6], feature extraction [6], musical expression [6], tone rate [6], audio signal [5], expressive intention [5], musical performance [5], non adaptive [5], parameter mapping [5], sound feature [5], acoustic tone parameter [4], adaptive mapping [4], effect change according [4], expressive acoustic feature [4], mapping strategy [4], spectral centroid [4], target group [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401955
Zenodo URL: https://zenodo.org/record/1401955
2017.25
Ferin Martino’s Tour: Lessons from Adapting the Same Algorithmic Art Installation to Different Venues and Platforms
Morris, Jeffrey Texas A&M University; College Station, United States
Abstract
Ferin Martino is a piano-playing software algorithm created by Jeff Morris for art installations. It uses nearby motion observed with a camera to shape, but not dictate, its flow of musical decisions. Aesthetically, the work challenges the notions of the composer and the composition by presenting a software program that composes its own oeuvre in such a way that visitors cannot experience the composition without also influencing it. The installation has taken many forms, at times including multiple cameras and speakers, video display, note input by the visitor, a digital player piano, and an outdoor venue with an original sculpture embedded in nature. This algorithm has also proven useful in live performance and computer-aided composition. Case studies of exhibiting this work illustrate the process of finding the most effective venue for an interactive art installation and the process of tuning interactivity for a given venue.
Keywords
algorithmic composition, installation, intermedia, piano, video
Paper topics
accompaniment, and improvisation, Automatic composition, Interactive performance systems and new interfaces, Music performance, Social interaction in sound and music computing, Sonic interaction design, Sound installation
Easychair keyphrases
ferin martino [12], digital player piano [4], disklavier digital player piano [4], midi reference track [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401891
Zenodo URL: https://zenodo.org/record/1401891
2017.26
FFT-BASED DYNAMIC RANGE COMPRESSION
Mccormack, Leo Aalto University; Espoo, Finland
Välimäki, Vesa Aalto University; Espoo, Finland
Abstract
Many of the dynamic range compressor (DRC) designs that are deployed in the marketplace today are constrained to operate in the time-domain; therefore, they offer only temporally dependent control of the amplitude envelope of a signal. Designs that offer an element of frequency-dependency, are often restricted to perform specific tasks intended by the developer. Therefore, in order to realise a more flexible DRC implementation, this paper proposes a generalised time-frequency domain design that accommodates both temporally-dependent and frequency-dependent dynamic range control; for which an FFT-based implementation is also presented. Examples given in this paper reveal how the design can be tailored to perform a variety of tasks, using simple parameter manipulation; such as frequency-depended ducking for automatic-mixing purposes and high-resolution multi-band compression.
Keywords
dynamic range compression, FFT, spectral processing
Paper topics
Analysis, and modification of sound, synthesis
Easychair keyphrases
dynamic range compression [20], dynamic range [18], audio engineering society convention [16], domain drc design [12], frequency dependent gain factor [12], envelope detector [11], gain factor [11], time frequency domain [11], chain signal [10], frequency dependent [10], gain reduction [9], time domain drc [9], time frequency [9], audio signal [8], audio engineering society [7], dynamic range compressor [7], signal processing [7], time domain [7], frequency domain drc [6], time frequency transform [6], chain compression [5], digital audio [5], frequency range [5], gain computer [5], music production [5], sub band [5], automatic mixing purpose [4], band pass filter [4], calculated gain factor [4], fft based implementation [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401877
Zenodo URL: https://zenodo.org/record/1401877
2017.27
Generating data to train convolutional neural networks for classical music source separation
Miron, Marius Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Janer, Jordi Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Deep learning approaches have become increasingly popular in estimating time-frequency masks for audio source separation. However, training neural networks usually requires a considerable amount of data. Music data is scarce, particularly for the task of classical music source separation, where we need multi-track recordings with isolated instruments. In this work, we depart from the assumption that all the renditions of a piece are based on the same musical score, and we can generate multiple renditions of the score by synthesizing it with different performance properties, e.g. tempo, dynamics, timbre and local timing variations. We then use this data to train a convolutional neural network (CNN) which can separate with low latency all the renditions of a score or a set of scores. The trained model is tested on real life recordings and is able to effectively separate the corresponding sources. This work follows the principle of research reproducibility, providing related data and code, and can be extended to separate other pieces.
Keywords
classical music, data augmentation, deep learning, music source separation, neural networks
Paper topics
Music information retrieval
Easychair keyphrases
source separation [24], neural network [18], circular shifting [11], classical music [10], audio source separation [9], local timing variation [9], convolutional neural network [7], training data [7], classical music source separation [6], deep learning [6], deep neural network [6], generating training data [6], real life [6], score constrained nmf [6], circular shift [5], data augmentation [5], magnitude spectrogram [5], synthetic piece [5], deep convolutional neural network [4], low latency [4], low latency scenario [4], non negative matrix factorization [4], score informed source separation [4], target source [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401923
Zenodo URL: https://zenodo.org/record/1401923
2017.28
Generating Equivalent Chord Progressions to Enrich Guided Improvisation: Application to Rhythm Changes
Déguernel, Ken Institut national de recherche en informatique et en automatique (INRIA); France
Nika, Jérôme Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Vincent, Emmanuel Institut national de recherche en informatique et en automatique (INRIA); France
Assayag, Gérard Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This paper presents a method taking into account the form of a tune upon several levels of organisation to guide music generation processes to match this structure. We first show how a phrase structure grammar can be constructed by hierarchical analysis of chord progressions to create multi-level progressions. We then explain how to exploit this multi-level structure of a tune for music generation and how it enriches the possibilities of guided machine improvisation. We illustrate our method on a prominent jazz chord progression called 'rhythm changes'. After creating a phrase structure grammar for 'rhythm changes' based on a corpus analysed with a professional musician and automatically learning the content of this grammar from this corpus, we generate improvisations guided by multi-level progressions created by the grammar. The results show the potential of our method to ensure the consistency of the improvisation regarding the global form of the tune, and how the knowledge of a corpus of chord progressions sharing the same hierarchical organisation can extend the possibilities of music generation.
Keywords
Computational musicology, Computer music, Formal Language Theory, Machine improvisation, Music generation, Phrase Structure Grammar
Paper topics
accompaniment, and improvisation, Automatic composition
Easychair keyphrases
multi level progression [57], chord progression [44], multi level [35], rhythm change [35], phrase structure grammar [31], equivalent chord progression [12], music generation [11], multi level label [9], hierarchical structure [8], factor oracle [7], generation model [7], generative grammar [7], article n oun [6], computer music [6], memory sharing [6], machine improvisation [5], dominant seventh chord [4], human computer music improvisation [4], international computer [4], jazz chord progression [4], musical sentence [4], music generation model [4], professional jazz musician [4], style modelling [4], traditional bebop style rhythm [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401975
Zenodo URL: https://zenodo.org/record/1401975
2017.29
INTERACTIVE PAINTING SONIFICATION USING A SENSOR-EQUIPPED RUNWAY
Micheloni, Edoardo Università di Padova; Padova, Italy
Mandanici, Marcella Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Abstract
In the present study we will show the realization of a multimedia installation for the interactive sonification of a painting of Hartwig Thaler. The sonification is achieved by means of sound synthesis models, capable of reproducing continuous auditory feedback, eventually generated from the feature analysis of three color layers extracted from the painting (red, blue, yellow). Furthermore, a wooden sensors equipped runway, divided in three sections, each of which represent a different layer, will activate the corresponding soundscape according to the visitor position. This system enables to discover a 2D painting in a new 3D approach, moving along the runway toward the projection of the painting. The paper describes in details the developing of all the elements of the system: starting from the analysis of the image and the algorithm to realize the acoustic elements, than the sensorized runway and finally the testing results.
Keywords
board, installation, interactive, painting, runway, sensors, sonification, space, wooden
Paper topics
Analysis, and modification of sound, Computer music languages and software, Interactive performance systems and new interfaces, Sonification, Sound installation, Soundscapes and environmental arts, synthesis
Easychair keyphrases
wooden runway [9], color matrix [7], ground reaction force [6], localization system [6], sensor equipped runway [6], wooden board [5], audio interface [4], color layer [4], interactive installation [4], lightness value [4], piezoelectric sensor [4], real time [4], second sensor [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401883
Zenodo URL: https://zenodo.org/record/1401883
2017.30
Interactive Soundscapes: Developing a Physical Space Augmented through Dynamic Sound Rendering and Granular Synthesis
Lionello, Matteo Aalborg University; Aalborg, Denmark
Mandanici, Marcella Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Micheloni, Edoardo Università di Padova; Padova, Italy
Abstract
This project presents the development of an interactive environment inspired by soundscape composition, in which a user can explore a sound augmented reality referring to a real soundscape. The user walks on the application’s responsive floor controlling through her/his position the soundscape rendering. In the same time s/he can explore the sound’s structure entering the responsive floor’s central zone, where some granular synthesis processes are activated. One main goal of the project is to sensitize the participants regarding the surrounding sonic environment looking also for pedagogical studies. A first evaluation of an audio excerpt produced by a user’s soundwalk shows that the application can produce good quality and interesting soundscapes which are fully consistent with the real environments from which they were inspired.
Keywords
interactive system, responsive floor, soundscape composition, soundscape design, soundscape interaction
Paper topics
Interactive performance systems and new interfaces, Sonic interaction design, Sound installation, Soundscapes and environmental arts
Easychair keyphrases
computer generated soundscape [11], granular synthesis [11], interactive soundscape [9], audio excerpt [8], audio file [7], audio source [5], deep listening [5], real time [5], soundscape composition [5], sub stream [5], user position [5], audio quality [4], barry truax [4], granular stream [4], granular synthesis process [4], musical instrument [4], real environment [4], real soundscape [4], responsive floor [4], sonic environment [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401885
Zenodo URL: https://zenodo.org/record/1401885
2017.31
Investigating Spatial Music Qualia through Tissue Conduction
Lennox, Peter University of Derby; Derby, United Kingdom
McKenzie, Ian University of Derby; Derby, United Kingdom
Abstract
A spatial array of vibro-mechanical transducers for bone-and-tissue conduction has been used to convey spatial ambisonic soundscape and spatial musical material. One hundred volunteers have undergone a five-minute listening experiences, then have described the experience in their own words, on paper, in an unstructured elicitation exercise. The responses have been aggregated to elicit common emergent descriptive themes, which were then mapped against each other to identify to what extent the experience was valuable, enjoyable and informative, and what qualia were available through this technique. There appear to some substantive differences between this way of experiencing music and spatial sound, and other modes of listening. Notably, the haptic component of the experience appears potentially informative and enjoyable. We conclude that development of similar techniques may have implications for augmented perception, particularly in respect of quality of life (QoL) in cases of conductive hearing loss.
Keywords
Audio spatial qualia, augmented perception, Bone and tissue conduction, Conductive hearing loss, Multi-modal music, Quality of life, Spatial Music
Paper topics
Multi-modal perception and emotion, Music performance analysis and rendering, Sonic interaction design, Soundscapes and environmental arts, Spatial sound, Virtual reality applications and technologies for sound and music
Easychair keyphrases
hearing loss [11], spatial music [9], tissue conduction [9], music listening [7], conductive hearing loss [6], signal set [6], positive comment [5], audio engineering society [4], bone conduction [4], spatial tissue conduction [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401905
Zenodo URL: https://zenodo.org/record/1401905
2017.32
Investigations on stage acoustic preferences of solo trumpet players using virtual acoustics
Amengual Garí, Sebastià Vicenç Detmold University of Music; Detmold, Germany
Kob, Malte Detmold University of Music; Detmold, Germany
Lokki, Tapio Aalto University; Espoo, Finland
Abstract
Acoustical conditions on stage have an influence on the sound and character of a musical performance. Musicians constantly modify their playing to accommodate to the stage acoustics. The study of acoustical preferences of musicians is part of the characterization of this feedback loop, which impacts on the musician comfort as well as on the aural experience of a concert audience. This paper presents an investigation on preferences of solo musicians on stage. By spatial acoustic measurements and real-time auralization, different real rooms are resynthesized in laboratory conditions. Two formal tests are conducted with solo trumpet players: a room preference test and a test investigating the preferred directions of early energy. In the first test, musicians are presented with four different rooms and asked about their preference in five different aspects: practice of instrument technique, practice of concert repertoire, concert performance, ease of performance and sound quality. The second test is related to preference of directions of early stage reflections. The auralized rooms are modified to provide early reflections from different directions (front-back, top-down, sides, no early reflections) and the preference of musicians is investigated. The results show that the judged aspect or musical activity to be performed is a key factor in determining the preference of musicians' stage acoustics preference. Drier rooms are preferred for technique practice while louder rooms help to reduce the fatigue of the players. Bigger rooms with slightly longer reverberation are preferred for concert piece practice and concert performance. The easiness of performance seems to slightly correlate with the preference of concert conditions. Regarding the preference of direction of early reflections, there are no clear differences between the preference of direction, and the results suggest that the level of early energy is more important for the comfort of solo musicians on stage.
Keywords
Auralization, Early reflections, Musicians' stage preferences, Room acoustics, Stage acoustics, Stage acoustics preferences, Trumpet
Paper topics
Analysis, and modification of sound, Music performance, Room acoustics modeling and auralization, synthesis, Virtual reality applications and technologies for sound and music
Easychair keyphrases
early energy [18], early reflection [12], impulse response [12], stage acoustic [10], auralized room [9], directional early energy [9], performance context [9], reverberation time [7], virtual environment [7], general preference [6], late reverberation [6], practice technique [6], real room [6], room acoustic [6], solo musician [6], solo trumpet player [6], stage acoustics preference [6], acoustic condition [5], auralization error [5], concert hall [5], estimated preference [5], laboratory condition [5], reproduction loudspeaker [5], sound quality [5], stage support [5], concert concert easiness [4], concert easiness quality [4], quasi linear relationship [4], room acoustic parameter [4], stage acoustic preference [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401865
Zenodo URL: https://zenodo.org/record/1401865
2017.33
Jazz piano trio synthesizing system based on HMM and DNN
Hori, Takeshi Meiji University; Tokyo, Japan
Nakamura, Kazuyuki Meiji University; Tokyo, Japan
Sagayama, Shigeki Meiji University; Tokyo, Japan
Abstract
In this paper, we discuss a computational model of an automatic jazz session, which is a statistically trainable. Moreover, we describe a jazz piano trio synthesizing system that was developed to validate our model. Most previous mathematical models of jazz session systems require heuristic rules and human labeling of training data to estimate the musical intention of human players in order to generate accompaniment performances. In contrast, our goal is to statistically learn the relationship between a piano, a bass, and a drum player from performance MIDI data as well as information contained in lead sheets, for instance tonic key and chord progression. Our system can generate the performance data of bass and drums from only piano MIDI input, by learning the interrelationship of their performances and time series characteristics of the three involved instruments. The experimental results show that the proposed system can learn the relationship between the instruments and generate jazz piano trio MIDI output from only piano input.
Keywords
DNN, HMM, Jazz
Paper topics
accompaniment, Analysis, and improvisation, and modification of sound, Automatic composition, Music performance analysis and rendering, synthesis
Easychair keyphrases
jazz piano trio [22], jazz session system [17], piano performance [16], feature space [13], performance trajectory [12], performance feature space [11], piano performance feature [9], piano trio synthesizing [9], trio synthesizing system [9], accompaniment performance [8], performance feature [8], deviation vector [7], performance midi data [7], piano trio [7], training data [7], accompaniment instrument [6], jazz piano [6], performance state [6], stochastic state transition model [6], ipsj sig [5], neural network [5], sig technical [5], synthesizing phase [5], auxiliary function method [4], centroid deviation vector [4], hmm state centroid [4], machine learning method [4], recurrent neural network [4], short term memory [4], style feature vector [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401861
Zenodo URL: https://zenodo.org/record/1401861
2017.34
Key Inference from Irish Traditional Music Scores and Recordings
Beauguitte, Pierre Dublin Institute of Technology; Dublin, Ireland
Duggan, Bryan Dublin Institute of Technology; Dublin, Ireland
Kelleher, John D. Dublin Institute of Technology; Dublin, Ireland
Abstract
The aim of this paper is to present techniques and results for identifying the key of Irish traditional music melodies, or tunes. Several corpora are used, consisting of both symbolic and audio representations. Monophonic and heterophonic recordings are present in the audio datasets. Some particularities of Irish traditional music are discussed, no tably its modal nature. New key-profiles are defined, that are better suited to Irish music.
Keywords
Audio key detection, Irish traditional music, Modal music, Symbolic key detection
Paper topics
Computational musicology and mathematical music theory, Computer-based music analysis, Music information retrieval
Easychair keyphrases
key profile [36], irish traditional music [11], weighted cadence key profile [10], irish music [9], pitch class [9], fifth relative parallel neighbour [8], cross validation [7], pitch class histogram [7], unseen data [7], audio recording [6], confusion matrix [6], grid search process [6], music information retrieval [6], tone center image [6], accuracy score [5], best model [5], key detection [5], mirex score [5], audio dataset [4], best weight method [4], cross validation methodology [4], dublin institute [4], foinn seisi un [4], hyper parameter [4], irish traditional music tune [4], machine learning [4], mirex evaluation metric [4], neighbour key [4], test set [4], weight tuning [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401889
Zenodo URL: https://zenodo.org/record/1401889
2017.35
Learning to play the guitar at the age of interactive and collaborative Web technologies
Burns, Anne-Marie Faculté de musique, Université de Montréal; Montreal, Canada
Bel, Sébastien Faculté de musique, Université de Montréal; Montreal, Canada
Traube, Caroline Faculté de musique, Université de Montréal; Montreal, Canada
Abstract
Recent advances in online technologies are changing the way we approach musical instruments teaching. The diversity of online music resources has increased through the availability of digital scores, video tutorials and music applications, creating the need for a cohesive, integrated learning experience. This article will explore how different technological innovations have shaped music education and how their actual transposition in the digital world is creating new learning paradigms. This will be done by presenting an experimental online learning environment for the guitar that allows master-apprentice or self-taught learning, using interactive and collaborative tools.
Keywords
augmented score, instrumental gestures, musical notation, music education and pedagogy, online learning environment, serious game
Paper topics
Music games and educational tools, Music information retrieval, Music performance
Easychair keyphrases
augmented score [10], musical excerpt [10], music education [9], social network [9], informal music learning [6], serious game [6], sharing platform [6], audio analysis automatic multimodal analysis [4], group lesson [4], integrated learning experience [4], learner motivation [4], learning and teaching [4], learning environment [4], motion capture [4], online music resource [4], real time [4], score editor [4], self taught learner [4], ultimate guitar [4], video sharing platform [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401887
Zenodo URL: https://zenodo.org/record/1401887
2017.36
Live Orchestral Piano, a system for real-time orchestral music generation
Crestel, Léopold Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Esling, Philippe Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This paper introduces the first system for performing automatic orchestration based on a real-time piano input. We believe that it is possible to learn the underlying regularities existing between piano scores and their orchestrations by notorious composers, in order to automatically perform this task on novel piano inputs. To that end, we investigate a class of statistical inference models based on the Restricted Boltzmann Machine (RBM). We introduce a specific evaluation framework for orchestral generation based on a prediction task in order to assess the quality of different models. To gain a better understanding of these quantitative results, we provide a qualitative analysis of the performances of the models, from which we try to extract the most crucial features of amongst the different architectures. As prediction and creation are two widely different endeavours, we discuss the potential biases in evaluating temporal generative models through prediction tasks and their impact on a creative system. Finally, we introduce an implementation of the proposed models called Live Orchestral Piano (LOP), which allows to perform real-time projective orchestration of a MIDI keyboard input.
Keywords
Automatic orchestration, Machine learning, Neural networks
Paper topics
accompaniment, and improvisation, Automatic composition
Easychair keyphrases
piano score [20], projective orchestration [16], projective orchestration task [14], visible unit [13], event level [12], frame level accuracy [12], frame level [11], real time [10], live orchestral piano [9], orchestral score [8], context unit [7], evaluation framework [7], event level accuracy [7], hidden unit [7], level accuracy [7], restricted boltzmann machine [7], conditional model [6], piano roll [6], piano roll representation [6], accuracy measure [5], automatic orchestration [5], companion website [5], gibbs sampling [5], neural network [5], probabilistic model [5], event level granularity [4], factored gated crbm [4], level accuracy measure [4], music generation field [4], statistical inference model [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401985
Zenodo URL: https://zenodo.org/record/1401985
2017.37
Lp-Viterbi Algorithm for Automatic Fingering Decision
Hori, Gen Asia University; Tokyo, Japan
Sagayama, Shigeki Meiji University; Tokyo, Japan
Abstract
Theoretical basis of existing attempts to automatic fingering decision is mainly path optimization that minimizes the difficulty of whole phrase that is typically defined as the sum of the difficulties of each moves required for playing the phrase. However, from a practical viewpoint of beginner players, it is more important to minimize the maximum difficulty of the move required for playing the phrase, that is, to make the most difficult move easiest. To this end, we introduce a variant of the Viterbi algorithm termed “minimax Viterbi algorithm” that finds the path of the hidden states that maximizes the minimum transition probability along the path (not the product of the transition probabilities). Furthermore, we introduce a family of Viterbi algorithm termed “Lp-Viterbi algorithm” that continuously interpolates the conventional Viterbi algorithm and the minimax Viterbi algorithm. We apply those variants of the Viterbi algorithm to HMM-based guitar fingering decision and compare the resulting fingerings.
Keywords
Automatic Fingering Decision, Hidden Markov Model, Viterbi Algorithm
Paper topics
Computer-based music analysis
Easychair keyphrases
viterbi algorithm [54], minimax viterbi algorithm [36], lp viterbi algorithm [34], conventional viterbi algorithm [33], fingering decision [25], hidden state [20], transition probability [11], decoding problem [10], output symbol [10], generalized decoding problem [9], arg max [7], automatic fingering decision [7], difficult move [7], guitar fingering decision [7], difficulty level [6], hidden markov model [6], hmm based guitar fingering [6], maximum minimum transition probability [6], output probability [6], very small value [6], path optimization [5], pinky finger [5], blue line [4], fret number [4], maximum difficulty [4], maximum likelihood sequence [4], minimum transition probability [4], monophonic guitar phrase [4], red line [4], string instrument [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401971
Zenodo URL: https://zenodo.org/record/1401971
2017.38
Meter Detection in Symbolic Music Using a Lexicalized PCFG
Mcleod, Andrew The University of Edinburgh; Edinburgh, United Kingdom
Steedman, Mark The University of Edinburgh; Edinburgh, United Kingdom
Abstract
This work proposes a lexicalized probabilistic context free grammar designed for meter detection, an integral component of automatic music transcription. The grammar uses rhythmic cues to align a given musical piece with learned metrical stress patterns. Lexicalization breaks the standard PCFG assumption of independence of production, and thus, our grammar can model the more complex rhythmic dependencies which are present in musical compositions. Using a metric we propose for the task, we show that our grammar outperforms baseline methods when run on symbolic music input which has been hand-aligned to a tatum. We also show that the grammar outperforms an existing method when run with automatically-aligned symbolic music data as input. The code for the grammar described here is available at https://github.com/author1/met-detection.
Keywords
Lexicalization, Meter, Metrical Structure, PCFG, Symbolic Music Analysis, Time Signature
Paper topics
Computer-based music analysis, Music information retrieval
Easychair keyphrases
sub beat [30], meter type [24], metrical structure [23], meter detection [15], full metrical structure detection [12], sub beat length [12], training data [11], true positive [9], beat tracking [8], rhythmic tree [7], symbolic music data [7], time signature [7], good turing smoothing [6], metrical tree [6], sub beat level [6], temperley model [6], beat level [5], longuet higgin [5], rhythmic stress [5], symbolic music [5], automatic music transcription [4], beat level transition [4], correct time signature [4], enough training data [4], first full bar [4], hand aligned tatum [4], hypothesis state [4], inner metric analysis [4], metrical stress pattern [4], non terminal [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401967
Zenodo URL: https://zenodo.org/record/1401967
2017.39
Monitoring and Supporting Engagement in Skilled Tasks: From Creative Musical Activity to Psychological Wellbeing
Vasquez, Juan Carlos Aalto University; Espoo, Finland
Tahiroğlu, Koray Aalto University; Espoo, Finland
Pöllönen, Niklas Aalto University; Espoo, Finland
Kildal, Johan IK4-TEKNIKER; Eibar, Spain
Ahmaniemi, Teemu Nokia Research Center (NRC); Helsinki, Finland
Abstract
While good physical health receives more attention, psychological wellbeing is an essential component of a happy existence. An everyday source of psychological wellbeing is the voluntary practise of skilled activities one is good at. Taking musical creation as one such skilled activity, in this work we employ an interaction method to monitor varying levels of engagement of musicians improvising on a desktop robotic musical interface (a network of intelligent sonic agents). The system observes the performer and estimates her changing level of engagement during the performance, while learning the musical discourse. When engagement levels drop, the musical instrument makes subtle interventions, coherent with the compositional process, until the performer's engagement levels recover. In a user study, we observed and measured the behaviour of our system as it deals with losses of performer focus provoked by the controlled introduction of external distractors. We also observed that being engaged in our musical creative activity contributed positively to participants' psychological wellbeing. This approach can be extended to other human activities.
Keywords
Engaging interaction, interactive system, musical interaction, NOISA, semi-autonomous system, wellbeing promotion
Paper topics
accompaniment, and improvisation, Automatic composition, Interactive performance systems and new interfaces, Multi-modal perception and emotion, Music performance, Social interaction in sound and music computing, Sonic interaction design
Easychair keyphrases
psychological wellbeing [16], response module [11], musical activity [9], negative affect [9], creative activity [6], skilled activity [6], engagement level [5], noisa instrument [5], positive affect [5], user study [5], creative musical [4], intelligent sonic agent [4], music therapy [4], noisa system [4], overall improvement [4], participant psychological wellbeing [4], schooling issue digest [4], system usability scale [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401911
Zenodo URL: https://zenodo.org/record/1401911
2017.40
Musical Approaches for Working with Time-Delayed Feedback Networks
Bisig, Daniel Zurich University of the Arts (ZHdK); Zurich, Switzerland
Kocher, Philippe Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
Highly recurrent networks that exhibit feedback and delay mechanisms, offer promising applications for music com- position, performance and sound installation design. This paper provides an overview and a comparison of several pieces that have been realised by various musicians in the context of a practice-led research project.
Keywords
Composition, Generative Art, Music Performance, Sound Installation, Sound Synthesis, Time-Delayed Feedback Networks
Paper topics
accompaniment, and improvisation, Automatic composition, Music performance, Sonification, Sound installation
Easychair keyphrases
network topology [22], network node [16], connection characteristic [12], computer music [11], delay time [11], sound synthesis [11], time delayed feedback network [8], acoustic output [7], audio routing [7], generative art [7], network connection [7], sheet music [7], delay network [6], digital signal processing [6], generative system [6], installation sheet music [6], izhikevich model neuron [6], piece roj [6], piece twin prime [6], recurrent connection [6], signal amplitude [6], sonic material [6], time delay [6], audio signal [5], feedback network [5], network algorithm [5], neural network [5], sound installation [5], twin prime [5], wave shaping function [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401959
Zenodo URL: https://zenodo.org/record/1401959
2017.41
Musical feature and novelty curve characterizations as predictors of segmentation accuracy
Hartmann, Martin University of Jyväskylä; Jyväskylä, Finland
Lartillot, Olivier Independent; France
Toiviainen, Petri University of Jyväskylä; Jyväskylä, Finland
Abstract
Novelty detection is a well-established method for analyzing the structure of music based on acoustic descriptors. Work on novelty-based segmentation prediction has mainly concentrated on enhancement of features and similarity matrices, novelty kernel computation and peak detection. Less attention, however, has been paid to characteristics of musical features and novelty curves, and their contribution to segmentation accuracy. This is particularly important as it can help unearth acoustic cues prompting perceptual segmentation and find new determinants of segmentation model performance. This study focused on spectral, rhythmic and harmonic prediction of perceptual segmentation density, which was obtained for six musical examples from 18 musician listeners via an annotation task. The proposed approach involved comparisons between perceptual segment density and novelty curves; in particular, we investigated possible predictors of segmentation accuracy based on musical features and novelty curves. For pitch and rhythm, we found positive correlates between segmentation accuracy and both local variability of musical features and mean distance between subsequent local maxima of novelty curves. According to the results, segmentation accuracy increases for stimuli with milder local changes and fewer novelty peaks. Implications regarding prediction of listeners’ segmentation are discussed in the light of theoretical postulates of perceptual organization.
Keywords
kernel density estimation, musical features, musical structure, music segmentation, novelty detection
Paper topics
Computer-based music analysis, Music information retrieval
Easychair keyphrases
novelty curve [47], musical feature [34], perceptual segmentation density [22], segmentation accuracy [22], novelty detection [17], perceptual boundary density [14], musical piece [13], feature flux [12], novelty peak [10], musical stimulus [9], segment boundary [9], tonal centroid [9], musical change [8], segmentation task [8], boundary density [6], higher accuracy [6], local change [6], perceptual segment boundary density [6], boundary data [5], mean distance [5], perceptual segmentation [5], segmentation prediction [5], time point [5], time series [5], tonal feature [5], interdisciplinary music research university [4], music information retrieval [4], perceptual organization [4], perceptual segment boundary [4], tonal centroid time series [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401965
Zenodo URL: https://zenodo.org/record/1401965
2017.42
pch2csd: an Application for Converting Nord Modular G2 Patches into Csound Code
Rogozinsky, Gleb The Bonch-Bruevich Saint-Petersburg State University of Telecommunications; Saint Petersburg, Russia
Cherny, Eugene ITMO University; St. Petersburg, Russia
Abstract
The paper presents the pch2csd project, focused on converting patches of popular Clavia Nord Modular G2 synthesizer into code of Csound language. Now discontinued, Nord Modular G2 left a lot of interesting patches for sound synthesis and algorithmic composition. To give this heritage a new life, we created our project with the hope for being able to simulate the original sound and behavior of Nord Modular.
Keywords
Csound, format conversion, Nord Modular G2
Paper topics
Analysis, and modification of sound, Computer music languages and software, synthesis
Easychair keyphrases
nord modular [21], nord modular g2 [15], cable visibility [7], mapping table [7], third international csound [7], bonch bruevich st [6], patch format [6], clavia nord [5], petersburg state [5], binary encoding field name [4], bit midi value [4], csound code [4], field name header [4], list binary encoding field [4], modular g2 patch [4], name header byte [4], patch file [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401979
Zenodo URL: https://zenodo.org/record/1401979
2017.43
QUALIA: A Software for Guided Meta-Improvisation Performance
Brásio, Manuel Faculdade de Engenharia da Universidade do Porto (FEUP), Universidade do Porto; Porto, Portugal
Lopes, Filipe Cunha Monteiro University of Aveiro; Aveiro, Portugal
Bernardes, Gilberto INESC TEC; Porto, Portugal
Penha, Rui Faculdade de Engenharia da Universidade do Porto (FEUP), Universidade do Porto; Porto, Portugal
Abstract
In this paper we present Qualia, a software for real-time generation of graphical scores driven by the audio analysis of the performance of a group of musicians. With Qualia, the composer analyses and maps the flux of data to specific score instructions, thus, becoming part of the performance itself. Qualia is intended for collaborative performances. In this context, the creative process to compose music not only challenges musicians to improvise collaboratively through active listening, as typical, but also requires them to interpret graphical instructions provided by Qualia. The performance is then an interactive process based on “feedback” between the sound produced by the musicians, the flow of data managed by the composer and the corresponding graphical output interpreted by each musician. Qualia supports the exploration of relationships between composition and performance, promoting engagement strategies in which each musician participates actively using their instrument.
Keywords
Composer-Pilot, Composition, gestural feedback, graphical scores, Improvisation, Meta-improvisation, Qualia, Real-time Score Generation
Paper topics
accompaniment, and improvisation, Automatic composition, Music performance, Music performance analysis and rendering
Easychair keyphrases
real time [13], graphical score [7], animated notation [4], music notation [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401881
Zenodo URL: https://zenodo.org/record/1401881
2017.44
REAL-TIME PHYSICAL MODEL FOR SYNTHESIS OF SWORD SWING SOUNDS
Selfridge, Rod Queen Mary University of London; London, United Kingdom
Moffat, David Queen Mary University of London; London, United Kingdom
Reiss, Joshua Daniel Queen Mary University of London; London, United Kingdom
Abstract
Sword sounds are synthesised by physical models in real-time. A number of compact sound sources are used along the length of the sword which replicate the swoosh sound when swung through the air. Listening tests are carried out which reveal a model with reduced physics is perceived as more authentic. The model is further developed to be controlled by a Wii Controller and successfully extended to include sounds of a baseball bat and golf club.
Keywords
Aeroacoustics, Physical Models, Real-Time, Sound Synthesis
Paper topics
Analysis, and modification of sound, synthesis, Virtual reality applications and technologies for sound and music
Easychair keyphrases
wii controller [11], aeolian tone [10], physical model [10], listening test [8], reynold number [8], synthesis method [8], compact source [7], sound effect [7], fundamental frequency [6], lift dipole [6], physically inspired model [6], physical model physical model [6], real time physical model [6], sword model [6], sword sound [6], top speed [6], circular cylinder [5], golf club [5], sound texture [5], strouhal number [5], audio engineering society convention [4], baseball bat [4], compact source model [4], low quality [4], synthesis model [4], time averaged acoustic intensity [4], tukey post hoc test [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401947
Zenodo URL: https://zenodo.org/record/1401947
2017.45
Renotation of Optical Music Recognition Data
Chen, Liang Indiana University Bloomington; Bloomington, United States
Raphael, Christopher Indiana University Bloomington; Bloomington, United States
Abstract
We present the problem of music renotation, in which the results of optical music recognition are rendered in image format, while changing various parameters of the notation, such as the size of the display rectangle or transposition. We cast the problem as one of quadratic programming. We construct parameterizations of each composite symbol expressing the degrees of freedom in its rendering, and relate all the symbols through a connected graph. Some of the edges in this graph become terms in the quadratic cost function expressing a desire for spacing similar to that in the original document. Some of the edges express hard linear constraints between symbols expressing relations, such as alignments, that must be preserved in the renotated version. The remaining edges represent linear inequality constraints, used to resolve overlapping symbols. The optimization is solved through generic techniques. We demonstrate renotation on several examples of piano music.
Keywords
Graph-based Optimization, Music Notation, Optical Music Recognition
Paper topics
Computer music languages and software, Music information retrieval
Easychair keyphrases
beamed group [12], optical music recognition [12], note head [11], inequality constraint [10], music notation [10], augmentation dot [8], horizontal position [8], equality constraint [7], quadratic term [7], basic symbol [6], linear inequality constraint [6], hard edge [5], isolated symbol [5], music renotation [5], objective function [5], composite symbol [4], musical symbol [4], optimization problem [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401943
Zenodo URL: https://zenodo.org/record/1401943
2017.46
Robinflock: a polyphonic algorithmic composer for interactive scenarios with children
Masu, Raul Università di Trento; Trento, Italy
Conci, Andrea Università di Trento; Trento, Italy
Core, Cristina Università di Trento; Trento, Italy
De Angeli, Antonella Università di Trento; Trento, Italy
Morreale, Fabio Queen Mary University of London; London, United Kingdom
Abstract
The purpose of this paper is to present Robinflock, an algorithmic system for automatic polyphonic music generation to be applied to interactive systems target-ed at children. The system allows real time interaction with the generated music, in particular a number of parameters of each line can be independently manipu-lated. In the context of interactivity, we highlight im-portance of identifying specific needs of the targeted scenario. We discuss how the specific needs of the po-lyphony with children influenced the developing choices. The algorithm has been practically adopted in a field study in a local kindergarten involving 27 chil-dren over a period of seven months.
Keywords
Algorithmic composition, automatic composition, computer music systems for children, music and hci, music interaction design
Paper topics
accompaniment, and improvisation, Automatic composition, Music games and educational tools, Sonic interaction design
Easychair keyphrases
polyphonic music [26], real time [21], algorithmic composition [10], algorithmic composition system [9], algorithmic system [7], quarter note [7], field study [6], fifth species counterpoint [6], interactive system [6], rhythm array [6], algorithmic composer [5], generation module [5], genetic algorithm [5], interactive scenario [5], musical parameter [5], music teacher [5], body movement [4], children attention [4], design phase [4], first order markov chain [4], help child [4], interaction lab [4], melody generation module [4], music education [4], music theory [4], real time algorithmic system [4], rhythm generation module [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401901
Zenodo URL: https://zenodo.org/record/1401901
2017.47
Sample-level Deep Convolutional Neural Networks for Music auto-tagging Using Raw Waveforms
Lee, Jongpil Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Park, Jiyoung Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Kim, Keunhyoung Luke Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Nam, Juhan Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Abstract
Recently, the end-to-end approach that learns hierarchical representations from raw data using deep convolutional neural networks has been successfully explored in the image, text and speech domains. This approach was applied to musical signals as well but has been not fully explored yet. To this end, we propose sample-level deep convolutional neural networks which learn representations from very small grains of waveforms (e.g. 2 or 3 samples) beyond typical frame-level input representations. Our experiments show how deep architectures with sample-level filters improve the accuracy in music auto-tagging and they provide results comparable to previous state-of-the-art performances for the Magnatagatune dataset and Million Song Dataset. In addition, we visualize filters learned in a sample- level DCNN in each layer to identify hierarchically learned features and show that they are sensitive to log-scaled frequency along layer, such as mel-frequency spectrogram that is widely used in music classification systems.
Keywords
Convolutional Neural Networks, music auto-tagging, Raw waveforms, Sample-level Deep Networks
Paper topics
Music information retrieval
Easychair keyphrases
convolution layer [31], filter length [26], first convolution layer [23], sample level [23], raw waveform [22], frame level [17], level raw waveform model [14], music auto tagging [14], deep convolutional neural network [12], layer filter length [12], model n layer [12], n layer filter [12], mel spectrogram model [11], strided convolution layer [11], mel spectrogram [10], sub sampling [8], arxiv preprint [7], convolutional neural network [7], pooling length [7], preprint arxiv [7], strided convolution [7], auto tagging task [6], frame level mel [6], last sub sampling layer [6], level mel spectrogram [6], music information retrieval [6], n model model [6], sample level architecture [6], stride auc model [6], time frequency representation [6]
Paper type
unknown
DOI: 10.5281/zenodo.1401921
Zenodo URL: https://zenodo.org/record/1401921
2017.48
SECCIMA: Singing and Ear Training for Children with Cochlear Implants via a Mobile Application
Duan, Zhiyan National University of Singapore; Singapore, Singapore
Gupta, Chitralekha National University of Singapore; Singapore, Singapore
Percival, Graham National University of Singapore; Singapore, Singapore
Grunberg, David National University of Singapore; Singapore, Singapore
Wang, Ye National University of Singapore; Singapore, Singapore
Abstract
Cochlear implants (CI) can restore some amount of hearing to people with severe hearing loss, but these devices are far from perfect. Although this technology allows many users to perceive speech in a quiet room, it is not so successful for music perception. Many public spaces (e.g., stores, elevators) are awash with background music, but many CI users report that they do not find music enjoyable or reassuring. Research shows that music training can improve music perception and appreciation for CI users. However, compared to the multiple computer-assisted solutions for language training, there are few systems that exploit the benefits of computer technologies to facilitate music training of children with cochlear implants. The few existing systems are either targeting a different audience or have complex interfaces that are not friendly to children. In this study, we examined the design limitations of a prior application (MOGAT) in this field and developed a new system with more friendly interfaces for music training of children with CI. The new system, SECCIMA, was crafted through an iterative design process that involved 16 participants. After the design phase was completed, the final game was evaluated and compared against the previous game with 12 new participants. Our results show that the newly designed interface is more intuitive and user-friendly than to the previous one. To assist future work, we discuss some guidelines for designing user interfaces for this audience.
Keywords
assistive computing, cochlear implants, evaluation, game design, iterative design, music training, user study
Paper topics
Multi-modal perception and emotion, Music games and educational tools
Easychair keyphrases
cochlear implant [17], iterative design process [14], target pitch [13], completion time [12], music perception [9], music training [9], visual element [9], musical note [8], vocal matcher [8], instruction screen [6], post session questionnaire [6], progress bar [6], success rate [6], glossy ball [5], pitch contour [5], singing game [5], singnroll game [5], animated instruction [4], auditory training [4], deaf child [4], hearing loss [4], hearing research [4], higher lower [4], interactive music awareness program [4], objective measure [4], pitch perception [4], speech training [4], user interface [4], user study [4], xylophone game [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401915
Zenodo URL: https://zenodo.org/record/1401915
2017.49
SONIC GREENHOUSE - Considerations on a Large-Scale Audio-Architectural Installation
Lähdeoja, Otso University of the Arts Helsinki; Helsinki, Finland
Moreno, Josué University of the Arts Helsinki; Helsinki, Finland
Abstract
This article discusses a recent large-scale audio-architectural installation which uses the glass structures of a greenhouse to create a multichannel sound system driven by structure-borne audio transducers. The sound system is presented and its implementation is discussed in reference to the constraints of a site-specific installation. A set of sound spatialisation strategies are proposed and their effectiveness weighted in the specific context of a large-scale work where the audience acquires an active role in moving within the piece, countering traditional centered spatialisation methods. Compositional strategies are developed in response to the context, emphasizing the spatial dimension of composition over the temporal and narrative ones and pointing towards the concepts of “Son-ic Weather” as well as “Sonic Acupuncture”.
Keywords
Sound and architecture, Sound installation, Sound Spatialisation, Structure-borne sound, Time and Space in Electroacoustic Composition
Paper topics
Sound installation, Soundscapes and environmental arts, Spatial sound
Easychair keyphrases
sonic greenhouse [16], palm room [9], cactus room [8], sonic weather [8], structure borne sound driver [8], compositional strategy [7], helsinki winter garden [7], large scale [7], sound spatialisation [7], sonic acupuncture [6], sound diffusion system [6], winter garden [6], first person [5], glass panel [5], aural architecture [4], distance based amplitude panning [4], glass structure [4], largescale audio architectural installation [4], plexiglass panel [4], sound source [4], weather data [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401933
Zenodo URL: https://zenodo.org/record/1401933
2017.50
STACKED CONVOLUTIONAL AND RECURRENT NEURAL NETWORKS FOR MUSIC EMOTION RECOGNITION
Malik, Miroslav University of Žilina; Žilina, Slovakia
Adavanne, Sharath Tampere University of Technology; Tampere, Finland
Drossos, Konstantinos Tampere University of Technology; Tampere, Finland
Virtanen, Tuomas Tampere University of Technology; Tampere, Finland
Ticha, Dasa University of Žilina; Žilina, Slovakia
Jarina, Roman University of Žilina; Žilina, Slovakia
Abstract
Content-based retrieval becomes more and more signifi- cant with increasing availability of data. In the context of music data, emotion is a strong content-based characteris- tic. In this paper, we focus on the emotion recognition from musical tracks in the 2-dimensional valence-arousal (V-A) emotional space. We propose a method based on convolu- tional (CNN) and recurrent neural networks (RNN), hav- ing significantly fewer parameters compared with state-of- the-art (SOTA) method for the same task. We utilize one CNN layer followed by two branches of RNNs trained sep- arately for arousal and valence. The method was evaluated using the “MediaEval2015 emotion in music” dataset. We achieved an RMSE of 0.202 for arousal and 0.268 for va- lence, which is the best result reported on this dataset.
Keywords
convolutional neural networks, music emotion, neural networks, recognition, recurrent neural networks, regression
Paper topics
Music information retrieval
Easychair keyphrases
neural network [15], sequence length [13], baseline feature [12], mel band energy [12], recurrent neural network [12], log mel band [9], raw feature [9], audio feature [8], average rmse [7], signal processing [7], standard deviation [7], mel band [6], music emotion recognition [6], bidirectional gru [5], feature set [5], band energy feature [4], continuous conditional neural field [4], convolutional recurrent neural network [4], dropout rate [4], log mel [4], mel band feature [4], music task [4], time distributed fc [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401917
Zenodo URL: https://zenodo.org/record/1401917
2017.51
Systema Naturae: shared practices between physical computing and algorithmic composition
Valle, Andrea Interdipartimental Center for Research on Multimedia and Audiovideo (CIRMA), Dipartimento di Studi Umanistici, Università di Torino; Torino, Italy
Lanza, Mauro Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Systema Naturae is a cycle of four compositions written for various instrumental ensembles and electromechanical setups. The workflow includes design and construction of electromechanical instruments, algorithmic composition, automated notation generation, real-time control of the setups and synchronization with the acoustic ensemble during the performances. These various aspects have to be integrated in a unique working pipeline, that has to be shared between the two authors, and thus requires to define communication protocols for sharing data and procedures. The paper reports on those aspects and on the integration required between hardware and software, non-real time and real time operations, acoustic and mechanical instruments, and, last but not least, between the two composers.
Keywords
Algorithmic composition, Automated music instruments, Physical computing, Shared music practices
Paper topics
accompaniment, and improvisation, Automatic composition, Interactive performance systems and new interfaces, Robotics and music
Easychair keyphrases
sound body [49], real time [15], algorithmic composition [12], residual orchestra [11], systema naturae [10], acoustic instrument [9], algorithmic composition environment [9], hair dryer [9], music instrument [8], physical computing [8], wind instrument [7], click track [6], non idiophonic flute [6], wind instrument girodisco [6], musical instrument [5], transistor board [5], audio file [4], electromechanical setup [4], ensemble mosaik [4], eolio ocarino fischietta [4], indirectly cetro free aerophone [4], music composition [4], music notation [4], ocarino fischietta cocacola [4], real time application [4], real time performance [4], real time simulator [4], sound body part [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401973
Zenodo URL: https://zenodo.org/record/1401973
2017.52
Technology-Assisted Performance of Polytemporal Music
Kocher, Philippe Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
This paper is an intermediate report of an ongoing artistic reseach project on technology-assisted performance practice. It describes the application \emph{Polytempo Network} and some works that were realised using this application in the course of the last two years. The different compositional approaches chosen for every individual work and the experiences gathered during the process of composing, rehearsing and performing these works are discussed. The leading question is to what extent the usage of this technology is aesthetically significant.
Keywords
Networked music performance practice, Open form, Polytemporal music, Tempo synchronisation
Paper topics
Computer music languages and software, Interactive performance systems and new interfaces
Easychair keyphrases
application polytempo network [11], real time [9], polytempo network [7], technology assisted performance practice [6], tempo polyphony [6], tempo progression [6], computer music [5], electronic score [5], message driven operation mode [4], music notation [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401903
Zenodo URL: https://zenodo.org/record/1401903
2017.53
THE CSOUND PLUGIN OPCODE FRAMEWORK
Lazzarini, Victor National University of Ireland Maynooth; Maynooth, Ireland
Abstract
This article introduces the Csound Plugin Opcode Framework (CPOF), which aims to provide a simple lightweight C++ framework for the development of new unit generators for Csound. The original interface for this type work is provided in the C language and it still provides the most complete set of components to cover all possible requirements. CPOF attempts to allow a simpler and more economical approach to creating plugin opcodes. The paper explores the fundamental characteristics of the framework and how it is used in practice. The helper classes that are included in CPOF are presented with examples. Finally, we look at some uses in the Csound source codebase.
Keywords
C++, Csound, musical signal processing, object-oriented programming
Paper topics
Analysis, and modification of sound, Computer music languages and software, synthesis
Easychair keyphrases
base class [11], fsig data [10], int init [8], plugin class [8], array subscript access [6], csound plugin opcode framework [6], fsig format [6], static constexpr char [6], vector data myflt [6], function table [5], int kperf [5], processing function [5], template typename [5], class template [4], compile time [4], const iterator [4], csound csound [4], init time [4], iterator type [4], member variable [4], myfltvec data [4], return iterator [4], typename t int [4], virtual function [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401935
Zenodo URL: https://zenodo.org/record/1401935
2017.54
THE DESIGN OF A LIGHTWEIGHT DSP PROGRAMMING LIBRARY
Lazzarini, Victor National University of Ireland Maynooth; Maynooth, Ireland
Abstract
This paper discusses the processes involved in designing and implementing an object-oriented library for audio signal processing in C++ (ISO/IEC C++11). The introduction presents the background and motivation for the project, which is related to providing a platform for the study and research of algorithms, with an added benefit of having an efficient and easy-to-deploy library of classes for application development. The design goals and directions are explored next, focusing on the principles of stateful representations of algorithms, abstration/ encapsulation, code re-use and connectivity. The paper provides a general walk-through the current classes and a detailed discussion of two algorithm implementations. Completing the discussion, an example program is presented.
Keywords
digital signal programming libraries, music programming, object-oriented programming
Paper topics
Computer music languages and software
Easychair keyphrases
delay line [7], processing method [7], signal processing [7], base class [6], const double [6], band limited waveform [4], class hierarchy [4], const double sig [4], def vframe [4], derived class [4], function table [4], impulse response [4], iso international standard iso [4], processing class [4], signal generator [4], table lookup oscillator [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401867
Zenodo URL: https://zenodo.org/record/1401867
2017.55
The Effectiveness of Two Audiovisual Mappings to Control a Concatenative Synthesiser
Tsiros, Augoustinos Edinburgh Napier University; Edinburgh, United Kingdom
Leplâtre, Grégory Edinburgh Napier University; Edinburgh, United Kingdom
Abstract
This paper presents the results of an investigation into audio-visual (AV) correspondences conducted as part of the development of Morpheme, a painting interface to control a corpus-based concatenative sound synthesiser. Our goal was to measure the effects of the corpora on the effectiveness of the AV mappings used by Morpheme to synthesise sounds from images. Two mapping strategies and four corpora were empirically evaluated by 110 participants. To test the effectiveness of the mappings, sounds were generated using Morpheme from images designed to exhibit specific properties. The sounds were then played to the participants of the study and for each sound, they were presented with three images: the image used to synthesise the sound and two similar destructor images. Participants were asked to identify the correct source image and rate their level of confidence. The results show that the audio corpus used to synthesise the audio stimuli had a significant effect on the subjects' ability to identify the correct image while the mapping didn’t. No effect of musical/sound training was observed.
Keywords
Audiovisual Interaction, Concatenative Synthesis, Crossmodal Correspondence, Evaluation
Paper topics
Analysis, and modification of sound, Interactive performance systems and new interfaces, Multi-modal perception and emotion, Music information retrieval, Sonification, synthesis
Easychair keyphrases
correct selection rate [14], non expert [14], correct image selection rate [12], selection rate [12], non expert group [11], audio stimulus [9], image selection [8], audio corpus [7], unsupervised condition [7], audio corpus x2 [6], confidence level [6], correct image [6], audio unit [5], confidence rating [5], correct detection [5], expert group [5], sound synthesis [5], subject skill [5], benferroni adjusted p value [4], chi square result [4], concatenative synthesiser [4], correct image selection [4], correct selection rate x2 [4], image selection success [4], organised sound [4], significant relationship [4], statistical significance [4], strong relationship [4], subject ability [4], visual stimulus [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401953
Zenodo URL: https://zenodo.org/record/1401953
2017.56
The musical influence on people's micromotion when standing still in groups
Jensenius, Alexander Refsum University of Oslo; Oslo, Norway
Żelechowska, Agata University of Oslo; Oslo, Norway
Gonzalez Sanchez, Victor University of Oslo; Oslo, Norway
Abstract
The paper presents results from an experiment in which 91 subjects stood still on the floor for 6 minutes, first 3 minutes in silence, followed by 3 minutes with music. The head motion of the subjects was captured using an infrared optical system. The results show that the average quantity of motion of standstill is 6.5 mm/s, and that the subjects moved more when listening to music (6.6 mm/s) than when standing still in silence (6.3 mm/s). This result confirms the belief that music induce motion, even when people try to stand still.
Keywords
micromotion, music-induced motion, music-related motion, standstill
Paper topics
Multi-modal perception and emotion
Easychair keyphrases
sound condition [9], average qom [4], electronic dance music [4], entire data [4], human standstill [4], mean qom [4], motion capture [4], younger participant [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401913
Zenodo URL: https://zenodo.org/record/1401913
2017.57
Tools for Annotating Musical Measures in Digital Music Editions
Mexin, Yevgen Center of Music and Film Informatics, Detmold University of Music; Detmold, Germany
Hadjakos, Aristotelis Center of Music and Film Informatics, Detmold University of Music; Detmold, Germany
Berndt, Axel Center of Music and Film Informatics, Detmold University of Music; Detmold, Germany
Waloschek, Simon Center of Music and Film Informatics, Detmold University of Music; Detmold, Germany
Wawilow, Anastasia Human-Computer Interaction and Software Technology Research Group, Paderborn University; Paderborn, Germany
Szwillus, Gerd Human-Computer Interaction and Software Technology Research Group, Paderborn University; Paderborn, Germany
Abstract
The process of creating historical-critical digital music editions involves the annotation of musical measures in the source materials (e.g. autographs, manuscripts or prints). This serves to chart the sources and create concordances between them. So far, this laborious task is barely supported by software tools. We address this shortcoming with two interface approaches that follow different functional and interaction concepts. Measure Editor is a web application that complies with the WIMP paradigm and puts the focus on detailed, polygonal editing of image zones. Vertaktoid is a multi-touch and pen interface where the focus was on quick and easy measure annotation. Both tools were evaluated with music editors giving us valuable clues to identify the best aspects of both approaches and motivate future development.
Keywords
Digital Music Edition, MEI, Tools
Paper topics
Computational musicology and mathematical music theory
Easychair keyphrases
measure editor [21], music score [15], edirom editor [14], music edition [13], digital music edition [11], measure annotation [11], bounding box [8], last access [8], existing measure [7], music editor [7], optical measure recognition [7], optical music recognition [7], music encoding initiative [6], selection gesture [6], sus score [5], user interface [5], annotation process [4], common western music notation [4], featured music edition platform [4], full featured music edition [4], human computer interaction [4], interaction technique [4], measure annotation tool [4], music information retrieval [4], scissors tool [4], source material [4], textual annotation [4], th international society [4], web application [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401941
Zenodo URL: https://zenodo.org/record/1401941
2017.58
Towards an Automated Multitrack Mixing Tool using Answer Set Programming
Everardo, Flavio University of Potsdam; Potsdam, Germany
Abstract
The use of Answer Set Programming (ASP) inside musical domains has been demonstrated specially in composition, but so far it hasn’t overtaken engineering areas in studio-music (post) production such as multitrack mixing for stereo imaging. This article aims to demonstrate the use of this declarative approach to achieve a well-balanced mix. A knowledge base is compiled with rules and constraints extracted from the literature about what professional music producers and audio engineers suggest creating a good mix. More specially, this work can deliver either a mixed audio file (mixdown) as well as a mixing plan in (human-readable) text format, to serve as a starting point for producers and audio engineers to apply this methodology into their productions. Finally this article presents a decibel (dB) and a panning scale to explain how the mixes are generated.
Keywords
Answer Set Programming, Automatic Mix, Declarative Language, Logic Programming, Multitrack Mixing, Music Production
Paper topics
High-performance computing for audio
Easychair keyphrases
answer set programming [15], audio engineering society convention [10], lead instrument [9], audio engineering society [7], integrity constraint [7], low level feature [6], answer set [5], mixing process [5], amplitude ratio [4], audio engineer [4], intelligent system [4], knowledge base [4], knowledge representation [4], logic programming [4], mixdown file [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401981
Zenodo URL: https://zenodo.org/record/1401981
2017.59
Towards the Internet of Musical Things
Turchet, Luca KTH Royal Institute of Technology; Stockholm, Sweden
Fischione, Carlo KTH Royal Institute of Technology; Stockholm, Sweden
Barthet, Mathieu Queen Mary University of London; London, United Kingdom
Abstract
In this paper we propose to extend the concept of the Internet of Things to the musical domain leading to a subfield coined as the Internet of Musical Things (IoMUT). IoMUT refers to the network of computing devices embedded in physical objects (Musical Things) dedicated to the production and/or reception of musical content. Musical Things, such as smart musical instruments or smart devices, are connected by an infrastructure that enables multidirectional communication, both locally and remotely. The IoMUT digital ecosystem gathers interoperable devices and services that connect performers and audiences to support performer-performer and audience-performers interactions, not possible beforehand. The paper presents the main concepts of IoMUT and discusses the related implications and challenges.
Keywords
Internet of Things, Networks, NIME
Paper topics
Interactive performance systems and new interfaces, Music performance, Virtual reality applications and technologies for sound and music
Easychair keyphrases
musical thing [26], smart instrument [16], audience member [14], musical instrument [10], low latency [8], music performance [8], smart device [8], musical interaction [7], interoperable device connecting performer [6], live music performance [6], musical expression [6], musical performance [6], networked music performance [6], real time [6], smart wearable [6], virtual reality [6], digital ecosystem [5], musical content [5], tactile internet [5], collaborative music creation [4], co located interaction [4], iomut digital ecosystem [4], iomut ecosystem [4], musical experience [4], physical object [4], sensus smart guitar [4], technological infrastructure [4], virtual environment [4], wireless communication [4], wireless sensor network [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401869
Zenodo URL: https://zenodo.org/record/1401869
2017.60
Troop: A Collaborative Tool for Live Coding
Kirkbride, Ryan University of Leeds; Leeds, United Kingdom
Abstract
Live Coding is a movement in electronic audiovisual performance that emerged at the turn of the millennia and is now being performed all over the world through range of artistic practices. It involves the continual process of constructing and reconstructing a computer program and, given that most performances are improvisational in nature, working together from multiple computers can provide a challenge when performing as an ensemble. When performing as a group Live Coders will often share network resources, such as a tempo clock to coordinate rhythmic information, but rarely will they work together directly with the same material. This paper presents the novel collaborative editing tool, Troop, that allows users to simultaneously work together on the same piece of code from multiple machines. Troop is not a Live Coding language but an environment that enables higher levels of communication within an existing language. Although written in Python to be used with the Live Coding language FoxDot, Troop provides an interface to other Live Coding languages, such as SuperCollider, and can be extended to include others. This paper outlines the motivations behind the development of Troop before discussing its applications as a performance tool and concludes with a discussion about the potential benefits of the software in a pedagogical setting.
Keywords
Collaboration, Live Coding, Network Performance
Paper topics
Computer music languages and software, Interactive performance systems and new interfaces, Social interaction in sound and music computing
Easychair keyphrases
live coding [35], live coding language [12], text buffer [10], collaborative live coding [6], computer music [6], connected client [6], live coding ensemble [6], live coding environment [6], buffer networked live coding system [4], client server model [4], connected performer [4], creative constraint [4], execution model [4], text box [4], troop server [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401895
Zenodo URL: https://zenodo.org/record/1401895
2017.61
Validating Attack Phase Descriptors obtained by the Timbre toolbox and MIRtoolbox
Nymoen, Kristian University of Oslo; Oslo, Norway
Danielsen, Anne University of Oslo; Oslo, Norway
London, Justin Carleton College; Northfield, United States
Abstract
The attack phase of sound events plays an important role in how sounds and music are perceived. Several approaches have been suggested for locating salient time points and critical time spans within the attack portion of a sound, and some have been made widely accessible to the research community in toolboxes for Matlab. While some work exists where proposed audio descriptors are grounded in listening tests, the approaches used in two of the most popular toolboxes for musical analysis have not been thoroughly compared against perceptual results. This article evaluates the calculation of attack phase descriptors in the Timbre toolbox and the MIRtoolbox by comparing their predictions to empirical results from a listening test. The results show that the default parameters in both toolboxes give inaccurate predictions for the sound stimuli in our experiment. We apply a grid search algorithm to obtain alternative parameter settings for these toolboxes that align their estimations with our empirical results.
Keywords
Attack, Attack phase descriptors, Listening test, Matlab, MIRtoolbox, Onset, Perceptual attack time, Timbre toolbox
Paper topics
Analysis, and modification of sound, Computational musicology and mathematical music theory, Computer-based music analysis, Computer music languages and software, Multi-modal perception and emotion, Music information retrieval, synthesis
Easychair keyphrases
energy envelope [32], attack phase descriptor [31], timbre toolbox [29], sound event [23], perceptual attack [22], attack phase [19], attack time [18], perceptual attack time [15], time point [14], physical onset [13], attack range [11], perceptual result [9], click track [7], group delay [7], perceptual onset [7], salient time point [7], time span [7], cutoff frequency [6], energy peak [6], frame size [6], log attack time [6], mirex audio onset competition [6], default parameter [5], attack slope [4], default strategy [4], grid search algorithm [4], music information retrieval [4], onset detection [4], sound file [4], various attack phase descriptor [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401919
Zenodo URL: https://zenodo.org/record/1401919
2017.62
Versioning and Annotation Support for Collaborative Mapping Design
Wang, Johnty McGill University; Montreal, Canada
Malloch, Joseph Dalhousie University; Halifax, Canada
Huot, Stéphane Institut national de recherche en informatique et en automatique (INRIA); France
Chevalier, Fanny Institut national de recherche en informatique et en automatique (INRIA); France
Wanderley, Marcelo M. McGill University; Montreal, Canada
Abstract
This paper describes a versioning and annotation system for supporting collaborative, iterative design of mapping layers for digital musical instruments (DMIs). First we describe prior experiences and contexts of working on DMIs that has motivated such features in a tool, describe the current prototype implementation and then discuss future work and features that are intended to improve the capabilities of tools for new musical instrument building as well as general interactive applications that involve the design of mappings with a visual interface.
Keywords
collaboration, mapping, new instruments
Paper topics
Computer music languages and software, Interactive performance systems and new interfaces
Easychair keyphrases
user interface [7], computer music [4], digital musical instrument [4], mapping design [4], mapping tool [4], system component [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401939
Zenodo URL: https://zenodo.org/record/1401939
2017.63
Virtual Analog Model of the Lockhart Wavefolder
Esqueda, Fabián Aalto University; Espoo, Finland
Pöntynen, Henri Aalto University; Espoo, Finland
Parker, Julian Native Instruments GmbH; Berlin, Germany
Bilbao, Stefan The University of Edinburgh; Edinburgh, United Kingdom
Abstract
This work presents a novel virtual analog model of the Lockhart wavefolder. Wavefolding modules are among the fundamental elements of 'West Coast' style analog synthesis. These circuits produce harmonically-rich waveforms when driven by simple periodic signals such as sinewaves. Since wavefolding introduces high levels of harmonic distortion, we pay special attention to suppressing aliasing without resorting to high oversampling factors. Results obtained are validated against SPICE simulations of the original circuit. The proposed model preserves the nonlinear behavior of the circuit without perceivable aliasing. Finally, we propose a practical implementation of the wavefolder using multiple cascaded units.
Keywords
Acoustic signal processing, Audio processing, Audio synthesis, Circuit simulation, Virtual analog modeling
Paper topics
Analysis, and modification of sound, synthesis
Easychair keyphrases
digital audio effect [20], lockhart wavefolder [12], fundamental frequency [7], lambert w function [7], antialiased form [6], computer music conf [6], lockhart wavefolder circuit [6], west coast [6], collector diode [5], emitter current [5], magnitude spectrum [5], real time [5], signal process [5], spice simulation [5], wavefolder model [5], aliasing distortion [4], audio rate [4], digital implementation [4], digital model [4], low frequency [4], moog ladder filter [4], post gain [4], west coast style [4], west coast synthesis [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401957
Zenodo URL: https://zenodo.org/record/1401957
2017.64
Virtual Analog Simulation and Extensions of Plate Reverberation
Willemsen, Silvin Aalborg University; Aalborg, Denmark
Serafin, Stefania Aalborg University; Aalborg, Denmark
Jensen, Jesper Rindom Aalborg University; Aalborg, Denmark
Abstract
In the 50s and 60s, steel plates were popularly used as a technique to add reverberation to sound. As a plate reverb itself is quite bulky and requires lots of maintenance, a digital implementation would be desirable. Currently, the available (digital) plugins rely solely on recorded impulse responses or simple delay networks. Virtual Analog (VA) simulations, on the other hand, rely on a model of the analog effect they are simulating, resulting in a sound and 'feel' the of the classical analog effect. In this paper, a VA simulation of plate reverberation is presented. Not only does this approach result in a very natural sounding reverb, it also poses many interesting opportunities that go beyond what is physically possible. Existing VA solutions, however, have limited control over dynamics of physical parameters. In this paper, we present a model where parameters like the positions of the in- and outputs and the dimensions of the plate can be changed while sound goes through. This results is in a unique flanging and pitch bend effect, respectively, which has not yet be achieved by the current state of the art.
Keywords
audio effect, plate reverb, virtual analog
Paper topics
Analysis, and modification of sound, synthesis
Easychair keyphrases
plate reverb [21], pa1 dynamic plate reverb [10], plate reverberation [10], loss coefficient [7], pitch bend effect [6], radiation damping [6], boundary condition [5], computational time [4], dry input signal [4], emt140 plate reverb [4], modal shape [4], output sound [4], plate dimension [4], porous medium [4], steel plate [4], thermoelastic damping [4], update equation [4], virtual analog [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401951
Zenodo URL: https://zenodo.org/record/1401951
2017.65
WALLACE: COMPOSING MUSIC FOR VARIABLE REVERBERATION
Lopes, Filipe Cunha Monteiro Centre for Research in Psychology of Music and Music Education (CIPEM), University of Aveiro; Aveiro, Portugal
Abstract
Reverberation is a sonic effect that has a profound impact in music. Its implications extend to many levels such as musical composition, musical performance, sound perception and, in fact, it nurtured the sonority of certain musical styles (e.g. plainchant). Such relationship was possible because the reverberation of concert halls is stable (i.e. does not drastically vary). However, what implications surface to music composition and music performance when reverberation is variable? How to compose and perform music for situations in which reverberation is constantly changing? This paper describes Wallace, a digital software application developed to make a given audio signal to flow across different impulse responses (IRs). Two pieces composed by the author using Wallace will be discussed and, lastly, some viewpoints about composing music for variable reverberation, particularly using Wallace, will be addressed.
Keywords
Composition, Impulse Response, MaxMSP, Reverberation
Paper topics
Computer music languages and software, Interactive performance systems and new interfaces, Music performance, Room acoustics modeling and auralization
Easychair keyphrases
concert hall [12], reverberation scheme [9], variable reverberation [9], sound result [7], sound source [7], audio signal [6], composing music [6], natural reverberation [5], convolution process [4], music composition [4], sobre espaco [4], variaco sobre [4]
Paper type
unknown
DOI: 10.5281/zenodo.1401945
Zenodo URL: https://zenodo.org/record/1401945
Sound and Music Computing Conference 2018 (ed. 15)
Dates: from July 04 to July 07, 2018
Place: Limassol, Cyprus
Proceedings info: Proceedings of the 15th Sound and Music Computing Conference (SMC 2018), Limassol Cyprus, 2018, ISBN 978-9963-697-30-4
2018.1
3D Printing and Physical Modeling of Musical Instruments: Casting the Net
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Chafe, Chris Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Granzow, John School of Music, Theater, and Dance, University of Michigan; Ann Arbor, United States
Abstract
Predicting the acoustics of objects from computational models is of interest to instrument designers who increasingly use Computer Assisted Design. We examine techniques to carry out these estimates using a database of impulse responses from 3D printed models and a custom algorithm for mode interpolation within a geometrical matrix. Test geometries are organized as a function of their physical characteristics and placed into a multidimensional space/matrix whose boundaries are defined by the objects at each corner. Finite Element Analyses is integrated into the CAD environment to provide estimates of material vibrations also compared to measurements on the fabricated counterparts. Finally, predicted parameters inform physical models for aural comparisons between fabricated targets and computational estimates. These hybrid methods are reliable for predicting early modes as they covary with changes in scale and shape in our test matrix.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422679
Zenodo URL: https://zenodo.org/record/1422679
2018.2
A Collaborative System for Composing Music via Motion Using a Kinect Sensor and Skeletal Data
Garoufis, Christos Department of Electrical and Computer Engineering, National Technical University of Athens; Athens, Greece
Zlatintsi, Athanasia Department of Electrical and Computer Engineering, National Technical University of Athens; Athens, Greece
Maragos, Petros Department of Electrical and Computer Engineering, National Technical University of Athens; Athens, Greece
Abstract
This paper describes MoveSynth, a performance system for two players, who interact with it and collaborate with each other in various ways, including full-body movements, arm postures and continuous gestures, to compose music in real time. The system uses a Kinect sensor, in order to track the performers’ positions, as well as their arm and hand movements. In the system’s current state, the musical parameters that the performers can influence include the pitch and the volume of the music, the timbre of the sound, as well as the time interval between successive notes. We extensively experimented using various classifiers in order to detect the one that gives the optimal results regarding the task of continuous gesture and arm posture recognition, accomplishing 92.11\% for continuous gestures and 99.33\% for arm postures, using an 1-NN classifier with a
condensed search space in both cases. Additionally, the qualitative results of the usability testing of the final system, which was performed by 9 users, are encouraging and identify possible avenues for further exploration and improvement.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422627
Zenodo URL: https://zenodo.org/record/1422627
2018.3
A comparative study on filtering and classification of bird songs
Figueiredo, Nicolas Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Felix, Felipe Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Brum Medeiros, Carolina fliprl; Montreal, Canada
Queiroz, Marcelo Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Abstract
This paper presents a combination of signal processing and machine learning techniques for classification of bird song recordings. Our pipeline consists of filters to enhance the bird song signal with respect to environmental noise, followed by machine learning algorithms that exploits various acoustic features. The filtering stage is based on the assumptions that bird songs are tonal and sporadic, and that noise, present along the entire recording, has large bandwidth. We present and discuss the results of an experiment on a dataset containing recordings of bird songs from species in the Southern Atlantic Coast of South America. This experiment compares the use of several acoustic features (RMD, ZCR, MFCC, spectral centroid/bandwidth/rolloff and syllable duration), extracted from pre-filtered recordings using three proposed filters, combined with traditional classification strategies (KNN, NB and SVM), in order to identify useful filter/feature/classifier combinations for this bird song classification task. This strategy produces improved classification results with respect to those reported in a previous study using the same dataset.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422609
Zenodo URL: https://zenodo.org/record/1422609
2018.4
Acquisition of Violin Instrumental Gestures Using an Infrared Depth Camera
Vamvakousis, Zacharias Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Pérez Carrillo, Alfonso Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Ramirez, Rafael Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
We present a low-cost six-degrees of freedom violin and bow pose-tracking system. The infrared and depth streams of an infrared-based Microsoft Kinect Mbox One depth camera are utilized to track the 3-dimensional position of 6 infrared markers attached on the violin and the bow. After computing the bow pose on the violin coordinate system, a number of bowing features are extracted. In order to evaluate the system’s performance, we recorded 4 bowing exercises using simultaneously our system along with a commercial two-sensor 3D tracking system based on electromagnetic field (EMF) sensing. The mean pearson coefficient values were 0.996 for the bow position, 0.889 for the bow velocity, 0.966 for the bow tilt, 0.692 for the bowbridge distance and 0.998 for the bow inclination. Compared to existing bowing-tracking solutions, the proposed solution might be appealing because of its low cost, easy setup and high performance.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422548
Zenodo URL: https://zenodo.org/record/1422548
2018.5
Affordances of Vibrational Excitation for Music Composition and Performance
Michailidis, Tychonas Solent University Southampton; Southampton, United Kingdom
Hockman, Jason Digital Media Technology Lab, Birmingham City University; Birmingham, United Kingdom
Abstract
Mechanical vibrations have typically been used in the performance domain within feedback systems to inform musicians of system states or as communication channels between performers. In this paper, we propose the additional taxonomic category of vibrational excitation of musical instruments for sound generation. To explore the variety of possibilities associated with this extended taxonomy, we present the Oktopus, a multi-purpose wireless system capable of motorised vibrational excitation. The system can receive up to eight inputs and generates vibrations as outputs through eight motors that can be positioned accordingly to produce a wide range of sounds from an excited instrument. We demonstrate the usefulness of the proposed system and extended taxonomy through the development and performance of Live Mechanics, a composition for piano and interactive electronics.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422619
Zenodo URL: https://zenodo.org/record/1422619
2018.6
A Heuristic Algorithm for DJ Cue Point Estimation
Schwarz, Diemo STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Schindler, Daniel HearDis!; Stuttgart, Germany
Spadavecchia, Severino HearDis!; Stuttgart, Germany
Abstract
This article treats an aspect in a larger research agenda to understand DJ practices, which are an important part of popular music culture: We present a heuristic algorithm that estimates cue points where tracks should cross-fade in a DJ mix. We deduced statistics and heuristics from a list of rules provided by human experts, and from a database of example tracks with given cue regions. We then created an algorithm for cue-point estimation based on rich automatic annotations by state of the art MIR methods, such as music structure segmentation and beat tracking. The results were evaluated quantitatively on the example database and qualitatively by experts.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422581
Zenodo URL: https://zenodo.org/record/1422581
2018.7
AI Encountering Interactive Systems: A Deep Learning Reinforced Musical Composition Model
Ma, Ke College of Design and Innovation, Tongji University; Shanghai, China
Xia, Tian School of Electronic Information and Communications (EIC), Huazhong University of Science and Technology; Wuhan, China
Abstract
In this paper, we present an artificial intelligence-based musical composition algorithm for generating harmonic and various arpeggios based on given chords in real-time, which incorporates a recurrent neural network (RNN) with the gated recurrent unit (GRU) and a tetrahedral context-sensitive L-system (TCSL). RNN can play a significant role of learning inherent harmony from arpeggio datasets and providing probabilistic prediction which suggests the selection of the next note and the lengths of the selected notes. We also establish TCSL model based on a tetrahedron model utilizing seven interval operators and production rules to increase the variety of generation. TCSL is responsible for generating one note at each iteration by respectively requesting probabilistic predication from RNN, calculating optional notes and determining target note. Our experiments where we trained two RNNs for TCSL generation model indicated that the proposed algorithm has advantages in overcoming the obstacles of achieving inherent global harmony as well as the variety of generation in current computer-aided arpeggio composition algorithms. Our research attempts to extend deep learning model (DLM) towards the design space for interactive composition systems.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422613
Zenodo URL: https://zenodo.org/record/1422613
2018.8
Algorithms for Guitar-Driven Synthesis: Application to an Augmented Guitar
Esqueda, Fabián Department of Signal Processing and Acoustics (SPA), Aalto University; Espoo, Finland
Lähdeoja, Otso Centre for Music and Technology, Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Välimäki, Vesa Department of Signal Processing and Acoustics (SPA), Aalto University; Espoo, Finland
Abstract
This work studies the use of signal-driven synthesis algorithms applied to an augmented guitar. A robust sub-octave generator, partially modeled after a classic audio-driven monophonic guitar synthesizer design of the 1970s is presented. The performance of the proposed system is evaluated within the context of an augmented active guitar with an actuated sound box. Results of the evaluation show that the design represents an exciting augmentation for the instrument, as it radically transforms the sound of the electric guitar while remaining responsive to the full range of the guitar playing gestures.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422641
Zenodo URL: https://zenodo.org/record/1422641
2018.9
A Machine Learning Approach to Classification of Phonation Modes in Singing
Yesiler, Furkan Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Ramirez, Rafael Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Phonation modes are considered as expressive resources in singing voice, and have been defined in four categories (breathy, pressed, neutral and flow) that correspond to different ratios of subglottal pressure and glottal airflow. This work focuses on the automatic classification of phonation modes by analyzing a number of audio descriptors and applying machine learning techniques. The proposed method extends the feature set used in previous works, and uses a correlation-based feature selection algorithm to reduce the feature set dimension. For 10 iterations, cross validation is applied to tune the hyper-parameters of a Multi-Layer Perceptron (MLP) model, and automatic classification is performed on test sets to evaluate the performance. The analysis of the features we propose justifies the decision of extending the feature set. The experiments performed on two reference datasets, separately and combined, result in a mean F-measure of 0.89 for the soprano, 0.97 for the baritone, and 0.93 for the combined datasets. The achieved results outperform the results of previous works.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422611
Zenodo URL: https://zenodo.org/record/1422611
2018.10
A Machine Learning Approach to Violin Vibrato Modelling in Audio Performances and a Didactic Application for Mobile Devices
Lionello, Matteo Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Ramirez, Rafael Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
We present a machine learning approach to model vibrato in classical music violin audio performances. A set of descriptors have been extracted from the music scores of the performed pieces and used to train a model for classifying notes into vibrato or non-vibrato, as well as for predicting the performed vibrato amplitude and frequency. In addition to score features we have included a feature regarding the fingering used in the performance. The results show that the fingering feature affects consistently the prediction of the vibrato amplitude. Finally, an implementation of the resulting models is proposed as a didactic real-time feedback system to assist violin students in performing pieces using vibrato as an expressive resource.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422607
Zenodo URL: https://zenodo.org/record/1422607
2018.11
Analyzing and Classifying Guitarists from Rock Guitar Solo Tablature
Das, Orchisama Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Kaneshiro, Blair Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Collins, Tom Department of Psychology, Lehigh University; Bethlehem, United States
Abstract
Guitar solos provide a way for guitarists to distinguish themselves. Many rock music enthusiasts would claim to be able to identify performers on the basis of guitar solos, but in the absence of veridical knowledge and/or acoustical (e.g., timbral) cues, the task of identifying transcribed solos is much harder. In this paper we develop methods for automatically classifying guitarists using (1) beat and MIDI note representations, and (2) beat, string, and fret information, enabling us to investigate whether there exist “fretboard choreographies” that are specific to certain artists. We analyze a curated collection of 80 transcribed guitar solos from Eric Clapton, David Gilmour, Jimi Hendrix, and Mark Knopfler. We model the solos as zero and first-order Markov chains, and do performer prediction based on the two representations mentioned above, for a total of four classification models. Our systems produce above-chance classification accuracies, with the firstorder fretboard model giving best results. Misclassifications vary according to model but may implicate stylistic differences among the artists. The current results confirm that performers can be labeled to some extent from symbolic representations. Moreover, performance is improved by a model that takes into account fretboard choreographies.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422569
Zenodo URL: https://zenodo.org/record/1422569
2018.12
A new implementation of Spat in Max
Carpentier, Thibaut STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Ircam spat⇠ is a real-time audio engine dedicated to sound spatialization, artificial reverberation, and sound diffusion. This paper introduces a new major revision of the software package (spat⇠ 5), and its integration in the Max environment. First, we present the newly adopted OSC interface that is used throughout the library for controlling the processors; we discuss the motivations for this choice, the syntax in use, and the potential benefits in terms of usability, performances, customization, etc. Then we give an overview of new features introduced in this release, covering Higher Order Ambisonics processing, object-based audio production, enhanced inter-operability with VR or graphics frameworks, etc.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422552
Zenodo URL: https://zenodo.org/record/1422552
2018.13
An Expressive Multidimensional Physical Modelling Percussion Instrument
Tissieres, Jason Yves Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Vaseileiou, Archelaos Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Zabetian, Sohejl Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Delgado, Pablo International Audio Laboratories Erlangen (AudioLabs); Erlangen, Germany
Dahl, Sofia Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Serafin, Stefania Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
This paper describes the design, implementation and evaluation of a digital percussion instrument with multidimensional polyphonic control of a real-time physical modelling system. The system utilises modular parametric control of different physical models, excitations and couplings alongside continuous morphing and unique interaction capabilities to explore and enhance expressivity and gestural interaction for a percussion instrument. Details of the instrument and audio engine are provided together with an experiment that tested real-time capabilities of the system, and expressive qualities of the instrument. Testing showed that advances in sensor technology have the potential to enhance creativity in percussive instruments and extend gestural manipulation, but will require well designed and inherently complex mapping schemes.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422605
Zenodo URL: https://zenodo.org/record/1422605
2018.14
An Xception Residual Recurrent Neural Network for Audio Event Detection and Tagging
Gajarsky, Tomas Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Purwins, Hendrik Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
Audio tagging (AT) refers to identifying whether a particular sound event is contained in a given audio segment. Sound event detection (SED) requires a system to further determine the time, when exactly an audio event occurs within the audio segment. Task 4 in the DCASE 2017 competition required to solve both tasks automatically based on a set of 17 sounds (horn, siren, car, bicycle, etc.) relevant for smart cars, a subset of the weakly-labeled dataset called the AudioSet. We propose the Xception - Stacked Residual Recurrent Neural Network (XRRNN), based on modifications of the system CVSSP by Xu et al. (2017), that won the challenge for the AT task. The processing stages of the XRRNN consists of 1) an Xception module as front-end, 2) a 1 ⇥ 1 convolution, 3) a set of stacked residual recurrent neural networks, and 4) a feed-forward layer with attention. Using log-Mel spectra and MFCCs as input features and a fusion of the posteriors of trained networks with those input features, we yield the following results through a set of Bonferroni-corrected t-tests using 30 models for each configuration: For AT, XRRNN significantly outperforms the CVSSP system with a 1.3\% improvement (p = 0.0323) in F-score (XRNN-logMel vs CVSSP-fusion). For SED, for all three input feature combinations, XRRNN significantly reduces the error rate by 4.5\% on average (average p = 1.06 · 10 10 ).
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422563
Zenodo URL: https://zenodo.org/record/1422563
2018.15
A Portable Impulse Response Measurement System
Canfield-Dafilou, Elliot Kermit Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Callery, Eoin Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Jette, Christopher Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
This paper describes the implementation of a portable impulse response measurement system (PIRMS). As an extension to a typical field recording scenario, the design of a PIRMS enables artists and researchers to capture high quality impulse response measurements in remote locations and under physically restrictive conditions. We describe the design requirements for such a multipurpose system. The recording of environmental sound and impulse responses is considered from both a philosophical and technical standpoint in order to address aesthetic and practical concerns.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422544
Zenodo URL: https://zenodo.org/record/1422544
2018.16
Approaches and Assessment of Drama Prosodic Tools in Live Performance
Petras, George Laboratory of Music Acoustics and Technology, Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Tsagkarakis, Panagiotis Laboratory of Music Acoustics and Technology, Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Georgaki, Anastasia Laboratory of Music Acoustics and Technology, Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Abstract
In this article we present an interactive toolkit, which we will refer to as ―Drama prosodic tools‖ from now on, for the extended vocal and gestural performance of Attic tragic poetry in modern drama related to its prosodic aspects. ―Drama prosodic tools‖ are based on prosodic elements (melodic, rhythmic) of the ancient text and are used: a) to detect various parameters of the actor’s voice, b) to track the movements and gestures of the performer, c) to combine the collected data of the above mentioned processes and d) to trigger interactive sound and speech processing during the performance. In the first part, we focus on the development of modules for the phonological articulation of the ancient text based on archeomusicological readings (related to music and language) in order to add aesthetic values to the modern performance of ancient Greek drama. In the second part of this paper we present an evaluation of "Drama prosodic tools" in two different experimental performances. In the first case, prosodic tools are used by an experienced actor in ancient drama who interprets the ancient text in a conventional way; in the second one, the tools are used by an expert musician in the interpretation of ancient Greek prosody. In this way we manage to test these tools in two different situations and control programming parameters and algorithms.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422621
Zenodo URL: https://zenodo.org/record/1422621
2018.17
A Simple Fusion of Deep and Shallow Learning for Acoustic Scene Classification
Fonseca, Eduardo Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Gong, Rong Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In the past, Acoustic Scene Classification systems have been based on hand crafting audio features that are input to a classifier. Nowadays, the common trend is to adopt data driven techniques, e.g., deep learning, where audio representations are learned from data. In this paper, we propose a system that consists of a simple fusion of two methods of the aforementioned types: a deep learning approach where log-scaled mel-spectrograms are input to a convolutional neural network, and a feature engineering approach, where a collection of hand-crafted features is input to a gradient boosting machine. We first show that both methods provide complementary information to some extent. Then, we use a simple late fusion strategy to combine both methods. We report classification accuracy of each method individually and the combined system on the TUT Acoustic Scenes 2017 dataset. The proposed fused system outperforms each of the individual methods and attains a classification accuracy of 72.8\% on the evaluation set, improving the baseline system by 11.8\%.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422583
Zenodo URL: https://zenodo.org/record/1422583
2018.18
A system for spacial audio using synchronized mobile devices
Milde, Jan-Torsten Fulda University of Applied Sciences (Hochschule Fulda); Fulda, Germany
Abstract
This paper describes the ongoing development of a system for the creation of a distributed musical space: the MusicBox. The MusicBox has been realized as an open access point for mobile devices. It provides a musical web application enabling the musician to distribute audio events onto the connected mobile devices and control synchronous playback of these events. In order to locate the mobile devices, a microphone array has been developed, allowing to automatically identify sound direction of the connected mobile devices. This makes it possible to control the position of audio events in the musical space. The system has been implemented on a Raspberry Pi, making it very cheap and robust. No network access is needed to run the MusicBox, turning it into a versatile tool to setup interactive distributed music installations.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422514
Zenodo URL: https://zenodo.org/record/1422514
2018.19
Blender2faust: from drawn 3d objects to physically based sound models
Dimitrov, Smilen Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Serafin, Stefania Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
Faust is a functional programming language for audio applications, designed for real-time signal processing and synthesis. A part of the Faust source code distribution is the command line tool mesh2faust [1]. mesh2faust can process a 3D modelled mesh, and generate the corresponding audio physical model, as well as code to play its sound. Here we describe an interface for controlling mesh2faust which is implemented as a plugin for the free and opensource 3D modelling software, Blender.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422625
Zenodo URL: https://zenodo.org/record/1422625
2018.20
Block-based Scheduling Through Interrupts And Intervention
Gunnarsson, Bjarni Institute of Sonology, Royal Conservatory of The Hague; The Hague, Netherlands
Abstract
Interaction with generative processes often concerns manipulation of their input and output or a variation of predefined parameters that are part of a given process. One can think of algorithmic procedures as black boxes, it does not matter how they work if they serve in a useful way. Based on a black box model, generative processes can be instantiated, followed by a reflection of whether one accepts their results or not. This often involves an idea of completion. That an algorithm produces a result that has to be evaluated and treated accordingly. Creative activity, (such as musical composition) is arguably not such a clearly-defined process. Instead of progressing towards known goals, a compositional process might constantly develop and change shape. In such situations, generative algorithms are needed that interact with the ongoing creative activity. Algorithms that match (and take place within) the context of evolving and dynamic compositional processes. This paper presents a software framework that addresses the relationship between interaction and generative algorithms based on scheduling and computer process management. Algorithms that are partial and scheduled based on adaptive heuristics. Interrupt-based process management and context switching as a creative force.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422629
Zenodo URL: https://zenodo.org/record/1422629
2018.21
Concepts and Technologies for Multisensory and Interactive Simulation of Physical Objects - Application to Helios, a musical and visual artwork for the Helicanthe Platform of the ACROE
Cadoz, Claude ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
This presentation, in a first part, summarizes the genesis and the concepts that underlie the paradigm of "multisensory and interactive simulation of physical objects" introduced and developed by ACROE, as well as their implementation in a technology which is fully mature today, especially the Hélicanthe platform. In a second part, explanations are given on an artwork of the author, Helios, entirely realized with these technologies.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422493
Zenodo URL: https://zenodo.org/record/1422493
2018.22
CrestMusePEDB 2nd EDITION: MUSIC PERFORMANCE DATABASE WITH PHRASE INFORMATION
Hashida, Mitsuyo Soai University; Osaka, Japan
Nakamura, Eita Kyoto University; Kyoto, Japan
Katayose, Haruhiro Kwansei Gakuin University; Osaka, Japan
Abstract
Music performance databases that can be referred to as numerical values play important roles in the research of music interpretation, analysis of expressive performances, automatic transcription, and performance rendering technology. We are creating and will publicly release a new version of the CrestMuse Performance Expression Database (PEDB), which is a performance expression database of more than two hundred virtuoso classical piano performances of scores from the Baroque period through the early 20th century, including music by Bach, Mozart, Beethoven, and Chopin. The CrestMusePEDB has been used by more than 50 research institutions around the world. It has especially contributed to research on performance rendering systems as training data. Responding to the demand to increase the database, we started a threeyear project in 2016 to develop a second edition of the CrestMusePEDB. In this second edition, 443 performances that contain quantitative data and phrase information about what the pianists had in mind while playing the performance are also included. We further report on the final stage of the project, which will end next winter.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422503
Zenodo URL: https://zenodo.org/record/1422503
2018.23
Crossing Phrase Boundaries in Music
Cenkerova, Zuzana Slovak Academy of Sciences (SAV); Bratislava, Slovakia
Hartmann, Martin Department of Music, University of Jyväskylä; Jyväskylä, Finland
Toiviainen, Petri Department of Music, University of Jyväskylä; Jyväskylä, Finland
Abstract
This paper presents a new model for segmenting symbolic music data into phrases. It is based on the idea that melodic phrases tend to consist of notes, which increase rather than decrease in length towards the phrase end. Previous research implies that the timing of note events might be a stronger predictor of both theoretical and perceived segmentation than pitch information. Our approach therefore relies only on temporal information about note onsets. Phrase boundaries are predicted at those points in a melody where the difference between subsequent note-to-note intervals reaches minimal values. On its own, the proposed model is parameter-free, does not require adjustments to fit a particular dataset, and is not biased towards metrical music. We have tested the model on a set of 6226 songs and compared it with existing rule-based segmentation algorithms that had been previously identified as good performers: LBDM and Grouper. Next, we investigated two additional predictors: meter and the presence of pauses. Finally, we integrated all approaches into a meta-classifier, which yielded a significantly better performance than each of the individual models.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422505
Zenodo URL: https://zenodo.org/record/1422505
2018.24
CTcomposer: A Music Composition Interface Considering Intra-Composer Consistency and Musical Typicality
Nakamura, Hiromi National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Fukayama, Satoru National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
This paper proposes a music composition interface that visualizes intra-composer consistency and musical typicality in order to support composers' decisions about their new pieces' style while keeping them aware of the self-expression balance between keeping their own composition style and breaking out of it. While there are many composition support systems that focus on generating or suggesting specific musical elements (e.g., melody or chord), our proposed interface feeds back the user’s composition consistency and typicality to help users understand their own balance and how other composers tended to maintain some self-expression balances. To estimate the consistency and the typicality, we focused on monophonic melody (i.e., note sequence) as a musical element and modeled it by using a Bayesian topic n-gram model called the hierarchical Pitman-Yor topic model (HPYTM).By using proposed interface, named CTcomposer, the user can get comprehensive views of previous pieces by checking scatter plots of their consistency and typicality values. This interface also continuously updates and visualizes the consistency and typicality along the user input musical notes so that a piece the user is composing can be compared with previous pieces. The user can also raise or lower the consistency and typicality values as desired.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422655
Zenodo URL: https://zenodo.org/record/1422655
2018.25
Data Transmission as Musical Performance
Blackmore, Simon Sonic Arts Research Unit, Oxford Brookes University; Oxford, United Kingdom
Abstract
This paper explores how patterns found within the field of data transmission could be conceived of as musical phrases that can be performed by voice and translated by computers back into information. It is based on practicebased research, and the presentation of hardware and software to audiences within a performance. I provide an overview of the relevance of this work within the fields of sonification and musical human-computer-interaction, and continue to describe the software and hardware I have developed to convert sound to data. I describe how learning traditional musical systems that employ rhythmic improvisation such as flamenco, Cuban rumba, bata and Indian Konnakol could be useful in thinking about how computer signals can be explored musically. I conclude with reflections on performing with this system and thoughts for extending these ideas further towards multiple performers.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422647
Zenodo URL: https://zenodo.org/record/1422647
2018.26
Deployment of LSTMs for Real-Time Hand Gesture Interaction of 3D Virtual Music Instruments with a Leap Motion Sensor
Kritsis, Kosmas Institute for Language and Speech Processing (ILSP), Athena Research and Innovation Center; Athens, Greece / Department of Computer Science, University of Piraeus; Athens, Greece
Gkiokas, Aggelos Department of Computer Science, University of Piraeus; Athens, Greece
Kaliakatsos-Papakostas, Maximos Department of Computer Science, University of Piraeus; Athens, Greece
Katsouros, Vassilis Department of Computer Science, University of Piraeus; Athens, Greece
Pikrakis, Aggelos Institute for Language and Speech Processing (ILSP), Athena Research and Innovation Center; Athens, Greece / Department of Computer Science, University of Piraeus; Athens, Greece
Abstract
The aim of this paper is to explore deep learning architectures for the development of a real-time gesture recognizer for the Leap Motion Sensor that will be able to continuously classify sliding windows into targeted gesture classes related to responsive interactions that are used in controlling the performance with a virtual 3D musical instrument. In terms of responsiveness it is assumed that the gestures can be recognized within a small time interval, while the employed gestures are inspired by interaction with realworld percussive and string instruments. The proposed method uses a Long Short-Term Memory (LSTM) network on top of a feature embedding layer of the raw data sequences as input, to map the input sequence to a vector of fixed dimensionality which is subsequently passed to a dense layer for classification among the targeted gesture classes. The performance evaluation of the proposed system has been carried out on a dataset of hand gestures of 8 classes with 11 participants. We report a recognition rate of 92.62\% for a 10-fold cross-validation setup and 85.50\% for a cross-participant setup. We also demonstrate that the later recognition rate can be further improved by adapting the trained model with the addition of few user gesture samples in the training set.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422601
Zenodo URL: https://zenodo.org/record/1422601
2018.27
Dervish Sound Dress; a Development of a Musical Interface Garment which explores Wearable Technology using Sound and Haptic Feedback for Performance and Interaction
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Hurban, Hedy Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Braund, Edward Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
Dervish Sound Dress is a wearable piece of technology; a garment that is inspired by the sacred experience of the Whirling Dervishes or the Mevlevi Sufi order in Turkey. The garment functions as an instrument when it is worn and changes depending on how the wearer moves. The cultural traditions of the Mevlevi Sufis and their metaphysical experience during the turning ritual of the ‘sema’ performance is the inspiration behind the creation of a garment that emulates sounds by using body movement. Dervish Sound Dress is outfitted with sensors that emit musical sounds with every movement that the wearer makes. The movement triggers sensations through haptic feedback like when a musician plays an instrument. The project seeks to explore how technology can be integrated into a garment as an expressive body instrument to amplify contemporary sonic performance. Dervish Sound Dress explores how through performance, sound and sound vibrations that are used in a garment can generate an emotive response in the wearer by creating sonic expression. This dress is accessible to anyone wishing to embark on a unique musical journey. Keywords: Dervish, sound design, haptics, wearable technology
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422599
Zenodo URL: https://zenodo.org/record/1422599
2018.28
Design and Interaction of 3D Virtual Music Instruments for STEAM Education Using Web Technologies
Kritsis, Kosmas Institute for Language and Speech Processing (ILSP), Athena Research and Innovation Center; Athens, Greece / Department of Computer Science, University of Piraeus; Athens, Greece
Gkiokas, Aggelos Institute for Language and Speech Processing (ILSP), Athena Research and Innovation Center; Athens, Greece
Lamerand, Quentin S3AM, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Piéchaud, Robert S3AM, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Acosta, Carlos Leopoly; Budapest, Hungary
Kaliakatsos-Papakostas, Maximos Institute for Language and Speech Processing (ILSP), Athena Research and Innovation Center; Athens, Greece
Katsouros, Vassilis Institute for Language and Speech Processing (ILSP), Athena Research and Innovation Center; Athens, Greece
Abstract
In this paper we present our current work on the development of a web-based system that allows users to design and interact with virtual music instruments in a virtual 3D environment, providing three natural and intuitive means of interaction (physical, gestural and mixed). By employing the Leap Motion sensor, we benefit from its high performance on providing accurate finger tracking data. The proposed system is integrated as a creative tool of a novel STEAM education platform that promotes science learning through musical activities. Our approach models two families of music instruments (stringed and percussion), with realistic sonic feedback by utilizing a physical model-based sound synthesis engine. Consequently, the proposed interface meets the performance requirements of real-time interaction systems and is implemented strictly with web technologies that allow platform independent functionality.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422593
Zenodo URL: https://zenodo.org/record/1422593
2018.29
Electroacoustic music composition in the Music School of Nicosia
Therapontos, Nasia European University Cyprus; Nicosia, Cyprus
Savva, Dimitrios The University of Sheffield; Sheffield, United Kingdom
Abstract
This paper presents the introduction of electroacoustic (e/a) music composition to the secondary education through a case study at the Music School of Nicosia, Cyprus. The teaching method focused on e/a music composition, through the processes of guided listening, analysis of compositions, recording, manipulation and editing of sounds, and culminated in a concert with compositions and live sound-diffusion by the students. The objective was to guide students with no previous knowledge of e/a music to compose original works with sounds. It is shown that it is possible, for students of young age, to produce high quality compositions after only 4 months of instruction and tutoring. We find that is important to maintain a high tutor-to-student ratio and that students with longer teaching periods (2 versus 1 weekly in our case study) produced higher quality compositions. At the end of the project 90\% of the students commented that they really enjoyed working on this project and were very satisfied with their results. Especially the students that reached a high level of quality of sound material and manipulation, expressed the desire to continue to listen to, and compose e/a music in the future.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422532
Zenodo URL: https://zenodo.org/record/1422532
2018.30
Encoding Byzantine Music Notation (Ca. 1600-1814)
Bouris, Nick Laboratory of Music Acoustics and Technology, Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Chaldaeakes, Achilleas Laboratory of Music Acoustics and Technology, Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Georgaki, Anastasia Laboratory of Music Acoustics and Technology, Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Abstract
This paper discusses a new method for encoding Byzantine Music Neumatic Notation (especially the one developed during the ‘transitory’ period 1670-1814). The Notation of this period is characterized by difficulties and peculiarities. The difficult access to Byzantine manuscripts and their deteriorated condition, complicate reading. In addition, our incomplete knowledge of the interpretation of signs impedes the comprehension of the musical text leading in results that are often in dispute. The fact that sign unions are complex enough together with their presence in various places in a composition make electronic transcriptions the ultimate challenge. Moreover, there does not exist a framework for data encoding and analysis. This work presents a proposal for the development of such a model for the old Byzantine Neumatic Notation in Python. The implementation of this project is still at an initial stage, and focuses, mostly, on the efficient digitization of old manuscripts. The system, even though fully functional, has certain limitations. Some signs are missing, and the musical text is created using microphotographies. Future developments of the program will focus on resolving these deficiencies and adding more features to the system.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.1422575
Zenodo URL: https://zenodo.org/record/1422575
2018.31
Evidence of Lateralization Cues in Grand and Upright Piano Sounds
Fontana, Federico Department of Mathematical, Informatic, and Physical Sciences, Università di Udine; Udine, Italy
Avanzini, Federico Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Papetti, Stefano Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
In a previous experiment we have measured the subjective perception of auditory lateralization in listeners who were exposed to binaural piano tone reproductions, under different conditions (normal and reversed-channel listening, manual or automatic tone production by a Disklavier, and disclosure or hiding of the same keys when they were autonomously moving during the automatic production of a tone.) This way, participants were engaged in a localization task under conditions also involving visual as well as proprioceptive (that is, relative to the position and muscular effort of their body parts) identification of the audio source with the moving key, even when the binaural feedback was reversed. Their answers, however, were clustered on a limited region of the keyboard when the channels were not reversed. The same region became especially narrow if the channels were reversed. In this paper we report about an acoustic analysis of the localization cues conducted on the stimuli that have been used in the aforementioned experiment. This new analysis employs a computational auditory model of sound localization cues in the horizontal plane. Results suggest that listeners used interaural level difference cues to localize the sound source, and that the contribution of visual and proprioceptive cues in the localization task was limited especially when the channels were reversed.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422510
Zenodo URL: https://zenodo.org/record/1422510
2018.32
Evoking Places from Spaces: The application of Multimodal Narrative Techniques in the Creation of “U - Modified”
Young, Gareth William National Centre for Geocomputation, National University of Ireland Maynooth; Maynooth, Ireland
Mannion, Siobhán Department of Music, University College Cork (UCC); Cork, Ireland
Wentworth, Sara Department of Music, University College Cork (UCC); Cork, Ireland
Abstract
Multimodal diegetic narrative tools, as applied in multimedia arts practices, possess the ability to cross the spaces that exist between the physical world and the imaginary. Within this paper we present the findings of a multidiscipline practice-based research project that explored the potential of an audio-visual art performance to purposefully interact with an audience’s perception of narrative place. To achieve this goal, research was undertaken to investigate the function of multimodal diegetic practices as applied in the context of a sonic-art narrative. This project direction was undertaken to facilitate the transformation of previous experiences of place through the creative amalgamation and presentation of collected audio and visual footage from real-world spaces. Through the presentation of multimedia relating to familiar geographical spatial features, the audience were affected to evoke memories of place and to construct and manipulate their own narrative.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.1422518
Zenodo URL: https://zenodo.org/record/1422518
2018.33
Fiddl: Evaluation of a Smartphone Based Application Designed for a Music Workshop for Children
Csapo, Gergely Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Holfelt, Jonas Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Bruun, Peter Figura Ensenble; Copenhagen, Denmark
Serafin, Stefania Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
Introducing music training to children can often present challenges, so alternative methods and tools different from traditional training are desirable. In this paper we describe the design and evaluation of an application for musical performance and playful expression targeted to children age 7-11. The application is tailored to fit into the context of a musical workshop named Small Composers, which is run by the FIGURA Ensemble. The application was evaluated in an actual workshop setting to assess how well it can it be integrated into the conventional session, and it was found to have potential for being part of future workshops.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422540
Zenodo URL: https://zenodo.org/record/1422540
2018.34
Formalizing Schoenberg’s Fundamentals of Musical Composition through Petri Nets
Baratè, Adriano Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Mauro, Davide Andrea Department of Computer and Information Technology, Marshall University; Huntington, United States
Haus, Goffredo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Ludovico, Luca Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Abstract
The formalization of musical composition rules is a topic that has been studied for a long time. It can lead to a better understanding of the underlying processes, and provide a useful tool for musicologist to aid and speed up the analysis process. In our attempt we introduce Schoenberg’s rules from Fundamentals of Musical Composition using a specialized version of Petri nets, called Music Petri nets. Petri nets are a formal tool for studying systems that are concurrent, asynchronous, distributed, parallel, nondeterministic, and/or stochastic. We present some examples highlighting how multiple approaches to the analysis task can find counterparts in specific instances of PNs.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.1422579
Zenodo URL: https://zenodo.org/record/1422579
2018.35
Frequency Control of Nonlinear Oscillators – Strategies for Realtime Sound Synthesis
Neukom, Martin Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
In sound synthesis nonlinear oscillators are used to produce sounds with rich spectra or as LFOs to produce envelopes and trajectories. The frequencies of nonlinear oscillators depend on various parameters and, in most cases, cannot be calculated. This paper presents some well-known nonlinear oscillators which have been implemented in several sound synthesis languages. It is shown how to measure the frequencies of these oscillators precisely in a fast and straightforward way. The fundamentals of feedback control are introduced and applied to the control of the frequencies of these oscillators by adapting their parameters or the time step of their simulation. For demonstration purposes the oscillators as well as the measurement and control systems have been implemented in mxj-externals for Max and provided for download from http://www.icst.net/downloads.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.1422639
Zenodo URL: https://zenodo.org/record/1422639
2018.36
From my Pen to your Ears: Automatic Production of Radio Plays from Unstructured Story Text
Chourdakis, Emmanouil Theofanis Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom
Reiss, Joshua Daniel Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom
Abstract
A radio play is a form of drama which exists in the acoustic domain and is usually consumed over broadcast radio. In this paper a method is proposed that, given a story in the form of unstructured text, produces a radio play that tells this story. First, information about characters, acting lines, and environments is retrieved from the text. The information extracted serves to generate a production script which can be used either by producers of radio-drama, or subsequently used to automatically generate the radio play as an audio file. The system is evaluated in two parts: precision, recall, and f1 scores are computed for the information retrieval part while multistimulus listening tests are used for subjective evaluation of the generated audio.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422536
Zenodo URL: https://zenodo.org/record/1422536
2018.37
GTTM Database and Manual Time-span Tree Generation Tool
Hamanaka, Masatoshi Music Information Intelligence Team, RIKEN; Tokio, Japan
Hirata, Keiji Future University Hakodate; Hakodate, Japan
Tojo, Satoshi Japan Advanced Institute of Science and Technology (JAIST); Kanazawa, Japan
Abstract
This paper describes the publication of a musical structure analysis database and a tool for manually generating time-span trees on the basis of the generative theory of tonal music (GTTM). We previously analyzed 300 pieces of music with the analysis database and the analysis editor on the basis of the GTTM. However, the length of each piece was about eight bars (which is short), and the conventional analysis editor did not work for pieces of music with a large number of bars and notes, which thus took a lot of time to manually edit. Therefore, we developed a tool for manually generating time-span tree analyses for the GTTM that can manipulate a piece of music with a large number of bars and notes. Four musicologists developed an analysis database of 50 musical pieces of 32 bars in length by using the manual generation tool. The experimental results show that the average editing time with the time-span tree generation tool is shorter than that with the previous tool.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422651
Zenodo URL: https://zenodo.org/record/1422651
2018.38
HamoKara: A System for Practice of Backing Vocals for Karaoke
Shiraishi, Mina College of Humanities and Sciences, Nihon University; Tokyo, Japan
Ogasawara, Kozue College of Humanities and Sciences, Nihon University; Tokyo, Japan
Kitahara, Tetsuro College of Humanities and Sciences, Nihon University; Tokyo, Japan
Abstract
Creating harmony in karaoke by a lead vocalist and a backing vocalist is enjoyable, but backing vocals are not easy for non-advanced karaoke users. First, it is difficult to find musically appropriate submelodies (melodies for backing vocals). Second, the backing vocalist has to practice backing vocals in advance in order to play backing vocals accurately, because singing submelodies is often influenced by the singing of the main melody. In this paper, we propose a backing vocals practice system called HamoKara. This system automatically generates a submelody with a rulebased or HMM-based method, and provides users with an environment for practicing backing vocals. Users can check whether their pitch is correct through audio and visual feedback. Experimental results show that the generated submelodies are musically appropriate to some degree, and the system helped users to learn to sing submelodies to some extent.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422675
Zenodo URL: https://zenodo.org/record/1422675
2018.39
Haptic Interaction with Guitar and Bass Virtual Strings
Passalenti, Andrea Department of Mathematical, Informatic, and Physical Sciences, Università di Udine; Udine, Italy
Fontana, Federico Department of Mathematical, Informatic, and Physical Sciences, Università di Udine; Udine, Italy
Abstract
A multimodal simulation of instrumental virtual strings is proposed. The system presents two different scenes under the Unity3D software, respectively representing guitar and bass strings. Physical interaction is enabled by a Sensable Technologies PhantomTM Omni, a portable haptic device with six degrees of freedom. Thanks to this device, credible physically-modeled haptic cues are returned by the virtual strings. Audio and visual feedback are dealt with by the system, too. Participants in a pilot user test appreciated the simulation especially concerning the haptic component.
Keywords
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unknown
DOI: 10.5281/zenodo.1422635
Zenodo URL: https://zenodo.org/record/1422635
2018.40
Improving the Instrumental Learning Experience through Complexity Management
Pardue, Laurel Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom / Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
McPherson, Andrew P. Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom
Overholt, Daniel Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
This position paper introduces the concept of complexity management in instrument design as a means to optimize the learning rewards cycle in an effort to maintain player motivation. Successful fluency and expertise on an instrument requires sustained practice. In the quest to enable exceptional levels of expression, instruments designed for virtuosic performance often have a high level of complexity, which can be overwhelming for a beginner, decreasing practice motivation. Here we explain complexity management, the idea of intentionally limiting instrument complexity on a temporary basis so that instrument difficulty is optimally matched to user skill and users always remain capable of focused learning and enjoy sufficient musical success to motivate continued practice. We discuss the relevance of Csikszentmihalyi’s ideas about flow, along with concepts from traditional music learning, such as chunking and internalization, along with the importance of practice and enjoyment. We then propose our own concept of learning efficiency and the importance of controlling challenge. Finally, we introduce our own experiments into complexity management using the violin, an existing example of an instrument with high input complexity. We discuss the effects of simplifying intonation in order to make early musical success easier along with plans for further investigations.
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unknown
DOI: 10.5281/zenodo.1422538
Zenodo URL: https://zenodo.org/record/1422538
2018.41
Inside the intimate zone: The case of aural micro-space in multichannel compositional practice
Stavropoulos, Nikos Leeds Beckett University; Leeds, United Kingdom
Abstract
This paper aims to present the notion of aural microspace, an area whose aural architecture is not accessible unless it is mediated by recording technology and discuss the exploration of this concept in compositional practice. The author analyses the characteristics of acoustic space from a spectromorphological, cultural and technical perspective, with a focus on auditory intimacy and is proposing novel ways for working in this domain with references to two multichannel acousmatic works, Topophilia and Karst Grotto.
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unknown
DOI: 10.5281/zenodo.1422524
Zenodo URL: https://zenodo.org/record/1422524
2018.42
Interactive Exploration of Musical Space with Parametric t-SNE
Lionello, Matteo Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Purwins, Hendrik Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Pietrogrande, Luca Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark / CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Abou-Zleikha, Mohamed Moodagent; Copenhagen, Denmark / Entrepreneur First; London, United Kingdom
Abstract
This paper presents a user interface for the exploration of music libraries based on parametric t-SNE. Each song in the music library is represented as a stack of 34-dimensional vectors containing features related to genres, emotions and other musical characteristics. Parametric t-SNE is used to construct a model that extracts a pair of coordinates from these features for each song, preserving similarity relations between songs in the high dimensional-feature space and their projection in a two-dimensional space. The two-dimensional output of the model will be used for projecting and rendering a song catalogue onto a plane. We have investigated different models, which have been obtained by using different structures of hidden layers, pre-training technique, features selection, and data pre-processing. These results are an extension of a previous project published by Moodagent Company, which show that the clustering adaptation of genres and emotions, that is obtained by using parametric t-SNE, is by far more accurate than the previous methods based on PCA. Finally, our study proposes a visual representation of the resulting model. The model has been used to build a music-space of 20000 songs, visually rendered for browser interaction. This provides the user with a certain degree of freedom to explore the music-space by changing the highlighted features and it offers an immersive experience for music exploration and playlist generation.
Keywords
not available
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unknown
DOI: 10.5281/zenodo.1422557
Zenodo URL: https://zenodo.org/record/1422557
2018.43
Ko2 - Distributed Music Systems With O2 and Kronos
Norilo, Vesa Centre for Music and Technology, Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Dannenberg, Roger B. Carnegie Mellon University; Pittsburgh, United States
Abstract
KO2 is a platform for distributed musical applications, consisting of the messaging protocol O2 and the signal processing language Kronos. This study is an effort to use O2 as a comprehensive communications framework for inter-process signal routing, including clock synchronization and audio. The Kronos compiler is exposed as an O2 service, allowing remotely specified programs to be compiled and run in near real-time on various devices in the network.
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unknown
DOI: 10.5281/zenodo.1422645
Zenodo URL: https://zenodo.org/record/1422645
2018.44
Makam Recognition Using Extended Pitch Distribution Features and Multi-Layer Perceptrons
Yesiler, Furkan Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Bozkurt, Barıs Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
This work focuses on automatic makam recognition task for Turkish makam music (TMM) using pitch distributions that are widely used in mode recognition tasks for various music traditions. Here, we aim to improve the performance of previous works by extending distribution features and performing parameter optimization for the classifier. Most music theory resources specifically highlight two aspects of the TMM makam concept: use of microtonal intervals and an overall melodic direction that refers to the design of melodic contour on the song/musical piece level. Previous studies for makam recognition task already utilize the microtonal aspect via making use of high resolution histograms (using much finer bin width than one 12th of an octave). This work considers extending the distribution feature by including distributions of different portions of a performance to reflect the long-term characteristics referred in theory for melodic contour, more specifically for introduction and finalis. Our design involves a Multi-Layer Perceptron classifier using an input feature vector composed of pitch distributions of the first and the last sections together with the overall distribution, and the mean accuracy of 10 iterations is 0.756. The resources used in this work are shared for facilitating further research in this direction.
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unknown
DOI: 10.5281/zenodo.1422577
Zenodo URL: https://zenodo.org/record/1422577
2018.45
Mapping Pitch Classes And Sound Objects: A Bridge Between Klumpenhouwer Networks And Schaeffer’s TARTYP
Neuman, Israel Iowa Wesleyan University; Mount Pleasant, United States
Abstract
We present an interactive generative method for bridgingbetween sound-object composition rooted in Pierre Schaeffer’s TARTYP taxonomy and transformational pitch-class composition ingrainedin Klumpenhouwer Networks. We create a quantitative representation of soundobjectswithin an ordered sound space. We use this representation to define a probability-based mapping of pitch classes to sound objects. We demonstrate the im-plementation of the method in a real-time compositional process that also utilizes our previous work on aTARTYP generative grammar tool and an interactive K-Network tool.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.1422659
Zenodo URL: https://zenodo.org/record/1422659
2018.46
Metric Interweaving in Networked Dance and Music Performance
Zannos, Ioannis Department of Audiovisual Arts, Ionian University; Corfu, Greece
Carlé, Martin Department of Audiovisual Arts, Ionian University; Corfu, Greece
Abstract
The present work explores the potential of networked interaction through dance. The paper reports the conception and initial implementation steps of an ongoing project, with public presentations planned for June and October 2018. The project's main objective is to extend the interaction paradigm of live coding through intimate coupling to human body movement using wearable devices. Our target is a performance involving dancers in separate locations, whose movements are tracked with magnetic and acceleration-based sensors on wireless wearable devices. In this way, two or more dancers performing concurrently in distant locations can jointly create a performance by sharing data measured by the sensors. Inspired by traditional african music practices, where several musicians play on one instrument creating interlocking rhythmic patterns, and by research on rhythmical interweaving (epiplokē) of ancient greek metrical theory, we use the data to modulate the metric patterns in the performance in order to weave rhythmic patterns. We discuss the design choices and implementation challenges for a performance. The second main objective is to develop a prototype that demonstrates the use of literate programming and reproducible research practices with open source tools and evaluates the advantages of such techniques for development as well as for dissemination and ultimately educational purposes. We develop new tools and workflows using EMACS and org-mode as a platform for both documentation and development on an embedded wearable device made with CHIP-PRO. We show the benefits of using this environment both for documentation and for streamlining and speeding up the development process.
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unknown
DOI: 10.5281/zenodo.1422665
Zenodo URL: https://zenodo.org/record/1422665
2018.47
Microphone-based Electronic Wind Instrument by Feature Extraction From Breath Signals
Bigoni, Francesco Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Christensen, Pelle Juul Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Eklund, Rasmus Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Molina Garcia, Javier Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Erkut, Cumhur Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
An electronic wind instrument is an analog or digital electronic instrument actuated by blowing onto an electronic sensor. Through the history of electronic wind instruments, the refinement of the physical interfaces has not been followed by major innovations regarding breath and embouchure detection: the industry is still largely relying on pressure sensors for measuring air flow. We argue that many sound production techniques for acoustic wind instruments depend on breath quality in addition to breath quantity, and that most of the commercially available electronic options do not account for this. A series of breath signal measurements indicated that an electret microphone flush-mounted in a plastic tube is a suitable sensor for feature extraction of the player’s breath. Therefore, we propose the implementation of an electronic wind instrument, which captures the envelope and frequency content of the breath and detects whether the signal is voiced or unvoiced. These features are mapped to the parameters of an FM synthesizer, with an external MIDI keyboard providing pitch control. A simple evaluation shows that the proposed implementation is able to capture the intended signal features, and that these translate well into the character of the output signal. A short performance was recorded to demonstrate that our instrument is potentially suitable for live applications.
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unknown
DOI: 10.5281/zenodo.1422534
Zenodo URL: https://zenodo.org/record/1422534
2018.48
Modeling Carnatic Rhythm Generation: a Data Driven Approach Based on Rhythmic Analysis
Guedes, Carlos New York University Abu Dhabi; Abu Dhabi, United Arab Emirates
Trochidis, Konstantinos New York University Abu Dhabi; Abu Dhabi, United Arab Emirates
Anantapadmanabhan, Akshay Independent; Finland
Abstract
In this paper, we present a data-driven approach for automatically generating South Indian rhythmic patterns. The method uses a corpus of Carnatic percussion compositions and grooves performed in adi tala – a uniform eight-beat cycle. To model the rhythmic structure and the generation process of phrasings that fit within the tala cycles, we use a set of arithmetic partitions that model the strategies used by professional Carnatic percussionists in their performance. Each partition consists of combinations of stroke sequences. This modeling approach has been validated in terms of the groupings used in this music idiom by direct discussions with Carnatic music experts. Two approaches were used for grouping the sequences of strokes into meaningful rhythmic patterns. The first is based on a well-formed dictionary of prerecorded phrase variations of stroke groupings and the second one on a segmentation algorithm that works by comparing the distance of adjacent strokes. The sequences of strokes from both approaches were later analyzed and clustered by similarity. The results from these analyses are discussed and used to improve existing generative approaches for modelling this particular genre by emulating Carnatic-style percussive sequences and creating rhythmic grooves. The creation of these tools can be used by musicians and artists for creative purposes in their performance and also in music education as a means of actively enculturing lay people into this musical style.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.1422615
Zenodo URL: https://zenodo.org/record/1422615
2018.49
Navigate as a Bat. Real-Time Echolocation System in Virtual Reality
Andreasen, Anastassia Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Zovnercuka, Jelisaveta Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Konovalovs, Kristians Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Geronazzo, Michele Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Serafin, Stefania Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Paisa, Razvan Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
Several studies provide evidence that blind people orient themselves using echolocation, transmitting signals with mouth clicks. Our previous study within embodiment in Virtual Reality (VR) showed the possibility to enhance a Virtual Body Ownership (VBO) illusion over a body morphologically different from human in the presence of agency. In this paper, we explore real-time audio navigation with echolocation in Virtual Environment (VE) in order to create a feeling of being a virtual bat. This includes imitation of the sonar system, which might help to achieve a stronger VBO illusion in the future, as well as build an echolocation training simulator. Two pilot tests were conducted using a within-subject study design, exploring time and traveled distance during spatial orientation in VE. Both studies, involved four conditions – early reflections, reverb, early reflections-reverb (with deprived visual cues) and finally vision. This resulted in preferred reflection pulses for the test subjects with musical background, while only reverberation features were favored by non-musicians, when being exposed to VE walking-based task.
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not available
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unknown
DOI: 10.5281/zenodo.1422555
Zenodo URL: https://zenodo.org/record/1422555
2018.50
Nawba Recognition for Arab-andalusian Music Using Templates From Music Scores
Pretto, Niccolò CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Bozkurt, Barıs Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Caro Repetto, Rafael Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
The Arab-Andalusian music is performed through nawabāt (plural of nawba), suites of instrumental and vocal pieces ordered according to their metrical pattern in a sequence of increasing tempo. This study presents for the first time in literature a system for automatic recognition of nawba for audio recordings of the Moroccan tradition of ArabAndalusian music. The proposed approach relies on template matching applied to pitch distributions computed from audio recordings. The templates have been created using a data-driven approach, utilizing a score collection categorized into nawabāt. This methodology has been tested on a dataset of 58 hours of music: a set of 77 recordings in eleven nawabāt from the Arab-Andalusian corpus collected within the CompMusic project and stored in Dunya platform. An accuracy of 75\% on the nawba recognition task is reported using Euclidean distance (L2) as distance metric in the template matching.
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not available
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unknown
DOI: 10.5281/zenodo.1422623
Zenodo URL: https://zenodo.org/record/1422623
2018.51
NordicSMC: a Nordic University Hub on Sound and Music Computing
Serafin, Stefania Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Dahl, Sofia Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Bresin, Roberto Department of Electrical Engineering and Computer Science, KTH Royal Institute of Technology; Stockholm, Sweden
Jensenius, Alexander Refsum RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo; Oslo, Norway
Unnthorsson, Runar University of Iceland; Reykjavik, Iceland
Välimäki, Vesa Department of Signal Processing and Acoustics (SPA), Aalto University; Espoo, Finland
Abstract
Sound and music computing (SMC) is still an emerging field in many institutions, and the challenge is often to gain critical mass for developing study programs and undertake more ambitious research projects. We report on how a long-term collaboration between small and medium-sized SMC groups have led to an ambitious undertaking in the form of the Nordic Sound and Music Computing Network (NordicSMC), funded by the Nordic Research Council and institutions from all of the five Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden). The constellation is unique in that it covers the field of sound and music from the “soft” to the “hard,” including the arts and humanities, the social and natural sciences, and engineering. This paper describes the goals, activities, and expected results of the network, with the aim of inspiring the creation of other joint efforts within the SMC community.
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unknown
DOI: 10.5281/zenodo.1422528
Zenodo URL: https://zenodo.org/record/1422528
2018.52
#nowplaying-RS: A New Benchmark Dataset for Building Context-Aware Music Recommender Systems
Poddar, Asmita National Institute of Technology Rourkela; Rourkela, India
Zangerle, Eva University of Innsbruck; Innsbruck, Austria
Yang, Yi-Hsuan Research Center for IT Innovation, Academia Sinica; Taipei, Taiwan
Abstract
Music recommender systems can offer users personalized and contextualized recommendation and are therefore important for music information retrieval. An increasing number of datasets have been compiled to facilitate research on different topics, such as content-based, context-based or next-song recommendation. However, these topics are usually addressed separately using different datasets, due to the lack of a unified dataset that contains a large variety of feature types such as item features, user contexts, and timestamps. To address this issue, we propose a large-scale benchmark dataset called #nowplaying-RS, which contains 11.6 million music listening events (LEs) of 139K users and 346K tracks collected from Twitter. The dataset comes with a rich set of item content features and user context features, and the timestamps of the LEs. Moreover, some of the user context features imply the cultural origin of the users, and some others—like hashtags—give clues to the emotional state of a user underlying an LE. In this paper, we provide some statistics to give insight into the dataset, and some directions in which the dataset can be used for making music recommendation. We also provide standardized training and test sets for experimentation, and some baseline results obtained by using factorization machines.
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not available
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unknown
DOI: 10.5281/zenodo.1422565
Zenodo URL: https://zenodo.org/record/1422565
2018.53
Perceiving Agent Collaborative Sonic Exploration in Interactive Reinforcement Learning
Scurto, Hugo STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bevilacqua, Frédéric STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Caramiaux, Baptiste STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
We present the first implementation of a new framework for sound and music computing, which allows humans to explore musical environments by communicating feedback to an artificial agent. It is based on an interactive reinforcement learning workflow, which enables agents to incrementally learn how to act on an environment by balancing exploitation of human feedback knowledge and exploration of new musical content. In a controlled experiment, participants successfully interacted with these agents to reach a sonic goal in two cases of different complexities. Subjective evaluations suggest that the exploration path taken by agents, rather than the fact of reaching a goal, may be critical to how agents are perceived as collaborative. We discuss such quantitative and qualitative results and identify future research directions toward deploying our “co-exploration” approach in real-world contexts.
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unknown
DOI: 10.5281/zenodo.1422507
Zenodo URL: https://zenodo.org/record/1422507
2018.54
Perception of Mechanical Sounds Inherent to Expressive Gestures of a NAO Robot - Implications for Movement Sonification of Humanoids
Frid, Emma Department of Electrical Engineering and Computer Science, KTH Royal Institute of Technology; Stockholm, Sweden
Bresin, Roberto Department of Electrical Engineering and Computer Science, KTH Royal Institute of Technology; Stockholm, Sweden
Alexandersson, Simon Department of Electrical Engineering and Computer Science, KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
In this paper we present a pilot study carried out within the project SONAO. The SONAO project aims to compensate for limitations in robot communicative channels with an increased clarity of Non-Verbal Communication (NVC) through expressive gestures and non-verbal sounds. More specifically, the purpose of the project is to use movement sonification of expressive robot gestures to improve Human-Robot Interaction (HRI). The pilot study described in this paper focuses on mechanical robot sounds, i.e. sounds that have not been specifically designed for HRI but are inherent to robot movement. Results indicated a low correspondence between perceptual ratings of mechanical robot sounds and emotions communicated through gestures. In general, the mechanical sounds themselves appeared not to carry much emotional information compared to video stimuli of expressive gestures. However, some mechanical sounds did communicate certain emotions, e.g. frustration. In general, the sounds appeared to communicate arousal more effectively than valence. We discuss potential issues and possibilities for the sonification of expressive robot gestures and the role of mechanical sounds in such a context. Emphasis is put on the need to mask or alter sounds inherent to robot movement, using for example blended sonification.
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unknown
DOI: 10.5281/zenodo.1422499
Zenodo URL: https://zenodo.org/record/1422499
2018.55
Quantitative Analysis of the Impact of Mixing on Perceived Emotion of Soundscape Recordings
Fan, Jianyu School of Computing Science, Simon Fraser University; Vancouver, Canada
Thorogood, Miles School of Computing Science, Simon Fraser University; Vancouver, Canada
Tatar, Kıvanç School of Computing Science, Simon Fraser University; Vancouver, Canada
Pasquier, Philippe School of Computing Science, Simon Fraser University; Vancouver, Canada
Abstract
Previous studies have shown that people agree with each other on the perceived valence and arousal for soundscape recordings. This study investigates whether we can compute the perceived emotion of the mixedsoundscape recordings based on the perceived emotion of source soundscape recordings. We discovered quantifiable trends in the effect of mixing on the perceived emotion of soundscape recordings. Regression analysis based on the trajectory observation resulted in coefficients with high R2 values. We found that the change of loudness of a source soundscape recording had an influence on its weight on the perceived emotion of mixed-soundscape recordings. Our visual analysis of the center of mass data plots found the specific patterns of the perceived emotion of the source soundscape recordings that belong to different soundscape categories and the perceived emotion of the mix. We also found that when the difference in valence/arousal between two source soundscape recordings is larger than a given threshold, it is highly likely that the valence/arousal of the mix is in between the valence/arousal of two source soundscape recordings.
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not available
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unknown
DOI: 10.5281/zenodo.1422591
Zenodo URL: https://zenodo.org/record/1422591
2018.56
Real-time Bowed String Feature Extraction for Performance Applications
Buys, Kurijn Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom
McPherson, Andrew P. Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom
Abstract
Although the physics of the bowed violin string are well understood, most audio feature extraction algorithms for violin still rely on general-purpose signal processing methods with latencies and accuracy rates that are unsuitable for real-time professional-calibre performance. Starting from a pickup which cleanly captures the motion of the bowed string with minimal colouration from the bridge and body, we present a lightweight time-domain method for modelling string motion using segmented linear regression. The algorithm leverages knowledge of the patterns of Helmholtz motion to produce a set of features which can be used for control of real-time synthesis processes. The goal of the paper is not a back-extraction of physical ground truth, but a responsive, low-latency feature space suitable for performance applications.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.1422597
Zenodo URL: https://zenodo.org/record/1422597
2018.57
Recreating an instrument inspired by the glass harmonica using fabrication techniques and physical models
Paisa, Razvan Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Serafin, Stefania Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
This paper describes the process of recreating a glass harmonica inspired new interface for musical expression. In order to design and implement this interface, a number of technologies have been incorporated in the development process. By combining fabrication techniques like laser cutting and 3D printing, a one octave chromatic scale replica interface has been built. The interaction was facilitated by using a MPR121 capacitive sensing chip paired with an Arduino Uno. The interface controls a physics based model of a glass harmonica. We present a preliminary evaluation of the interface as a solo instrument. This project is the continuation of a series of experiments whose goal is to recreate some musical instruments from the Danish Musical Instruments’ museum using fabrication techniques and sound synthesis. The ultimate goal is to encourage visitors of the museum to play with a replica of the instruments, in order to experience their gestural interaction, playability and sound quality, without touching the precious original counterpart.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.1422571
Zenodo URL: https://zenodo.org/record/1422571
2018.58
Relative DTW Embedding for Binary Classification of Audio Data
Queiroz, Marcelo Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Yoshimura, Guilherme Jun Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Abstract
This paper presents a novel classification technique for datasets of similar audio fragments with different durations, that allows testing pertinence of fragments without the need of embedding data in a common representation space. This geometrically-motivated technique considers direct DTW measurements between alternative different-sized representations, such as MFCCgrams or chromagrams, and defines the classification problem over relative embeddings based on point-to-set distances. The proposed technique is applied to the classification of voice recordings containing both normal and disturbed speech utterances, showing that it significantly improves performance metrics with respect to usual alternatives for this type of classification, such as bag-of-words histograms and Hidden-Markov Models. An experiment was conducted using the Universal Access Speech database (UA-Speech) from the University of Illinois, which contains over 700 different words recorded by 19 dysarthric speakers and 13 speakers without any speech disorder. The method proposed here achieved a global Fmeasure (with 10-fold cross-validation) above 95\%, against 81\% for a bag-of-words classification and 83\% for Hidden Markov Models.
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unknown
DOI: 10.5281/zenodo.1422585
Zenodo URL: https://zenodo.org/record/1422585
2018.59
Simulating the Acoustic Environment of Two Historical Viennese Theaters
Westergaard, Brandon Center for Music Technology, Georgia Institute of Technology; Atlanta, United States
Hsu, Timothy Center for Music Technology, Georgia Institute of Technology; Atlanta, United States
Abstract
Historic performance spaces throughout the world have stood the test of time, in many cases reportedly due to their superior acoustics. Numerous studies focus on measurements made within these spaces to verify or disprove these claims. Regardless of the reason for their demise, the reputations of a number of historic theaters have been maintained due to the significance of their performances and premieres. Not all these spaces remain in the present day for modern study and analysis; however, current computational technologies allow extinct theaters to be digitally reconstructed and simulated. This work focuses on the construction of models and acoustic simulations for two notable Viennese theaters from the 18th century. Analysis elucidates how room acoustics may have been perceived within the spaces during a period when opera and theater were thriving in the region. Moreover, the acoustic characteristics of these theaters are compared to the standards of modern metrics. In doing so, a determination of the quality of each venue is made.
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not available
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unknown
DOI: 10.5281/zenodo.1422550
Zenodo URL: https://zenodo.org/record/1422550
2018.60
SketchyTuna: Exploring A Design For Screenless Creativity
Møller, Nikolaj Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Overholt, Daniel Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Carpenter, Vanessa Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Stella, Antonio Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Kampmann, Baldur Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Minovski, Martin Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Maunsbach, Martin Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
In this paper we explore the idea of transforming a portable speaker into an interactive music sketch pad using low and high fidelity prototyping. We present research into the current state of the art of musical sketch pads and specify the requirements for a new concept based on pressure-sensitive conductive fabric. We developed a virtual prototype and subjected it to user testing. Results from the user test led to the design and implementation of a high fidelity prototype based on a single-board computer with an additional audio interface communicating with a custom embedded MIDI controller. A real-time, loop-based musical software platform was developed as part of the high fidelity prototype. Finally, user test results are presented and discussed.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422633
Zenodo URL: https://zenodo.org/record/1422633
2018.61
Sonic Crossings with Audience Participation: The Embodied iSound Performance
Gimenes, Marcelo Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
This paper introduces how a participatory performance named Embodied iSound gathered a number of technologies, sound and music in order to explore the experience of sonic crossings. The main components of the experience are introduced, from the inception of design, inspired by contemporary social and political events, to the implementation of technical solutions. Among these, participants’ gestures and movements are tracked in order to control sound generation and spatialization. The physicality of a performance space is used to enable an allinclusive listening experience that activates all senses as well as personal and collective memories. The performance was evaluated by the audience who provided encouraging feedback, in particular regarding embodiment, interaction, and immersiveness.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422673
Zenodo URL: https://zenodo.org/record/1422673
2018.62
Sonoids: Interactive Sound Synthesis Driven by Emergent Social Behaviour in the Sonic Domain
Apergis, Andreas Hellenic Open University (EAP); Patras, Greece
Kaliakatsos-Papakostas, Maximos Institute for Language and Speech Processing (ILSP), Athena Research and Innovation Center; Athens, Greece
Floros, Andreas Department of Audiovisual Arts, Ionian University; Corfu, Greece
Abstract
Artificial Intelligence (AI) algorithms have been extensively employed for generating art in many forms. From image generation to sound design, the self-emergence of structures in such algorithms make them suitable for exploring forms of computational creativity in automated generation of art. This work explores sound synthesis by combining swarm intelligence, user interaction and a novel sonic communication protocol between socially-capable artificial agents. These are termed “Sonoids” and socially behave following the well-known boids algorithm but perceive their environment (positions, velocities and identities of other agents) through sound. For the purposes of the work, the overall sound–synthesis environment is demonstrated as an iOS application that handles the Sonoids movement and sonifies their social interaction. User interaction is additionally allowed, which can modify specific parameters of the sonic communication protocol, leading to rich sonifications that present self-emergent structure.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422681
Zenodo URL: https://zenodo.org/record/1422681
2018.63
Soundscape Emotion Recognition via Deep Learning
Fan, Jianyu School of Computing Science, Simon Fraser University; Vancouver, Canada
Tung, Fred School of Computing Science, Simon Fraser University; Vancouver, Canada
Li, William School of Computing Science, Simon Fraser University; Vancouver, Canada
Pasquier, Philippe School of Computing Science, Simon Fraser University; Vancouver, Canada
Abstract
Deep learning has proven very effective in image and audio classification tasks. Is it possible to improve the performance of emotion recognition tasks based on deep learning approaches? We introduce the strength of deep learning in the context of soundscape emotion recognition (SER). To the best of our knowledge, this is the first study to use deep learning for SER. The main aims are to evaluate the performance of the Convolutional Neural Network (CNN) trained from scratch, the Long ShortTerm Memory Recurrent Neural Networks (LSTM-RNN) trained from scratch, the CNN trained through supervised fine-tuning, the Support Vector Machines for Regression (SVR), and the combination of CNN and SVR (Transfer Learning) for predicting the perceived emotion of soundscape recordings. The results show that deep learning is a promising approach for improving the performance for SER. Moreover, the fine-tuned VGG-like audio classification model outperforms the other deep-learning frameworks regarding predicting valence. The best performance of predicting arousal is obtained by the CNN trained from scratch. Finally, we analyze the performance of predicting perceived emotion for soundscape recordings in each of Schafer's soundscape categories.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422589
Zenodo URL: https://zenodo.org/record/1422589
2018.64
Stability, Reliability, Compatibility: Reviewing 40 Years of DMI Design
Sullivan, John Input Devices and Music Interaction Laboratory (IDMIL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Wanderley, Marcelo M. Input Devices and Music Interaction Laboratory (IDMIL), Schulich School of Music, Music Technology Area, McGill University; Montreal, Canada
Abstract
Despite the proliferation of new digital musical instruments (DMIs) coming from a diverse community of designers, researchers and creative practitioners, many of these instruments experience short life cycles and see little actual use in performance. There are a variety of reasons for this, including a lack of established technique and repertoire for new instruments, and the prospect that some designs may be intended for other purposes besides performance. In addition, we propose that many designs may not meet basic functional standards necessary for an instrument to withstand the rigors of real-world performance situations. For active and professional musicians, a DMI might not be viable unless these issues have been specifically addressed in the design process, as much as possible, to ensure troublefree use during performance. Here we discuss findings from user surveys around the design and use of DMIs in performance, from which we identify primary factors relating to stability, reliability and compatibility that are necessary for their dependable use. We then review the state of the art in new instrument design through 40 years of proceedings from three conferences - ICMC, NIME, and SMC - to see where and how these have been discussed previously. Our review highlights key factors for the design of new instruments to meet the practical demands of real-world use by active musicians.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422595
Zenodo URL: https://zenodo.org/record/1422595
2018.65
Stream Segregation: Utilizing Harmonic Variance in Auditory Graphs
Fitzpatrick, Joe Interactive Systems Research Group (ISRG), Limerick Institute of Technology; Limerick, Ireland
Neff, Flaithrí Interactive Systems Research Group (ISRG), Limerick Institute of Technology; Limerick, Ireland
Abstract
The sonification of line charts, from which auditory line charts are produced is a common sonification strategy used today. This paper examines timbre as a potentially useful sonic dimension for relaying information in sonified line charts. A user-study is presented in which 43 participants were tasked with identifying particular trends among multiple distractor trends using sonified data. These sonified data comprised frequency-mapped trends isolated with the gradual enrichment of harmonic content, using a sawtooth wave as a guideline for the overall harmonic structure. Correlations between harmonic content and identification success rates were examined. Results from the study indicate that the majority of participants consistently chose the sample with the most harmonics when deciding which sonified trend best represented the visual equivalent. However, this confidence decreased with each harmonic addition to the point of complete uncertainty when choosing between a sample with 3 harmonics and a sample with 4 harmonics.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422501
Zenodo URL: https://zenodo.org/record/1422501
2018.66
Strumming on an Acoustic Nylon Guitar: Microtiming, Beat Control and Rhythmic Expression in Three Different Accompaniment Patterns
Freire, Sérgio School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Armondes, Augusto School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Viana, João School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Silva, Rubens School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Abstract
The paper presents an exploratory study about the guitar strumming technique, based on three different accompaniment patterns. The experiments were held with an acoustic nylon guitar equipped with hexaphonic pickups, and focused on different features of this technique. It was possible to note a diversity of strategies for beat control and rhythmic expression employed by different musicians, which may be described by technical, perceptive and expressive factors. The results also display preliminary quantitative boundaries for the distinction between block, strummed and arpeggio chords.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422685
Zenodo URL: https://zenodo.org/record/1422685
2018.67
Teaching Programming in Secondary Education through Sound
Sklirou, Theofani Department of Informatics and Telecommunications, University of the Peloponnese; Tripoli, Greece
Andreopoulou, Areti Laboratory of Music Acoustics and Technology, Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Georgaki, Anastasia Laboratory of Music Acoustics and Technology, Department of Music Studies, National and Kapodistrian University of Athens; Athens, Greece
Abstract
It is considered hard to teach programming in secondary education, while following the steps of the provided curriculum. However, when teaching is supported by suitable methodologies, learning can be ameliorated. Under this premise, this paper discusses a different teaching approach to programming in secondary education and examines the potential benefit of sound-alerts as a complementary teaching tool. Such alerts were created by pairing sound stimuli to specific programming actions and operations. Both the selection of sound stimuli as well as the potential impact of the use of sound alerts on programming were evaluated through perceptual studies. Results showed that participants preferred synthesized to natural (pre-recorded) stimuli for all types of alerts. It was also revealed that users prefer sound-alerts associated to pending actions, errors, and successful code execution, over alerts highlighting a step-by-step execution of the code.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422526
Zenodo URL: https://zenodo.org/record/1422526
2018.68
The BodyHarp: Designing the Intersection Between the Instrument and the Body
Cavdir, Doga Buse Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Wang, Ge Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
Mutualizing the body and the instrument offers a different way of thinking about designing embodied musical interfaces. This research presents the design of the BodyHarp, a wearable instrument that combines large bodybased gestures with the fine control of hand-based instruments. This reflects a desire to create a single interface that both captures expressive, dance-like, body movement as well as nuanced gestural interactions. The BodyHarp was not designed as a separate artifact, but rather it was crafted as an augmentation to the human body. This fusion seeks to enhance the sense of intimacy between the player and the instrument and carries a different type of aesthetic — like playing a traditional instrument (the harp) but as part of the body. In other words, the BodyHarp aims to capture creative body movement and placing it in an instrumental context. In doing so, we aim to blur the transition between two gestural mediums (dance and playing an instrument) by mutualizing them — or, in a sense, by designing the interface as a part of the body.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422667
Zenodo URL: https://zenodo.org/record/1422667
2018.69
Time lapse video sonification; watching and listening to events unfolding
Karakonstantis, Xenofon Department of Electrical and Computer Engineering, National Technical University of Athens; Athens, Greece
Bakogiannis, Konstantinos Department of Electrical and Computer Engineering, National Technical University of Athens; Athens, Greece
Cambourakis, George Department of Electrical and Computer Engineering, National Technical University of Athens; Athens, Greece
Georgaki, Anastasia Department of Music, University of Athens; Athens, Greece
Abstract
Sonificition is a constantly evolving field, with many implementations. There is a scientific need to adopt alternative methods of analysis, especially nowadays when the amount of data and their complexity is growing. Moreover, contemporary music relies often on algorithms, whereas there is an open discussion about the nature of algorithmic music. After Xenakis’ works, algorithmic music has gained great reputation. In the contemporary Avant Garde scene more and more composers use algorithmic structures, getting advantage of the modern powerful computers. In that project we aim to create music that accompanies time-lapse videos. Our purpose is to transform the visual informational content into music structures that enhance the experience and create a more complete audio-visual experience. For our application we use digital video processing techniques. Our concern is to capture the motion in the video and we focus on the arrangement of the dominant colours. We relate the background of the video with a background harmony and the moving items that stand out against the background with a melody. The parameters of the music rhythm and video pace are taken into consideration as well. Finally, we demonstrate a representative implementation, as a case study.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422516
Zenodo URL: https://zenodo.org/record/1422516
2018.70
Toward a Web of Audio Things
Matuszewski, Benjamin CICM, University Paris VIII; Paris, France
Bevilacqua, Frédéric STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Recent developments of web standards, such as WebAudio, WebSockets or WebGL, has permitted new potentialities and developments in the field of interactive music systems. Until now, research and development efforts have principally focused on the exploration and validation of the concepts and on building prototypes. Nevertheless, it remains important to provide stable and powerful development environments for artists or researchers. The present paper aims at proposing foundations to the development of an experimental system, by analysing salient properties of existing computer music systems, and showing how these properties could be transposed to web-based distributed systems. Particularly, we argue that changing our perspective from a Mobile Web to a Web of Thing approach could allow us to tackle recurrent problems of web-based setups. We finally describe a first implementation of the proposed platform and two prototype applications.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422567
Zenodo URL: https://zenodo.org/record/1422567
2018.71
Towards Creating an Augmented Handpan using Leap Motion
Steinmeier, Christine Bielefeld University of Applied Sciences (FH Bielefeld); Minden, Germany
Becking, Dominic Bielefeld University of Applied Sciences (FH Bielefeld); Minden, Germany
Abstract
n the last years handpans have gained more and more popularity and evolved to an idol of the public. They provide the possibility to produce tones and beautiful melodies rather then only transient sounds, like most other easy-touse percussive instruments. Considering the assumption that instruments with very simple interfaces offer a particularly suitable introduction to making music, it follows that handpans could also be used in early musical education. However, their interface itself is still abstract and not very informative about the kind of sounds it produces. For this reason, in this paper we present the concept and first prototype for an augmented digital handpan. In our concept we use Leap Motion to capture strokes on a plexiglass dome and give additional visual information for advices and learning instructions by augmentation with the help of projections on the surface.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422520
Zenodo URL: https://zenodo.org/record/1422520
2018.72
Towards Flexible Audio Processing
Koch, Thilo Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo Department of Computer Science, University of São Paulo (USP); São Paulo, Brazil
Abstract
In this paper we introduce a flexibilization mechanism for audio processing that allows the dynamic control of a tradeoff between computational cost and quality of the output. This mechanism can be used to adapt signal processing algorithms to varying CPU load conditions in critical realtime applications that require uninterrupted delivery of audio blocks at a fixed rate in the presence of processor overload. Flexibilization takes place through the control of parameters in elementary signal processing modules that are combined to form more complex processing chains. We discuss several instances of audio processing tasks that can be flexibilized along with a discussion of their flexibilization parameters and corresponding impact in costs and quality, and propose an implementation framework for plugin development that provides the necessary mechanisms for control of the cost-quality trade-off.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422683
Zenodo URL: https://zenodo.org/record/1422683
2018.73
Training Deep Convolutional Networks with Unlimited Synthesis of Musical Examples for Multiple Instrument Recognition
Sethi, Rameel Department of Computing Science, University of Alberta; Edmonton, Canada
Weninger, Noah Department of Computing Science, University of Alberta; Edmonton, Canada
Hindle, Abram Department of Computing Science, University of Alberta; Edmonton, Canada
Bulitko, Vadim Department of Computing Science, University of Alberta; Edmonton, Canada
Frishkopf, Michael Department of Music, University of Alberta; Edmonton, Canada
Abstract
Deep learning has yielded promising results in music information retrieval and other domains compared to machine learning algorithms trained on hand-crafted feature representations, but is often limited by the availability of data and vast hyper-parameter space. It is difficult to obtain large amounts of annotated recordings due to prohibitive labelling costs and copyright restrictions. This is especially true when the MIR task is low-level in nature such as instrument recognition and applied to wide ranges of world instruments, causing most MIR techniques to focus on recovering easily verifiable metadata such as genre. We tackle this data availability problem using two techniques: generation of synthetic recordings using MIDI files and synthesizers, and by adding noise and filters to the generated samples for data augmentation purposes. We investigate the application of deep synthetically trained models to two related low-level MIR tasks of frame-level polyphony detection and instrument classification in polyphonic recordings, and empirically show that deep models trained on synthetic recordings augmented with noise can outperform a majority class baseline on a dataset of polyphonic recordings labeled with predominant instruments.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422587
Zenodo URL: https://zenodo.org/record/1422587
2018.74
Unit-generator Graph as a Generator of Lazily Evaluated Audio-vector Trees
Nishino, Hiroki Department of Industrial Design, Chang Gung University; Taipei, Taiwan
Abstract
Computer music systems normally implement a unit-generator graph as a network of unit generators, through which audio vectors are streamed and processed. This paper proposes an alternative implementation technique for unitgenerator-based sound synthesis, which views a unit-generator graph as a generator of audio-vector trees to be lazily evaluated. The simplest implementation of this technique allows to process sound synthesis and sound-control tasks in different threads even in a synchronous computer music system, making real-time sound synthesis more stable by amortizing the time costs for sound-control tasks over DSP cycles, while maintaining the low roundtrip latency between the audio input and processed output at the same time. We also extend the discussion to the possible extensions of our technique for parallelization, distribution, and speculation in real-time sound synthesis. The investigation into such a novel implementation technique would benefit further research on high-performance real-time sound synthesis.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422661
Zenodo URL: https://zenodo.org/record/1422661
2018.75
UPISketch : The Renewal of an Old Idea
Bourotte, Rodolphe Center Iannis Xenakis, University of Rouen; Mont-Saint-Aignan, France
Abstract
UPISketch is a program for composing sounds with the help of drawing. Its use is simple: we draw sound gestures by defining their melodic contour, like in a classical score. The difference however resides in the fact that pitches are directly drawn, without the need for knowledge of traditional music notation. We use monophonic sounds as sound sources.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422637
Zenodo URL: https://zenodo.org/record/1422637
2018.76
Virtual Reality Exploration with Different Head-Related Transfer Functions
Sikström, Erik Virsabi ApS; Copenhagen, Denmark
Geronazzo, Michele Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Kleimola, Jari Hefio Ltd; Espoo, Finland
Avanzini, Federico Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
De Götzen, Amalia Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Serafin, Stefania Department of Architecture, Design, and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
One of the main challenges of spatial audio rendering in headphones is the crucial work behind the personalization of the so-called head-related transfer functions (HRTFs). HRTFs capture the listener’s acoustic effects allowing a personal perception of immersion in virtual reality context. This paper aims to investigate the possible benefits of personalized HRTFs that were individually selected based on anthropometric data (pinnae shapes). Personalized audio rendering was compared to a generic HRTF and a stereo sound condition. Two studies were performed; the first study consisted of a screening test aiming to evaluate the participants’ localization performance with HRTFs for a non-visible spatialized audio source. The second experiment allowed the participants to freely explore a VR scene with five audiovisual sources for two minutes each, with both HRTF and stereo conditions. A questionnaire with items for spatial audio quality, presence and attention was used for the evaluation. Results indicate that audio rendering methods made no difference on responses to the questionnaire in the two minutes of a free exploration.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422512
Zenodo URL: https://zenodo.org/record/1422512
2018.77
You Are Here: Sonic Crossings and Time Indeterminacy within the Buffer Zone
Vasquez Hadjilyra, Oswaldo Emiddio Arizona State University; Tempe, United States
Abstract
'You Are Here' is a sound installation that took place on the 24th of March 2017 inside the buffer zone as an attempt to address the temporal indeterminacy that describes the buffer zone during daylight saving time in Cyprus. After a political decision to join different time zones, the island underwent a second division, this time in a temporal sense, which in return raised a question: in what time does the buffer zone itself exist and how does time change while crossing the buffer zone? This article briefly outlines some of the technical, aesthetic and theoretical considerations that the artist underwent while preparing the site-specific and site-responsive sound installation.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.1422559
Zenodo URL: https://zenodo.org/record/1422559
Sound and Music Computing Conference 2019 (ed. 16)
Dates: from May 28 to May 31, 2019
Place: Málaga, Spain
Proceedings info: Proceedings of the 16th Sound & Music Computing Conference, ISBN 978-84-09-08518-7
2019.1
Adaptive Body Movement Sonification in Music and Therapy
Baumann, Christian Fulda University of Applied Sciences (Hochschule Fulda); Fulda, Germany
Baarlink, Johanna Friederike Musikschule Fulda; Fulda, Germany
Milde, Jan-Torsten Fulda University of Applied Sciences (Hochschule Fulda); Fulda, Germany
Abstract
n this paper we describe the ongoing research on the devel- opment of a body movement sonification system. High precision, high resolution wireless sensors are used to track the body movement and record muscle excitation. We are currently using 6 sensors. In the final version of the system full body tracking can be achieved. The recording system provides a web server including a simple REST API, which streams the recorded data in JSON format. An inter- mediate proxy server pre-processes the data and transmits it to the final sonification system. The sonification system is implemented using the web au- dio api. We are experimenting with a set of different soni- fication strategies and algorithms. Currently we are testing the system as part of an interactive, guided therapy, estab- lishing additional acoustic feedback channels for the patient. In a second stage of the research we are going to use the sys- tem in a more musical and artistic way. More specifically we plan to use the system in cooperation with a violist, where the acoustic feedback channel will be integrated into the performance
Keywords
body movement, music and therpy, real time interactive machine learning, sonification, wekinator
Paper topics
Auditory display and data sonification, Automatic music generation/accompaniment systems, Interaction in music performance, Interfaces for sound and music, Sonic interaction design, Sound and music for accessibility and special needs
Easychair keyphrases
body movement [17], arm movement [12], sonification system [10], body movement data [9], bio feedback [6], body movement sonification [6], musical performance [6], sonification strategy [5], central chord [4], web audio api [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249449
Zenodo URL: https://zenodo.org/record/3249449
2019.2
Adaptive Loudness Compensation in Music Listening
Fierro, Leonardo Università di Brescia; Brescia, Italy
Rämö, Jussi Aalto University; Espoo, Finland
Välimäki, Vesa Aalto University; Espoo, Finland
Abstract
The need for loudness compensation is a well known fact arising from the nonlinear behavior of human sound per- ception. Music and sound are mixed and mastered at a certain loudness level, usually louder than the level at which they are commonly played. This implies a change in the perceived spectral balance of the sound, which is largest in the low-frequency range. As the volume setting in music playing is decreased, a loudness compensation filter can be used to boost the bass appropriately, so that the low frequencies are still heard well and the perceived spectral balance is preserved. The present paper proposes a loudness compensation function derived from the standard equal-loudness level contours and its implementation via a digital first-order shelving filter. Results of a formal listening test validate the accuracy of the proposed method.
Keywords
Audio, Digital filters, DSP, Equalization, Listening test
Paper topics
Digital audio effects, Perception and cognition of sound and music, Sound/music signal processing algorithms
Easychair keyphrases
trace guide [15], shelving filter [14], first order shelving filter [12], listening level [12], first order [11], first order low shelving filter [11], loudness compensation [10], digital filter [9], perceived spectral balance [9], crossover frequency [8], listening test [8], spectral balance [7], audio eng [6], equal loudness level contour [6], magnitude response [6], aalto acoustics lab [4], box plot [4], compensation method [4], first order filter [4], fractional order filter [4], iir filter [4], loudness level [4], order filter [4], pure tone [4], sensitivity function [4], sound pressure level [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249289
Zenodo URL: https://zenodo.org/record/3249289
2019.3
Adaptive Score-Following System by Integrating Gaze Information
Noto, Kaede Future University Hakodate; Hakodate, Japan
Takegawa, Yoshinari Future University Hakodate; Hakodate, Japan
Hirata, Keiji Future University Hakodate; Hakodate, Japan
Abstract
In actual piano practice, people of different skill levels exhibit different behaviors, for instance leaping forward or to an upper staff, mis-keying, repeating, and so on. However, many of the conventional score following systems hardly adapt such accidental behaviors depending on individual skill level, because conventional systems usually learn the frequent or general behaviors. We develop a score-following system that can adapt a users individuality by combining keying information with gaze, because it is well-known that the gaze is a highly reliable means of expressing a performers thinking. Since it is difficult to collect a large amount of piano performance data reflecting individuality, we employ the framework of the Bayesian inference to adapt individuality. That is, to estimate the users current position in piano performance, keying and gaze information are integrated into a single Bayesian inference by Gaussian mixture model (GMM). Here, we assume both the keying and gaze information conform to normal distributions. Experimental results show that, taking into account the gaze information, our score-following system can properly cope with repetition and leaping to an upper row of a staff, in particular.
Keywords
Bayesian inference, Gaussian mixture model, gaze information, score-following
Paper topics
Multimodality in sound and music computing, Music performance analysis and rendering
Easychair keyphrases
gaze information [19], keying information [17], score following system [15], score following [12], bayesian inference [11], user current position [9], gaze point [8], mixture rate [8], normal distribution [8], user individuality [8], mixture ratio [7], note number [7], accuracy rate [6], piano performance [6], gaze distribution [5], keying distribution [5], random variable [5], set piece [5], eye hand span [4], eye movement [4], future university hakodate [4], keying position [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249400
Zenodo URL: https://zenodo.org/record/3249400
2019.4
ADEPT: Exploring the Design, Pedagogy and Analysis of a Mixed Reality Application for Piano Training
Gerry, Lynda Aalborg University; Aalborg, Denmark
Dahl, Sofia Aalborg University; Aalborg, Denmark
Serafin, Stefania Aalborg University; Aalborg, Denmark
Abstract
One of the biggest challenges in learning how to play a musical instrument is learning how to move one's body in a nuanced physicality. Technology can expand available forms of physical interactions to help cue specific movements and postures to reinforce new sensorimotor couplings and enhance motor learning and performance. Using audiovisual first person perspective taking with a piano teacher in Mixed Reality, we present a system that allows students to place their hands into the virtual gloves of a teacher. Motor learning and audio-motor associations are reinforced through motion feedback and spatialized audio. The Augmented Design to Embody a Piano Teacher (ADEPT) application is an early design prototype of this piano training system.
Keywords
Augmented Reality, Mixed Reality, Pedagogy, Piano, Technology-Enhanced Learning
Paper topics
Interactive performance systems, Interfaces for sound and music, Multimodality in sound and music computing, Sound and music for Augmented/Virtual Reality and games
Easychair keyphrases
piano teacher [19], adept system [18], first person perspective [14], piano playing [9], piano training application [7], virtual reality [7], augmented reality [6], embodied music cognition [6], expert pianist [6], motion feedback [6], perspective taking [6], piano student [6], real time feedback [6], teacher hand [6], virtual embodiment [6], augmented embodiment [5], embodied perspective [5], piano instruction [5], piano training [5], real time [5], visual cue [5], visual environment [5], audio spatialization [4], magic leap headset [4], mixed reality [4], motion capture [4], piano performance [4], real time motion feedback [4], user physical piano [4], virtual hand [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249333
Zenodo URL: https://zenodo.org/record/3249333
2019.5
A Framework for Multi-f0 Modeling in SATB Choirs
Cuesta, Helena Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Chandna, Pritish Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Music Technology Group (MTG), Joint Research Centre, European Commission, Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Fundamental frequency (f0) modeling is an important but relatively unexplored aspect of choir singing. Performance evaluation as well as auditory analysis of singing, whether individually or in a choir, often depend on extracting f0 contours for the singing voice. However, due to the large number of singers, singing at a similar range of frequencies, extracting the exact pitch contour is a challenging task. In this paper, we present a methodology for modeling the pitch contours of an SATB choir. A typical SATB choir consists of four parts, each covering a distinct range of fundamental frequencies and often with multiple singers each. We first evaluate some state-of-the-art multi-f0 estimation systems for the particular case of choirs with one singer per part, and observe that the pitch of the individual singers can be estimated to a relatively high degree of accuracy. We observe, however, that the scenario of multiple singers for each choir part is far more challenging. In this work we combine a multi-f0 estimation methodology based on deep learning followed by a set of traditional DSP techniques to model the f0 dispersion for each choir part instead of a single f0 trajectory. We present and discuss our observations and test our framework with different configurations of singers.
Keywords
choral singing, multi-pitch, pitch modeling, singing voice, unison
Paper topics
Models for sound analysis and synthesis, Music information retrieval, Music performance analysis and rendering
Easychair keyphrases
multi f0 estimation [42], choir section [16], f0 estimation system [9], vocal quartet [8], f0 estimation algorithm [7], ground truth [7], multiple singer [7], traditional dsp technique [6], unison ensemble singing [6], choir recording [5], dispersion value [5], spectral peak [5], choral singing [4], deep learning [4], fundamental frequency [4], individual track [4], interpolated peak [4], locus iste [4], multi f0 extraction [4], multiple fundamental frequency estimation [4], music information retrieval [4], non peak region [4], pitch salience [4], satb quartet [4], singing voice [4], standard deviation [4], unison performance [4], unison singing [4], universitat pompeu fabra [4], vocal ensemble [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249421
Zenodo URL: https://zenodo.org/record/3249421
2019.6
A Framework for the Development and Evaluation of Graphical Interpolation for Synthesizer Parameter Mappings
Gibson, Darrell Bournemouth University; Bournemouth, United Kingdom
Polfreman, Richard University of Southampton; Southampton, United Kingdom
Abstract
This paper presents a framework that supports the development and evaluation of graphical interpolated parameter mapping for the purpose of sound design. These systems present the user with a graphical pane, usually two-dimensional, where synthesizer presets can be located. Moving an interpolation point cursor within the pane will then create new sounds by calculating new parameter values, based on the cursor position and the interpolation model used. The exploratory nature of these systems lends itself to sound design applications, which also have a highly exploratory character. However, populating the interpolation space with “known” preset sounds allows the parameter space to be constrained, reducing the design complexity otherwise associated with synthesizer-based sound design. An analysis of previous graphical interpolators in presented and from this a framework is formalized and tested to show its suitability for the evaluation of such systems. The framework has then been used to compare the functionality of a number of systems that have been previously implemented. This has led to a better understanding of the different sonic outputs that each can produce and highlighted areas for further investigation.
Keywords
Interface, Interpolation, Sound Design, Synthesis, Visual
Paper topics
Digital audio effects, Interfaces for sound and music, New interfaces for interactive music creation
Easychair keyphrases
interpolation space [35], interpolation point [29], sonic output [18], synthesis engine [18], graphical interpolation system [17], sound design [17], interpolation system [14], interpolation function [12], parameter mapping [12], graphical interpolator [11], interpolation model [11], visual representation [11], synthesis parameter [10], visual model [9], graphical interpolation [8], preset location [8], real time [7], preset point [6], sound design application [6], gaussian kernel [5], parameter preset [5], parameter space [5], audio processing [4], cursor position [4], dimensional graphical [4], gravitational model [4], interpolation method [4], node based interpolator [4], synthesizer parameter [4], visual interpolation model [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249366
Zenodo URL: https://zenodo.org/record/3249366
2019.7
Alternative Measures: A Musicologist Workbench for Popular Music
Clark, Beach Georgia Institute of Technology; Atlanta, United States
Arthur, Claire Georgia Institute of Technology; Atlanta, United States
Abstract
The objective of this project is to create a digital “work-bench” for quantitative analysis of popular music. The workbench is a collection of tools and data that allow for efficient and effective analysis of popular music. This project integrates software from pre-existing analytical tools including music21 but adds methods for collecting data about popular music. The workbench includes tools that allow analysts to compare data from multiple sources. Our working prototype of the workbench con-tains several novel analytical tools which have the poten-tial to generate new musicological insights through the combination of various datasets. This paper demonstrates some of the currently available tools as well as several sample analyses and features computed from this data that support trend analysis. A future release of the work-bench will include a user-friendly UI for non-programmers.
Keywords
Music data mining, Music metadata, popular music analysis
Paper topics
Computational musicology and ethnomusicology, Models for sound analysis and synthesis, Music information retrieval
Easychair keyphrases
popular music [27], music information retrieval [12], chord transcription [11], existing tool [10], th international society [9], billboard hot [8], chord detection [8], multiple source [8], pitch vector [8], popular song [7], symbolic data [7], musical analysis [6], ultimate guitar [6], chord estimation [5], chord recognition [5], ground truth [5], harmonic analysis [5], musical data [5], audio feature [4], data collection [4], mcgill billboard dataset [4], midi transcription [4], music scholar [4], pitch class profile [4], popular music scholar [4], programming skill [4], spotify data [4], spotify database [4], symbolic metadata [4], timbre vector [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249402
Zenodo URL: https://zenodo.org/record/3249402
2019.8
A Model Comparison for Chord Prediction on the Annotated Beethoven Corpus
Landsnes, Kristoffer Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Mehrabyan, Liana Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Wiklund, Victor Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Moss, Fabian Digital and Cognitive Musicology Lab, Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Lieck, Robert Digital and Cognitive Musicology Lab, Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Rohrmeier, Martin Digital and Cognitive Musicology Lab, Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Abstract
This paper focuses on predictive processing of chords in Ludwig van Beethoven's string quartets. A dataset consisting of harmonic analyses of all Beethoven string quartets was used to evaluate an n-gram language model as well as a recurrent neural network (RNN) architecture based on long-short-term memory (LSTM). Through assessing model performance results, this paper studies the evolution and variability of Beethoven's harmonic choices in different periods of his activity as well as the flexibility of predictive models in acquiring basic patterns and rules of tonal harmony.
Keywords
chord prediction, harmony, lstm, musical expectancy, neural networks, ngram models, predictive processing
Paper topics
Computational musicology and ethnomusicology, Perception and cognition of sound and music
Easychair keyphrases
n gram model [14], beethoven string quartet [7], recurrent neural network [7], chord symbol [6], long term dependency [6], scale degree [5], annotated beethoven corpus [4], best performing n gram [4], cognitive science [4], cross validation [4], full roman numeral representation [4], gram language model [4], neural network [4], n gram language [4], optimal n gram length [4], predictive processing [4], short term memory [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249335
Zenodo URL: https://zenodo.org/record/3249335
2019.9
Analysis of Vocal Ornamentation in Iranian Classical Music
Shafiei, Sepideh The City University of New York (CUNY); New York, United States
Abstract
In this paper we study tahrir, a melismatic vocal ornamentation which is an essential characteristic of Persian classical music and can be compared to yodeling. It is considered the most important technique through which the vocalist can display his/her prowess. In Persian, nightingale’s song is used as a metaphor for tahrir and sometimes for a specific type of tahrir. Here we examine tahrir through a case study. We have chosen two prominent singers of Persian classical music one contemporary and one from the twentieth century. In our analysis we have appropriated both audio recordings and notation. This paper is the first step towards computational modeling and recognition of different types of tahrirs. Here we have studied two types of tahrirs, mainly nashib and farāz, and their combination through three different performance samples by two prominent vocalists. More than twenty types of tahrirs have been identified by Iranian musicians and music theorists. We hope to develop a method to computationally identify these models in our future works.
Keywords
Iranian classical music, Iranian traditional music, radif, tahrir, vocal ornamentation
Paper topics
Computational musicology and ethnomusicology, Music information retrieval
Easychair keyphrases
persian classical music [14], main note [7], twentieth century [7], vocal radif [7], iranian music [6], traditional music [5], dar amad [4], persian music [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249414
Zenodo URL: https://zenodo.org/record/3249414
2019.10
An Interactive Music Synthesizer for Gait Training in Neurorehabilitation
Kantan, Prithvi Aalborg University; Aalborg, Denmark
Dahl, Sofia Aalborg University; Aalborg, Denmark
Abstract
Rhythm-based auditory cues have been shown to significantly improve walking performance in patients with numerous neurological conditions. This paper presents the design, implementation and evaluation of a gait training device capable of real-time synthesis and automated manipulation of rhythmic musical stimuli, as well as auditory feedback based on measured walking parameters. The proof-of-concept was evaluated with six healthy participants, as well as through critical review by one neurorehabilitation specialist. Stylistically, the synthesized music was found by participants to be conducive to movement, but not uniformly enjoyable. The gait capture/feedback mechanisms functioned as intended, although discrepancies between measured and reference gait parameter values may necessitate a more robust measurement system. The specialist acknowledged the potential of the gait measurement and auditory feedback as novel rehabilitation aids, but stressed the need for additional gait measurements, superior feedback responsiveness and greater functional versatility in order to cater to individual patient needs. Further research must address these findings, and tests must be conducted on real patients to ascertain the utility of such a device in the field of neurorehabilitation.
Keywords
Gait Rehabilitation, real-time synthesis, Rhythmic Auditory Stimulation, Sonification
Paper topics
Auditory display and data sonification, Automatic music generation/accompaniment systems, Sound/music and the neurosciences
Easychair keyphrases
gait parameter [17], gait measurement [11], real time [8], short term [8], auditory stimulus [7], im gait mate [7], swing time [7], auditory feedback [6], gait performance [6], long term [6], master clock [6], neurological condition [6], rhythmic auditory stimulation [6], stimulus generation subsystem [6], white noise white noise [6], subtractive subtractive [5], time variability [5], analytical subsystem [4], gait training [4], interactive music [4], measured gait parameter [4], neurorehabilitation specialist [4], real time auditory feedback [4], reference value [4], stance time [4], synthesis method [4], target group [4], temporal gait parameter [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249297
Zenodo URL: https://zenodo.org/record/3249297
2019.11
A PLATFORM FOR PROCESSING SHEET MUSIC AND DEVELOPING MULTIMEDIA APPLICATION
Wu, Fu-Hai (Frank) National Tsing Hua University; Hsinchu, Taiwan
Abstract
Imaging when reading sheet music on computing devices, users could listen audio synchronizing with the sheet. To this end, the sheet music must be acquired, analyzed and transformed into digitized information of melody, rhythm, duration, chord, expressiveness and physical location of scores. As we know, the optical music recognition (OMR) is an appropriate technology to approach the purpose. However, the commercial OMR system of numbered music notation is not available as best as our knowledge. In the paper, we demonstrate our proprietary OMR system and show three human-interactive applications: sheet music browser and multimodal accompanying and games for sight-reading of sheet music. With the illustration, we hope to foster the usage and obtain the valuable opinions of the OMR system and the applications.
Keywords
musical game, numbered music notation, optical music recognition, sight-reading for sheet music, singing accompaniment
Paper topics
not available
Easychair keyphrases
sheet music [17], omr system [7], sheet music browser [7], numbered music notation [6], multimedia application [4], optical music recognition [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249272
Zenodo URL: https://zenodo.org/record/3249272
2019.12
A SEQUENCER WITH DECOUPLED TRACK TIMING
Peter, Silvan David Johannes Kepler University Linz; Linz, Austria
Widmer, Gerhard Johannes Kepler University Linz; Linz, Austria
Abstract
Sequencers almost exclusively share the trait of a single master clock. Each track is laid out on an isochronously spaced sequence of beat positions. Vertically aligned positions are expected to be in synchrony as all tracks refer to the same clock. In this work we present an experimental implementation of a decoupled sequencer with different underlying clocks. Each track is sequenced by the peaks of a designated oscillator. These oscillators are connected in a network and influence each other's periodicities. A familiar grid-type graphical user interface is used to place notes on beat positions of each of the interdependent but asynchronous tracks. Each track clock can be looped and node points specify the synchronisation of multiple tracks by tying together specific beat positions. This setup enables simple global control of microtiming and polyrhythmic patterns.
Keywords
Microtiming, Oscillator, Polyrhythm, Sequencer
Paper topics
not available
Easychair keyphrases
beat position [6], node point [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249268
Zenodo URL: https://zenodo.org/record/3249268
2019.13
Audiovisual Perception of Arousal, Valence and Effort in Contemporary Cello Performance
Järveläinen, Hanna Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
Perceived arousal, valence, and effort were measured continuously from auditory, visual, and audiovisual cues in contemporary cello performance. Effort (perceived exertion of the performer) was added for two motivations: to investigate its potential as a measure and its association with arousal in audiovisual perception. Fifty-two subjects participated in the experiment. Results were analyzed using Activity Analysis and functional data analysis. Arousal and effort were perceived with significant coordination between participants from auditory, visual, as well as audiovisual cues. Significant differences were detected between auditory and visual channels but not between arousal and effort. Valence, in contrast, showed no significant coordination between participants. Relative importance of the visual channel is discussed.
Keywords
Audiovisual, Contemporary music, Multimodality, Music perception, Real-time perception
Paper topics
Multimodality in sound and music computing, Perception and cognition of sound and music
Easychair keyphrases
audiovisual rating [13], visual channel [11], visual cue [11], activity analysis [10], activity level [9], audiovisual perception [9], auditory rating [9], factor combination [9], visual rating [9], differenced rating [6], music performance [6], significant coordination [6], valence rating [6], auditory channel [5], auditory cue [5], functional analysis [5], perceived arousal [5], rating increase [5], audiovisual cue [4], auditory modality [4], functional data analysis [4], intensity change [4], mean valence level [4], musical performance [4], screen size [4], significant bi coordination [4], visual condition [4], visual perception [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249453
Zenodo URL: https://zenodo.org/record/3249453
2019.14
Autoencoders for Music Sound Modeling: a Comparison of Linear, Shallow, Deep, Recurrent and Variantional Models
Roche, Fanny Grenoble Images Parole Signal Automatique (GIPSA-Lab), Université de Grenoble-Alpes; Grenoble, France
Hueber, Thomas Grenoble Images Parole Signal Automatique (GIPSA-Lab), Université de Grenoble-Alpes; Grenoble, France
Limier, Samuel Arturia; Grenoble, France
Girin, Laurent Grenoble Images Parole Signal Automatique (GIPSA-Lab), Université de Grenoble-Alpes; Grenoble, France
Abstract
This study investigates the use of non-linear unsupervised dimensionality reduction techniques to compress a music dataset into a low-dimensional representation, which can be used in turn for the synthesis of new sounds. We systematically compare (shallow) autoencoders (AEs), deep autoencoders (DAEs), recurrent autoencoders (with Long Short-Term Memory cells -- LSTM-AEs) and variational autoencoders (VAEs) with principal component analysis (PCA) for representing the high-resolution short-term magnitude spectrum of a large and dense dataset of music notes into a lower-dimensional vector (and then convert it back to a magnitude spectrum used for sound resynthesis). Our experiments were conducted on the publicly available multi-instrument and multi-pitch database NSynth. Interestingly and contrary to the recent literature on image processing, they showed that PCA systematically outperforms shallow AE. Only deep and recurrent architectures (DAEs and LSTM-AEs) lead to a lower reconstruction error. The optimization criterion in VAEs being the sum of the reconstruction error and a regularization term, it naturally leads to a lower reconstruction accuracy than DAEs but we show that VAEs are still able to outperform PCA while providing a low-dimensional latent space with nice ``usability'' properties. We also provide corresponding objective measures of perceptual audio quality (PEMO-Q scores), which generally correlate well with the reconstruction error.
Keywords
autoencoder, music sound modeling, unsupervised dimension reduction
Paper topics
Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
latent space [26], latent dimension [12], latent coefficient [9], reconstruction accuracy [9], variational autoencoder [9], reconstruction error [8], latent vector [7], control parameter [6], latent space dimension [6], layer wise training [6], machine learning [6], magnitude spectra [6], music sound [6], pemo q score [6], principal component analysis [6], neural network [5], phase spectra [5], preprint arxiv [5], signal reconstruction [5], audio synthesis [4], decoded magnitude spectra [4], dimensionality reduction technique [4], encoding dimension [4], good reconstruction accuracy [4], latent representation [4], latent variable [4], low dimensional latent space [4], neural information process [4], pemo q measure [4], sound synthesis [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249404
Zenodo URL: https://zenodo.org/record/3249404
2019.15
Automatic Chord Recognition in Music Education Applications
Grollmisch, Sascha Fraunhofer; Erlangen, Germany
Cano, Estefania Fraunhofer; Erlangen, Germany
Abstract
In this work, we demonstrate the market-readiness of a recently published state-of-the-art chord recognition method, where automatic chord recognition is extended beyond major and minor chords to the extraction of seventh chords. To do so, the proposed chord recognition method was integrated in the Songs2See Editor, which already includes the automatic extraction of the main melody, bass line, beat grid, key, and chords for any musical recording.
Keywords
chord recognition, gamification, music education, music information retrieval
Paper topics
not available
Easychair keyphrases
songs2see editor [5], automatic chord recognition [4], score sheet [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249362
Zenodo URL: https://zenodo.org/record/3249362
2019.16
Automatic Chord-Scale Recognition using Harmonic Pitch Class Profiles
Demirel, Emir Queen Mary University of London; London, United Kingdom
Bozkurt, Barıs İzmir Demokrasi University; Izmir, Turkey
Serra, Xavier Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
In this work, we study and evaluate different computational methods to carry out a "modal harmonic analysis" for Jazz improvisation performances by modeling the concept of \textit{chord-scales}. The Chord-Scale Theory is a theoretical concept that explains the relationship between the harmonic context of a musical piece and possible scale types to be used for improvisation. This work proposes different computational approaches for the recognition of the chord-scale type in an improvised phrase given the harmonic context. We have curated a dataset to evaluate different chord-scale recognition approaches proposed in this study, where the dataset consists of around 40 minutes of improvised monophonic Jazz solo performances. The dataset is made publicly available and shared on \textit{freesound.org}. To achieve the task of chord-scale type recognition, we propose one rule-based, one probabilistic and one supervised learning method. All proposed methods use Harmonic Pitch Class Profile (HPCP) features for classification. We observed an increase in the classification score when learned chord-scale models are filtered with predefined scale templates indicating that incorporating prior domain knowledge to learned models is beneficial. This study has its novelty for demonstrating one of first computational analysis on chord-scales in the context of Jazz improvisation.
Keywords
audio signal processing, computational musicology, machine learning, music information retrieval
Paper topics
Automatic separation, classification of sound and music, Computational musicology and ethnomusicology, Music information retrieval, Music performance analysis and rendering, recognition, Sound/music signal processing algorithms
Easychair keyphrases
chord scale [65], pitch class [33], chord scale type [25], music information retrieval [17], chord scale recognition [14], harmonic pitch class profile [12], scale type [12], jazz improvisation [10], chord scale model [9], chord recognition [8], audio signal [7], binary template [7], chord scale theory [7], gaussian mixture model [7], automatic chord scale recognition [6], binary chord scale template [6], chroma feature [6], frame level hpcp [6], international society [6], pitch class profile [6], predefined binary chord scale [6], scale pitch class [6], feature vector [5], scale recognition [5], standard deviation [5], binary template matching [4], level hpcp vector [4], pitch class distribution [4], predefined binary template [4], scale recognition method [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249258
Zenodo URL: https://zenodo.org/record/3249258
2019.17
Belief Propagation algorithm for Automatic Chord Estimation
Martin, Vincent P. Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Reynal, Sylvain Equipes Traitement de l'Information et Systèmes (ETIS), Université de Cergy-Pontoise; France
Crayencour, Hélène-Camille Laboratoire des signaux et systèmes (L2S), Université Paris-Sud XI; Paris, France
Basaran, Dogac Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This work aims at bridging the gap between two completely distinct research fields: digital telecommunications and Music Information Retrieval. While works in the MIR community have long used algorithms borrowed from voice signal processing, text recognition or image processing, to our knowledge no work based on digital telecommunications algorithms has been produced. This paper specifically targets the use of the Belief Propagation algorithm for the task of Automatic Chord Estimation. This algorithm is of widespread use in iterative decoders for error correcting codes and we show that it offers improved performances in ACE. It certainly represents a promising alternative to the Hidden Markov Models approach.
Keywords
Automatic Chord Detection, Belief Propagation Algorithm, General Belief Propagation, Hidden Markov Model, Music Information Retrieval
Paper topics
Music information retrieval
Easychair keyphrases
ground truth [14], transition matrix [11], automatic chord estimation [9], belief propagation [9], bayesian graph [7], long term [7], audio signal [6], belief propagation algorithm [6], chord estimation [6], self transition [6], transition probability [6], hidden state [5], chord progression [4], computation time [4], deep learning [4], fifth transition matrix [4], graphical model [4], ground truth beat [4], inference process [4], long term correlation [4], minor chord [4], observation probability [4], pattern matching [4], short cycle [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249467
Zenodo URL: https://zenodo.org/record/3249467
2019.18
Capturing the reaction time to distinguish between voice and music
Villena-Rodríguez, Alejandro ATIC Research Group, Andalucía Tech, Universidad de Málaga; Málaga, Spain
Tardón, Lorenzo José ATIC Research Group, Andalucía Tech, Universidad de Málaga; Málaga, Spain
Barbancho, Isabel ATIC Research Group, Andalucía Tech, Universidad de Málaga; Málaga, Spain
Barbancho, Ana Maria ATIC Research Group, Andalucía Tech, Universidad de Málaga; Málaga, Spain
Gómez-Plazas, Irene ATIC Research Group, Andalucía Tech, Universidad de Málaga; Málaga, Spain
Varela-Salinas, María-José Andalucía Tech, Universidad de Málaga; Málaga, Spain
Abstract
Reaction times (RTs) are an important source of information in experimental psychology and EEG data analysis. While simple auditory RT has been widely studied, response time when discriminating between two different auditory stimuli have not been determined yet. The purpose of this experiment is to measure the RT for the discrimination between two different auditory stimuli: speech and instrumental music.
Keywords
Auditory stimuli, Distinguish voice-music, Reaction time
Paper topics
not available
Easychair keyphrases
reaction time [7], speech excerpt [5]
Paper type
Demo
DOI: 10.5281/zenodo.3249274
Zenodo URL: https://zenodo.org/record/3249274
2019.19
Combining Texture-Derived Vibrotactile Feedback, Concatenative Synthesis and Photogrammetry for Virtual Reality Rendering
Magalhaes, Eduardo Faculdade de Engenharia da Universidade do Porto (FEUP), Universidade do Porto; Porto, Portugal
Bernardes, Gilberto Faculdade de Engenharia da Universidade do Porto (FEUP), Universidade do Porto; Porto, Portugal
Høeg, Emil Aalborg University; Aalborg, Denmark
Pedersen, Jon Aalborg University; Aalborg, Denmark
Serafin, Stefania Aalborg University; Aalborg, Denmark
Nordahl, Rolf Aalborg University; Aalborg, Denmark
Abstract
This paper describes a novel framework for real-time sonification of surface textures in virtual reality (VR), aimed towards realistically representing the experience of driving over a virtual surface. A combination of capturing techniques of real-world surfaces are used for mapping 3D geometry, texture maps or auditory attributes (aural and vibrotactile) feedback. For the sonification rendering, we propose the use of information from primarily graphical texture features, to define target units in concatenative sound synthesis. To foster models that go beyond current generation of simple sound textures (e.g., wind, rain, fire), towards highly “synchronized” and expressive scenarios, our contribution draws a framework for higher-level modeling of a bicycle's kinematic rolling on ground contact, with enhanced perceptual symbiosis between auditory, visual and vibrotactile stimuli. We scanned two surfaces represented as texture maps, consisting of different features, morphology and matching navigation. We define target trajectories in a 2-dimensional audio feature space, according to a temporal model and morphological attributes of the surfaces. This synthesis method serves two purposes: a real-time auditory feedback, and vibrotactile feedback induced through playing back the concatenated sound samples using a vibrotactile inducer speaker.% For this purpose, a Virtual Environment was created including four surfaces variation and consisting on a bicycle ride allowing to test the proposed architecture for real time adaptation and adequate haptic feedback.
Keywords
Sonic Interaction Design, Sonification, Sound Synthesis, Virtual Reality
Paper topics
Auditory display and data sonification, Interactive performance systems, Models for sound analysis and synthesis, Multimodality in sound and music computing, Sonic interaction design, Sound and music for Augmented/Virtual Reality and games
Easychair keyphrases
vibrotactile feedback [12], concatenative sound synthesis [11], displacement map [10], descriptor space [9], dirt road [9], capture technique [7], real time [7], haptic feedback [6], sound texture [6], surface texture [6], texture map [6], aural feedback [5], feature vector [5], virtual environment [5], virtual reality [5], aalborg university [4], audio capture technique [4], audio stream [4], concatenative sound synthesis engine [4], first order autocorrelation coefficient [4], rubber hand [4], sensory feedback [4], sound synthesis [4], target definition [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249378
Zenodo URL: https://zenodo.org/record/3249378
2019.20
Comparison and Implementation of Data Transmission Techniques Through Analog Audio Signals in the Context of Augmented Mobile Instruments
Michon, Romain GRAME-CNCM, Lyon // CCRMA, Stanford University GRAME (Générateur de Ressources et d’Activités Musicales Exploratoires), CNCM (Centre national de création musicale), in Lyon Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Fober, Dominique GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
Augmented mobile instruments combine digitally-fabricated elements, sensors, and smartphones to create novel musical instruments. Communication between the sensors and the smartphone can be challenging as there doesn’t exist a universal lightweight way to connect external elements to this type of device. In this paper, we investigate the use of two techniques to transmit sensor data through the built-in audio jack input of a smartphone: digital data transmission using the Bell 202 signaling technique, and analog signal transmission using digital amplitude modulation and demodulation with Goertzel filters. We also introduce tools to implement such systems using the Faust programming language and the Teensy development board.
Keywords
Data Transmission Standards, Faust, Microcontrollers, Mobile Music, Sensors
Paper topics
and software environments for sound and music computing, Hardware systems for sound and music computing, Interfaces for sound and music, Languages, protocols
Easychair keyphrases
uart tx encoder [15], audio jack [10], sensor data [8], signaling technique [8], goertzel filter [7], digital amplitude modulation [6], channel number [5], data transmission [5], faust program [5], musical instrument [5], parallel stream [5], analog audio sensor data [4], audio jack output speaker [4], audio sensor data transmission [4], audio signal [4], augmented mobile instrument [4], digital signal processing [4], faust generated block diagram [4], faust programming language [4], output audio signal [4], pin audio jack [4], sound synthesis [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249311
Zenodo URL: https://zenodo.org/record/3249311
2019.21
Composing Space in the Space: An augmented and Virtual Reality Sound Spatialization System
Santini, Giovanni Hong Kong Baptist University; Hong Kong, Hong Kong
Abstract
This paper describes a tool for gesture-based control of sound spatialization in Augmented and Virtual Reality (AR and VR). While the increased precision and availability of sensors of any kind has made possible, in the last twenty years, the development of a considerable number of interfaces for sound spatialization control through gesture, the combination with VR and AR has not been fully explored yet. Such technologies provide an unprecedented level of interaction, immersivity and ease of use, by letting the user visualize and modify position, trajectory and behaviour of sound sources in 3D space. Like VR/AR painting programs, the application allows to draw lines that have the function of 3D automations for spatial motion. The system also stores information about movement speed and directionality of the sound source. Additionally, other parameters can be controlled from a virtual menu. The possibility to alternate AR and VR allows to switch between different environment (the actual space where the system is located or a virtual one). Virtual places can also be connected to different room parameters inside the spatialization algorithm.
Keywords
Augmented Reality, Spatial Audio, Spatialisation Instrument, Virtual Reality
Paper topics
and virtual acoustics, New interfaces for interactive music creation, reverberation, Sound and music for Augmented/Virtual Reality and games, Spatial sound
Easychair keyphrases
sound source [32], sound spatialization [12], virtual object [7], spatialization algorithm [6], real time [5], cast shadow [4], digital musical instrument [4], sound source position [4], virtual object position [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249329
Zenodo URL: https://zenodo.org/record/3249329
2019.22
COMPOSING WITH SOUNDS: DESIGNING AN OBJECT ORIENTED DAW FOR THE TEACHING OF SOUND-BASED COMPOSITION
Pearse, Stephen University of Portsmouth; Portsmouth, United Kingdom
Landy, Leigh De Montfort University Leicester; Leicester, United Kingdom
Chapman, Duncan Independent; United Kingdom
Holland, David De Montfort University Leicester; Leicester, United Kingdom
Eniu, Mihai University of Portsmouth; Portsmouth, United Kingdom
Abstract
This paper presents and discusses the Compose With Sounds (CwS) Digital Audio Workstation (DAW) and its approach to sequencing musical materials. The system is designed to facilitate the composition within the realm of Sound-based music wherein sound objects (real or synthesised) are the main musical unit of construction over traditional musical notes. Unlike traditional DAW’s or graphical audio pro- gramming environments (such as Pure Data, MAX MSP etc.) that are based around interactions with sonic ma- terials within tracks or audio graphs, the implementation presented here is based solely around sound objects. To achieve this a bespoke cross-platform audio engine known FSOM (Free Sound Object Mixer) was created in C++. To enhance the learning experience, imagery, dynamic 3D animations and models are used to allow for efficient ex- ploration and learning. To support the educational focus of the system further, the metaphor of a sound card is used over the term sound object. Collections of cards can sub- sequently be imported/exported to and from the software package. When applying audio transformations on cards, interactive 3D graphics are used to illustrate the transfor- mation in real time based on their current settings. Audio transformations and tools within the system all hook into a flexible permissions system that allows users or workshop leaders to create template sessions with features enabled or disabled based on the theme or objective of the usage. The system is part of a suite of pedagogical tools for the cre- ation of experimental electronic music. A version for live performance is currently in development, as is the ability to utilise video within the system.
Keywords
digital audio workstation design, new interfaces for music creation, object-oriented composition, pedagogy
Paper topics
Algorithms and Systems for music composition, Interfaces for sound and music, Music creation and performance, New interfaces for interactive music creation, Sound/music signal processing algorithms
Easychair keyphrases
free sound object mixer [6], software package [5], audio engine [4], electroacoustic resource site [4], granular synthesis [4], interface project [4], sonic postcard [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249368
Zenodo URL: https://zenodo.org/record/3249368
2019.23
CompoVOX: REAL-TIME SONIFICATION OF VOICE
Molina Villota, Daniel Hernán Université Jean Monnet; Saint-Étienne, France
Navas, Antonio Universidad de Málaga; Málaga, Spain
Barbancho, Isabel Universidad de Málaga; Málaga, Spain
Abstract
It has been developed an interactive application that allows sonify human voice and visualize a graphic interface in relation to the sounds produced. This program has been developed in MAX MSP, and it takes the spoken voice signal, and from its treatment, it allows to generate an automatic and tonal musical composition.
Keywords
acoustics, automatic composition, music, sonification, sonifiying voice, tonal music, voice
Paper topics
not available
Easychair keyphrases
real time [6], tonal musical sequence [4], voice signal [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249354
Zenodo URL: https://zenodo.org/record/3249354
2019.24
Conditioning a Recurrent Neural Network to synthesize musical instrument transients
Wyse, Lonce National University of Singapore; Singapore, Singapore
Huzaifah, Muhammad National University of Singapore; Singapore, Singapore
Abstract
A Recurrent Neural Network (RNN) is trained to predict sound samples based on audio input augmented by con-trol parameter information for pitch, volume, and instrument identification. During the generative phase follow-ing training, audio input is taken from the output of the previous time step, and the parameters are externally con-trolled allowing the network to be played as a musical instrument. Building on an architecture developed in previous work, we focus on the learning and synthesis of transients – the temporal response of the network during the short time (tens of milliseconds) following the onset and offset of a control signal. We find that the network learns the particular transient characteristics of two different synthetic instruments, and furthermore shows some ability to interpolate between the characteristics of the instruments used in training in response to novel parameter settings. We also study the behavior of the units in hidden layers of the RNN using various visualization techniques and find a variety of volume-specific response characteristics.
Keywords
analaysis/synthesis, audio synthesis, deep learning, musical instrument modeling
Paper topics
Content processing of music audio signals, Interaction in music performance, Models for sound analysis and synthesis, Sonic interaction design
Easychair keyphrases
steady state [10], output signal [6], recurrent neural network [6], decay transient [5], hidden layer [5], hidden unit [4], hidden unit response [4], musical instrument [4], sudden change [4], synthetic instrument [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249457
Zenodo URL: https://zenodo.org/record/3249457
2019.25
Copying clave - a Turing test
Blackmore, Simon Sonic Arts Research Unit, Oxford Brookes University; Oxford, United Kingdom
Abstract
A blindfolded instructor (evaluator) plays a clave pattern. A computer captures and repeats the pattern, after 1 minute the experiment stops. This processes is repeated by a human who also tries to copy the clave. After another minute they stop and the evaluator assess both performances.
Keywords
clave, Interaction, Machine listening
Paper topics
not available
Easychair keyphrases
not available
Paper type
Demo
DOI: 10.5281/zenodo.3249441
Zenodo URL: https://zenodo.org/record/3249441
2019.26
Dancing Dots - Investigating the Link between Dancer and Musician in Swedish Folk Dance
Misgeld, Olof KTH Royal Institute of Technology; Stockholm, Sweden
Holzapfel, André KTH Royal Institute of Technology; Stockholm, Sweden
Ahlbäck, Sven Royal College of Music (KMH); Stockholm, Sweden
Abstract
The link between musicians and dancers is generally described as strong in many traditional musics and this holds also for Scandinavian Folk Music - spelmansmusik. Understanding the interaction of music and dance has potential for developing theories of performance strategies in artistic practice and for developing interactive systems. In this paper we investigate this link by having Swedish folk musicians perform to animations generated from motion capture recordings of dancers. The different stimuli focus on motions of selected body parts as moving white dots on a computer screen with the aim to understand how different movements can provide reliable cues for musicians. Sound recordings of fiddlers playing to the "dancing dot" were analyzed using automatic alignment to the original music performance related to the dance recordings. Interviews were conducted with musicians and comments were collected in order to shed light on strategies when playing for dancing. Results illustrate a reliable alignment to renderings showing full skeletons of dancers, and an advantage of focused displays of movements in the upper back of the dancer.
Keywords
dance, folk dance, folk music, interaction, Motion Capture, music, music performance, performance strategies, playing for dancing, polska
Paper topics
Computational musicology and ethnomusicology, Interaction in music performance, Interactive performance systems, Music performance analysis and rendering
Easychair keyphrases
alignment curve [9], automatic alignment [7], body movement [6], reduced rendering [6], secondary recording [6], music performance [5], body part [4], dance movement [4], drift phase [4], folk dance [4], folk music [4], scandinavian folk music [4], stimulus type [4], swedish folk dance [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249455
Zenodo URL: https://zenodo.org/record/3249455
2019.27
DAW-Integrated Beat Tracking for Music Production
Dalton, Brett University of Victoria; Victoria, Canada
Johnson, David University of Victoria; Victoria, Canada
Tzanetakis, George University of Victoria; Victoria, Canada
Abstract
Rhythm analysis is a well researched area in music information retrieval that has many useful applications in music production. In particular, it can be used to synchronize the tempo of audio recordings with a digital audio workstation (DAW). Conventionally this is done by stretching recordings over time, however, this can introduce artifacts and alter the rhythmic characteristics of the audio. Instead, this research explores how rhythm analysis can be used to do the reverse by synchronizing a DAW's tempo to a source recording. Drawing on research by Percival and Tzanetakis, a simple beat extraction algorithm was developed and integrated with the Renoise DAW. The results of this experiment show that, using user input from a DAW, even a simple algorithm can perform on par with popular packages for rhythm analysis such as BeatRoot, IBT, and aubio.
Keywords
Beat Extraction, Beat Induction, Beat Tracking, Digitial Audio Workstation, Music Production, Renoise, Rhythm Analysis
Paper topics
Algorithms and Systems for music composition, Interfaces for sound and music, Music information retrieval
Easychair keyphrases
beat tracking [28], tempo curve [8], beat extraction [7], beat tracking system [6], mir eval [6], music research [6], real time beat tracking [6], beat delta [5], music production [5], oss calculation [5], audio recording [4], beat extraction algorithm [4], beat time [4], beat tracking algorithm [4], daw integrated beat tracking [4], digital audio workstation [4], digital music [4], expected beat delta [4], language processing [4], music information retrieval [4], peak picking [4], spectral flux [4], streamlined tempo estimation algorithm [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249237
Zenodo URL: https://zenodo.org/record/3249237
2019.28
Deep Linear Autoregressive Model for Interpretable Prediction of Expressive Tempo
Maezawa, Akira Yamaha Corporation; Hamamatsu, Japan
Abstract
Anticipating a human musician's tempo for a given piece of music using a predictable model is important for interactive music applications, but existing studies base such an anticipation based on hand-crafted features. Based on recent trends in using deep learning for music performance rendering, we present an online method for multi-step prediction of the tempo curve, given the past history of tempo curves and the music score that the user is playing. We present a linear autoregressive model whose parameters are determined by a deep convolutional neural network whose input is the music score and the history of tempo curve; such an architecture allows the machine to acquire a music performance idioms based on musical contexts, while being able to predict the timing based on the user's playing. Evaluations show that our model is capable of improving tempo estimate over a commonly-used baseline for tempo prediction by 18%.
Keywords
Deep Neural Networks, Music Interaction, Tempo Prediction
Paper topics
Automatic music generation/accompaniment systems, Interaction in music performance, Music performance analysis and rendering
Easychair keyphrases
music score [51], music score feature [31], tempo curve [18], score feature [14], hand crafted feature [12], linear ar model [11], score feature extraction [11], timing prediction [10], fully connected layer [9], prediction coefficient function [9], deep linear ar model [8], music performance [8], feature extraction [7], music performance rendering [7], prediction error [7], segment duration [7], tempo prediction [7], deep non linear ar model [6], duet interaction [6], expressive timing [6], leaky relu batch norm [6], music score sn [6], performance feature [6], performance history [6], beat duration [5], deep learning [5], eighth note [5], human musician [5], piano playing [5], real time [5]
Paper type
Full paper
DOI: 10.5281/zenodo.3249387
Zenodo URL: https://zenodo.org/record/3249387
2019.29
Digital Manufacturing For Musical Applications: A Survey of Current Status and Future Outlook
Cavdir, Doga Buse Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
In the design of new musical instruments, from acoustic to digital, merging conventional methods with new technologies has been one of the common approaches. Incorporation of prior design expertise with experimental or sometimes industrial methods suggests new directions in both musical expression design and the development of new manufacturing tools. This paper describes key concepts of digital manufacturing processes in musical instrument design. It provides a review of current manufacturing techniques which are commonly used to create new musical interfaces, and discusses future directions of digital fabrication which are applicable to numerous areas in music research, such as digital musical instrument (DMI) design, interaction design, acoustics, performance studies, and education. Additionally, the increasing availability of digital manufacturing tools and fabrication labs all around the world make these processes an integral part of the design and music classes. Examples of digital fabrication labs and manufacturing techniques used in education for student groups whose age ranges from elementary to university level are presented. In the context of this paper, it is important to consider how the growing fabrication technology will influence the design and fabrication of musical instruments, as well as what forms of new interaction methods and aesthetics might emerge.
Keywords
acoustics of musical instruments, design and manufacturing of musical instrument, interaction design, iterative design
Paper topics
Hardware systems for sound and music computing, Interfaces for sound and music, Music creation and performance, New interfaces for interactive music creation, Sonic interaction design, Sound and music for accessibility and special needs
Easychair keyphrases
musical instrument [27], musical instrument design [19], musical expression [15], instrument design [14], additive manufacturing [12], rapid prototyping [9], digital fabrication [8], digital manufacturing [8], hybrid manufacturing [8], manufacturing technique [7], manufacturing tool [7], digital musical instrument [6], fabrication lab [6], injection molding [6], instrument body [6], fabrication method [5], acoustic instrument [4], brass pan flute [4], digital manufacturing tool [4], electronic circuit [4], incremental robotic sheet forming [4], industrial manufacturing [4], manufacturing process [4], music research [4], personal manufacturing [4], portable digital manufacturing tool [4], printing technology [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249280
Zenodo URL: https://zenodo.org/record/3249280
2019.30
DRAWING GEOMETRIC FIGURES WITH BRAILLE DESCRIPTION THROUGH A SPEECH RECOGNITION SYSTEM
Chamorro, África Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Barbancho, Ana Maria Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Barbancho, Isabel Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Tardón, Lorenzo José Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Abstract
In this contribution, a system that represents drawings of geometric figures along with their description transcribed in Braille controlled by means of commands acquired by a speech recognition scheme is presented. The designed system recognizes the spoken descriptions needed to draw simple geometric objects: shape, colour, size and position of the figures in the drawing. The speech recognition method selected is based on a distance measure defined with Mel Frequency Cepstral Coefficients (MFCCs). The complete system can be used by both people with visual and with hearing impairments thanks to its interface which, in addition to showing the drawing and the corresponding transcription in Braille, also allows the user to hear the description of commands and final drawing.
Keywords
Braille, Drawing, MFCCs, Speech recognition
Paper topics
not available
Easychair keyphrases
speech recognition [12], speech recognition subsystem [6], geometric figure [4], speech recognition scheme [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249437
Zenodo URL: https://zenodo.org/record/3249437
2019.31
EVALUATING A CONTINUOUS SONIC INTERACTION: COMPARING A PERFORMABLE ACOUSTIC AND DIGITAL EVERYDAY SOUND
Keenan, Fiona University of York; York, United Kingdom
Pauletto, Sandra KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper reports on the procedure and results of an experiment to evaluate a continuous sonic interaction with an everyday wind-like sound created by both acoustic and digital means. The interaction is facilitated by a mechanical theatre sound effect, an acoustic wind machine, which is performed by participants. This work is part of wider research into the potential of theatre sound effect designs as a means to study multisensory feedback and continuous sonic interactions. An acoustic wind machine is a mechanical device that affords a simple rotational gesture to a performer; turning its crank handle at varying speeds produces a wind-like sound. A prototype digital model of a working acoustic wind machine is programmed, and the acoustic interface drives the digital model in performance, preserving the same tactile and kinaesthetic feedback across the continuous sonic interactions. Participants’ performances are elicited with sound stimuli produced from simple gestural performances of the wind-like sounds. The results of this study show that the acoustic wind machine is rated as significantly easier to play than its digital counterpart. Acoustical analysis of the corpus of participants’ performances suggests that the mechanism of the wind machine interface may play a role in guiding their rotational gestures.
Keywords
Evaluation, Multimodality, Perception of Sound, Sonic Interaction, Sound Performance
Paper topics
access and modelling of musical heritage, Interactive performance systems, Interfaces for sound and music, Models for sound analysis and synthesis, Multimodality in sound and music computing, Perception and cognition of sound and music, Sonic interaction design, Technologies for the preservation
Easychair keyphrases
acoustic wind machine [55], wind machine [39], digital wind [33], continuous sonic interaction [19], digital model [18], theatre sound effect [16], crank handle [13], statistically significant difference [12], participant performance [10], digital counterpart [9], wind sound [9], rotational gesture [7], sound effect [7], digital musical instrument [6], everyday sound [6], historical theatre sound effect [6], sonic feedback [6], sound stimulus [6], statistical testing [6], wilcoxon signed rank test [6], easiness rating [5], order effect [5], performance gesture [5], similarity rating [5], steady rotation [5], theatre sound [5], digital wind machine [4], early twentieth century [4], free description [4], theatre wind machine [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249286
Zenodo URL: https://zenodo.org/record/3249286
2019.32
EXPERIMENTAL VERIFICATION OF DISPERSIVE WAVE PROPAGATION ON GUITAR STRINGS
Kartofelev, Dmitri Department of Cybernetics, Tallinn University of Technology; Tallinn, Estonia
Arro, Joann Department of Cybernetics, Tallinn University of Technology; Tallinn, Estonia
Välimäki, Vesa Acoustics Lab, School of Electrical Engineering, Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Abstract
Experimental research into the fundamental acoustic aspects of musical instruments and other sound generating devices is an important part of the history of musical acoustics and of physics in general. This paper presented experimental proof of dispersive wave propagation on metal guitar strings. The high resolution experimental data of string displacement are gathered using video-kymographic high-speed imaging of the vibrating string. The experimental data are indirectly compared against a dispersive Euler-Bernoulli type model described by a PDE. In order to detect the minor wave features associated with the dispersion and distinguish them from other effects present, such as frequency-dependent dissipation, a second model lacking the dispersive (stiffness) term is used. Unsurprisingly, the dispersive effects are shown to be minor but definitively present. The results and methods presented here in general should find application in string instrument acoustics.
Keywords
dispersion analysis, dispersive wave propagation, experimental acoustics, guitar string, kymography, line-scan camera, nylon string, stiff string, String vibration
Paper topics
Digital audio effects, Models for sound analysis and synthesis
Easychair keyphrases
string displacement [14], traveling wave [12], string vibration [11], guitar string [9], dispersive wave propagation [7], boundary condition [6], frequency dependent [6], high frequency [6], high frequency wave component [6], high speed line scan [6], time series [6], digital waveguide [5], dispersion analysis [5], full model [5], digital audio effect [4], dispersive euler bernoulli type [4], dispersive high frequency oscillating tail [4], electric field sensing [4], frequency dependent loss [4], general solution [4], group velocity [4], high resolution experimental data [4], initial value problem [4], line scan camera [4], piano string [4], signal processing [4], triangular shaped initial condition [4], video kymographic [4], wave equation [4], window size [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249372
Zenodo URL: https://zenodo.org/record/3249372
2019.33
Exploring the Effects of Diegetic and Non-diegetic Audiovisual Cues on Decision-making in Virtual Reality
Çamcı, Anıl University of Michigan; Ann Arbor, United States
Abstract
The user experience of a virtual reality intrinsically depends upon how the underlying system relays information to the user. Auditory and visual cues that make up the user interface of a VR help users make decisions on how to proceed in a virtual scenario. These interfaces can be diegetic (i.e. presented as part of the VR) or non-diegetic (i.e. presented as an external layer superimposed onto the VR). In this paper, we explore how auditory and visual cues of diegetic and non-diegetic origins affect a user’s decision-making process in VR. We present the results of a pilot study, where users are placed into virtual situations where they are expected to make choices upon conflicting suggestions as to how to complete a given task. We analyze the quantitative data pertaining to user preferences for modality and diegetic-quality. We also discuss the narrative effects of the cue types based on a follow-up survey conducted with the users.
Keywords
Auditory and visual interfaces, Diegetic and non-diegetic cues, Virtual Reality
Paper topics
Sound and music for Augmented/Virtual Reality and games
Easychair keyphrases
non diegetic [33], diegetic quality [16], virtual reality [14], diegetic audio [11], diegetic visual [11], virtual environment [11], visual cue [11], diegetic audio cue [9], second attempt [9], cue type [8], virtual room [8], decision making [7], user experience [7], first attempt [6], non diegetic cue [6], non diegetic visual object [6], cinematic virtual reality [4], diegetic audio object [4], diegetic cue [4], diegetic quality pairing [4], diegetic sound [4], implied universe [4], make decision [4], non diegetic audio cue [4], non diegetic sound [4], user interface [4], virtual space [4], visual element [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249315
Zenodo URL: https://zenodo.org/record/3249315
2019.34
EXTENDING JAMSKETCH: AN IMPROVISATION SUPPORT SYSTEM
Yasuhara, Akane Nihon University; Tokyo, Japan
Fujii, Junko Nihon University; Tokyo, Japan
Kitahara, Tetsuro Nihon University; Tokyo, Japan
Abstract
We previously introduced JamSketch, a system which enabled users to improvise music by drawing a melodic outline. However, users could not control the rhythm and intensity of the generated melody. Here, we present extensions to JamSketch to enable rhythm and intensity control.
Keywords
Automatic music composition, Genetic algorithm, Melodic outline, Musical improvisation, Pen pressure
Paper topics
not available
Easychair keyphrases
melodic outline [23], pen pressure [8], note density [6], piano roll display [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249349
Zenodo URL: https://zenodo.org/record/3249349
2019.35
FACIAL ACTIVITY DETECTION TO MONITOR ATTENTION AND FATIGUE
Cobos, Oscar Andalucía Tech, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Munilla, Jorge Andalucía Tech, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Barbancho, Ana Maria Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Barbancho, Isabel Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Tardón, Lorenzo José Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Abstract
In this contribution, we present a facial activity detection system using image processing and machine learning techniques. Facial activity detection allows monitoring people emotional states, attention, fatigue, reactions to different situations, etc., in a non-intrusive way. The designed system can be used in many fields such as education and musical perception. Monitoring the facial activity of a person can help us to know if it is necessary to take a break, change the type of music that is being listened to or modify the way of teaching the class.
Keywords
Education, Facial activity detection, Monitor Attention, Musical perception, SVM
Paper topics
not available
Easychair keyphrases
facial activity detection system [10], facial activity detection [6], finite state machine [6], temporal analysis [6], mouth state detection [4], mouth status [4], non intrusive way [4], person emotional state [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249358
Zenodo URL: https://zenodo.org/record/3249358
2019.36
Finding new practice material through chord-based exploration of a large music catalogue
Pauwels, Johan Queen Mary University of London; London, United Kingdom
Sandler, Mark Queen Mary University of London; London, United Kingdom
Abstract
Our demo is a web app that suggests new practice material to music learners based on automatic chord analysis. It is aimed at music practitioners of any skill set, playing any instrument, as long as they know how to play along with a chord sheet. Users need to select a number of chords in the app, and are then presented with a list of music pieces containing those chords. Each of those pieces can be played back while its chord transcription is displayed in sync to the music. This enables a variety of practice scenarios, ranging from following the chords in a piece to using the suggested music as a backing track to practice soloing over.
Keywords
automatic chord recognition, music education, music recommendation, web application
Paper topics
not available
Easychair keyphrases
chord transcription [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249445
Zenodo URL: https://zenodo.org/record/3249445
2019.37
From Jigs and Reels to Schottisar och Polskor: Generating Scandinavian-like Folk Music with Deep Recurrent Networks
Mossmyr, Simon KTH Royal Institute of Technology; Stockholm, Sweden
Hallström, Eric KTH Royal Institute of Technology; Stockholm, Sweden
Sturm, Bob Luis KTH Royal Institute of Technology; Stockholm, Sweden
Vegeborn, Victor Hansjons KTH Royal Institute of Technology; Stockholm, Sweden
Wedin, Jonas KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
The use of recurrent neural networks for modeling and generating music has seen much progress with textual transcriptions of traditional music from Ireland and the UK. We explore how well these models perform for textual transcriptions of traditional music from Scandinavia. This type of music can have characteristics that are similar to and different from those of Irish music, e.g. structure, mode, and rhythm. We investigate the effects of different architectures and training regimens, and evaluate the resulting models using two methods: a comparison of statistics between real and generated transcription populations, and an appraisal of generated transcriptions via a semi-structured interview with an expert in Swedish folk music. As for the models trained on Irish transcriptions, we see these recurrent models can generate new transcriptions that share characteristics with Swedish folk music. One of our models has been implemented online at http://www.folkrnn.org.
Keywords
Deep Learning, Folk Music, GRU, LSTM, Neural Network, Polka, RNN
Paper topics
Algorithms and Systems for music composition, Automatic music generation/accompaniment systems, New interfaces for interactive music creation
Easychair keyphrases
scandinavian folk music [15], folk music [12], training data [10], recurrent neural network [7], swedish folk music [7], folkwiki dataset [6], real transcription [6], short term memory [6], gru layer [5], music transcription [5], traditional music [5], eric hallstr om [4], fake transcription [4], gated recurrent unit [4], gru model [4], irish traditional music [4], neural network [4], semi structured interview [4], transcription model [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249474
Zenodo URL: https://zenodo.org/record/3249474
2019.38
FROM VOCAL SKETCHING TO SOUND MODELS BY MEANS OF A SOUND-BASED MUSICAL TRANSCRIPTION SYSTEM
Panariello, Claudio KTH Royal Institute of Technology; Stockholm, Sweden
Sköld, Mattias Royal College of Music (KMH); Stockholm, Sweden
Frid, Emma KTH Royal Institute of Technology; Stockholm, Sweden
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper explores how notation developed for the representation of sound-based musical structures could be used for the transcription of vocal sketches representing expressive robot movements. A mime actor initially produced expressive movements which were translated to a humanoid robot. The same actor was then asked to illustrate these movements using vocal sketching. The vocal sketches were transcribed by two composers using sound-based notation. The same composers later synthesised new sonic sketches from the annotated data. Different transcriptions and synthesised versions of these were compared in order to investigate how the audible outcome changes for different transcriptions and synthesis routines. This method provides a palette of sound models suitable for the sonification of expressive body movements.
Keywords
robot sound, sonic interaction design, sonification, sound representation, Sound trascription, voice sketching
Paper topics
Auditory display and data sonification, Models for sound analysis and synthesis, Multimodality in sound and music computing, Music performance analysis and rendering, Perception and cognition of sound and music, Social interaction in sound and music computing, Sonic interaction design
Easychair keyphrases
vocal sketch [21], sound synthesis [8], mime actor [7], notation system [7], sound structure [7], synthesized version [6], vocal sketching [6], humanoid robot [5], sonic sketch [5], expressive gesture [4], human robot interaction [4], kmh royal college [4], movement sonification [4], pitched sound [4], sonao project [4], sound based musical structure [4], sound model [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249299
Zenodo URL: https://zenodo.org/record/3249299
2019.39
Graph Based Physical Models for Sound Synthesis
Christensen, Pelle Juul Aalborg University; Aalborg, Denmark
Serafin, Stefania Aalborg University; Aalborg, Denmark
Abstract
Abstract Physical Modeling for Sound Synthesis: Graph Based Physical Models for Sound Synthesis Pelle Juul Christensen Aalborg University Copenhagen, Denmark pelle.juul@tuta.io Stefania Serafin Aalborg University Copenhagen, Denmark sts@create.aau.dk ABSTRACT We focus on physical models in which multiple strings are connected via junctions to form graphs. Starting with the case of the 1D wave equation, we show how to ex- tend it to a string branching into two other strings, and from there how to build complex cyclic and acyclic graphs. We introduce the concept of dense models and show that a discretization of the 2D wave equation can be built us- ing our methods, and that there are more efficient ways of modelling 2D wave propagation than a rectangular grid. We discuss how to apply Dirichlet and Neumann boundary conditions to a graph model, and show how to compute the frequency content of a graph using common methods. We then prove general lower and upper bounds computational complexity. Lastly, we show how to extend our results to other kinds of acoustical objects, such as linear bars, and how to add dampening to a graph model. A reference implementation in MATLAB and an interactive JUCE/C++ application is available online.
Keywords
Digital signal processing, Physical modeling for sound synthesis, Sound and music computing
Paper topics
and virtual acoustics, Models for sound analysis and synthesis, reverberation, Sound/music signal processing algorithms, Spatial sound
Easychair keyphrases
boundary condition [22], d wave equation [20], finite difference scheme [20], wave equation [14], pendant node [9], branching topology [8], rectangular grid [8], computational complexity [7], physical model [7], string segment [7], graph based physical model [6], mass spring network [6], digital waveguide [5], graph model [5], sound synthesis [5], aalborg university copenhagen [4], dense model [4], difference operator [4], d wave equation based model [4], edge node [4], hexagonal grid [4], linear bar model [4], mass spring system [4], n branch topology [4], physical modelling [4], stability condition [4], wave propagation [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249331
Zenodo URL: https://zenodo.org/record/3249331
2019.40
HMM-BASED GLISSANDO DETECTION FOR RECORDINGS OF CHINESE BAMBOO FLUTE
Wang, Changhong Queen Mary University of London; London, United Kingdom
Benetos, Emmanouil Queen Mary University of London; London, United Kingdom
Meng, Xiaojie China Conservatory of Music; Beijing, China
Chew, Elaine Queen Mary University of London; London, United Kingdom
Abstract
Playing techniques such as ornamentations and articulation effects constitute important aspects of music performance. However, their computational analysis is still at an early stage due to a lack of instrument diversity, established methodologies and informative data. Focusing on the Chinese bamboo flute, we introduce a two-stage glissando detection system based on hidden Markov models (HMMs) with Gaussian mixtures. A rule-based segmentation process extracts glissando candidates that are consecutive note changes in the same direction. Glissandi are then identified by two HMMs. The study uses a newly created dataset of Chinese bamboo flute recordings, including both isolated glissandi and real-world pieces. The results, based on both frame- and segment-based evaluation for ascending and descending glissandi respectively, confirm the feasibility of the proposed method for glissando detection. Better detection performance of ascending glissandi over descending ones is obtained due to their more regular patterns. Inaccurate pitch estimation forms a main obstacle for successful fully-automated glissando detection. The dataset and method can be used for performance analysis.
Keywords
Ethnomusicology, Glissando, Hidden Markov models, Playing technique detection
Paper topics
Automatic separation, classification of sound and music, Computational musicology and ethnomusicology, Content processing of music audio signals, Music information retrieval, Music performance analysis and rendering, recognition, Sound/music signal processing algorithms
Easychair keyphrases
playing technique [22], music information retrieval [11], descending glissando [10], glissando detection [10], isolated glissando [10], ground truth [9], ascending glissando [8], detection system [8], note change [8], pitch estimation [8], ascending and descending [7], chinese bamboo flute [7], international society [7], whole piece recording [7], automated glissando detection system [6], computational analysis [6], fully automated glissando [6], guitar playing technique [6], performed glissando [6], rule based segmentation [6], glissando candidate [5], modeling of magnitude and phase derived [5], note number [5], signal processing [5], ascending performed glissando [4], cbf playing technique [4], glissando detection system [4], hidden markov model [4], pitch estimation accuracy [4], playing technique detection [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249470
Zenodo URL: https://zenodo.org/record/3249470
2019.41
Increasing Access to Music in SEN Settings
Davis, Tom Bournemouth University; Bournemouth, United Kingdom
Pierson, Daniel Bournemouth University; Bournemouth, United Kingdom
Bevan, Ann Bournemouth University; Bournemouth, United Kingdom
Abstract
This paper presents some of the outcomes of a one year Higher Education Innovation Fund funded project exam-ining the use of music technology to increase access to music for children within special educational need (SEN) settings. Despite the widely acknowledged benefits of interacting with music for children with SEN there are a number of well documented barriers to access [1, 2, 3]. These barriers take a number of forms including financial, knowledge based or attitudinal. The aims of this project were to assess the current music technology provision in SEN schools within a particular part of the Dorset region, UK, determine the barriers they were facing and develop strategies to help the schools overcome these barriers. An overriding concern for this project was to leave the schools with lasting benefit and meaningful change. As such an Action Research [4] methodology was followed, which has at its heart an understanding of the participants as co-researchers helping ensure any solutions presented met the needs of the stakeholders.. Although technologi-cal solutions to problems were presented to the school, it was found that the main issues were around the flexibil-ity of equipment to be used in different locations, staff time and staff attitudes to technology.
Keywords
access, inclusion, interaction, SEN
Paper topics
Sound and music for accessibility and special needs
Easychair keyphrases
music technology [21], music therapy [15], action research [12], resonance board [12], music therapist [6], music therapy perspective [6], vibro tactile resonance board [6], sen setting [5], action research methodology [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249345
Zenodo URL: https://zenodo.org/record/3249345
2019.42
Insights in habits and attitudes regarding programming sound synthesizers: a quantitative study
Kreković, Gordan Visage Technologies; Zagreb, Croatia
Abstract
Sound synthesis represents an indispensable tool for modern composers and performers, but achieving desired sonic results often requires a tedious manipulation of various numeric parameters. In order to facilitate this process, a number of possible approaches have been proposed, but without a systematic user research that could help researchers to articulate the problem and to make informed design decisions. The purpose of this study is to fill that gap and to investigate attitudes and habits of sound synthesizer users. The research was based on a questionnaire answered by 122 participants, which, beside the main questions about habits and attitudes, covered questions about their demographics, profession, educational background and experience in using sound synthesizers. The results were quantitatively analyzed in order to explore relations between all those dimensions. The main results suggest that the participants more often modify or create programs than they use existing presets or programs and that such habits do not depend on the participants’ education, profession, or experience.
Keywords
automatic parameter selection, quantitative studies, sound synthesis, user research
Paper topics
and software environments for sound and music computing, Interfaces for sound and music, Languages, Models for sound analysis and synthesis, protocols
Easychair keyphrases
sound synthesizer [37], user interface [18], synthesis parameter [17], synthesizer programming [14], rank sum test [12], wilcoxon rank sum [12], computer music [11], music education [11], existing program [10], genetic algorithm [10], sound synthesis [9], usage habit [9], automatic selection [7], create program [7], creating and modifying [7], spearman correlation coefficient [7], automatic parameter selection [6], formal music education [6], international computer [6], modifying program [6], music student [6], professional musician [6], statistically significant difference [6], user research [6], desired sound [5], synthesis engine [5], audio engineering society [4], audio feature [4], computer science technique [4], music education level [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249370
Zenodo URL: https://zenodo.org/record/3249370
2019.43
Interacting with digital resonators by acoustic excitation
Neupert, Max Bauhaus-Universität Weimar; Weimar, Germany
Wegener, Clemens The Center for Haptic Audio Interaction Research (CHAIR); Weimar, Germany
Abstract
This demo presents an acoustic interface which allows to directly excite digital resonators (digital waveguides, lumped models, modal synthesis and sample convolution). Parameters are simultaneously controlled by the touch position on the same surface. The experience is an intimate and intuitive interaction with sound for percussive and melodic play.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
Demo
DOI: 10.5281/zenodo.3249260
Zenodo URL: https://zenodo.org/record/3249260
2019.44
Interacting with Musebots (that don’t really listen)
Eigenfeldt, Arne Simon Fraser University; Vancouver, Canada
Abstract
tinySounds is a collaborative work for live performer and musebot ensemble. Musebots are autonomous musical agents that interact, via messaging, to create a musical performance with or without human interaction.
Keywords
generative music, interactive system, musebots, musical agents
Paper topics
not available
Easychair keyphrases
musebot ensemble [7]
Paper type
Demo
DOI: 10.5281/zenodo.3249347
Zenodo URL: https://zenodo.org/record/3249347
2019.45
Interaction-based Analysis of Freely Improvised Music
Kalonaris, Stefano Center for Advanced Intelligence Project (AIP), RIKEN; Tokyo, Japan
Abstract
This paper proposes a computational method for the analysis and visualization of structure in freely improvised musical pieces, based on source separation and interaction patterns. A minimal set of descriptive axes is used for eliciting interaction modes, regions and transitions. To this end, a suitable unsupervised segmentation model is selected based on the author's ground truth, and is used to compute and compare event boundaries of the individual audio sources. While still at a prototypal stage of development, this method offers useful insights for evaluating a musical expression that lacks formal rules and protocols, including musical functions (e.g., accompaniment, solo, etc.) and form (e.g., verse, chorus, etc.).
Keywords
Computational musicology, Interaction and improvisation, Interaction in music performance, Perception and cognition of sound and music
Paper topics
Computational musicology and ethnomusicology, Improvisation in music through interactivity, Interaction in music performance, Music information retrieval, Perception and cognition of sound and music
Easychair keyphrases
freely improvised music [23], musical expression [13], free jazz [11], audio source [10], free improvisation [10], real time [9], dynamic mode [8], source separation [7], audio source separation [6], clear cut [6], musical improvisation [6], musical surface [6], music information retrieval [6], ordinal linear discriminant analysis [6], audio mix [5], jazz improvisation [5], static mode [5], activation time [4], auditory stream segregation [4], convex non negative matrix factorization [4], ground truth [4], improvised music [4], individual audio source [4], inter region [4], multi track recording [4], music theory [4], segmentation boundary [4], signal processing [4], structural segmentation [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249239
Zenodo URL: https://zenodo.org/record/3249239
2019.46
INTERACTIVE MUSIC TRAINING SYSTEM
Moreno, Daniel Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Barbancho, Isabel Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Barbancho, Ana Maria Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Tardón, Lorenzo José Andalucía Tech, ATIC group, E.T.S.I. Telecomunicación, Universidad de Málaga; Málaga, Spain
Abstract
In this contribution, we present an interactive system for playing while learning music. The game is based on different computer games controlled by the user with a remote control. The remote control has been implemented using IMU sensors for 3D tranking. The computer games are programming in Python and allows to practice rhythm as well as the tune, ascending or descending of musical notes.
Keywords
IMU sensors, Interactive system, Music learning, Serious Games
Paper topics
not available
Easychair keyphrases
remote control [16], interactive music training system [10], computer game [8], practice rhythm [5], serious game [5], ascending or descending [4], lleva el cursor [4], mover el cursor [4], note order game [4], ve una partitura con [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249439
Zenodo URL: https://zenodo.org/record/3249439
2019.47
INTERNAL COMPLEXITY FOR EXPLORATORY INTERACTION
Hobye, Mads Roskilde University; Roskilde, Denmark
Abstract
When designing interactive sound for non-utilitarian ludic interaction internal complexity can be a way of opening up a space for curiosity and exploration. Internal complexity should be understood as non-linear mappings between the input and the parameters they affect in the output (sound). This paper presents three different experiments which explore ways to create internal complexity with rather simple interfaces for curious exploration.
Keywords
8 Bit synth, Curiosity, Exploration, Interaction, Ludic play
Paper topics
not available
Easychair keyphrases
noise machine [5], internal complexity [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249447
Zenodo URL: https://zenodo.org/record/3249447
2019.48
‘Jazz Mapping’ an Analytical and Computational Approach to Jazz Improvisation
Vassilakis, Dimitrios National and Kapodistrian University of Athens; Athens, Greece
Georgaki, Anastasia National and Kapodistrian University of Athens; Athens, Greece
Anagnostopoulou, Christina National and Kapodistrian University of Athens; Athens, Greece
Abstract
Abstract “Jazz mapping" is a multi-layer analytical approach to jazz improvisation based on hierarchical segmentation and categorization of segments, or constituents, according to their function in the overall improvisation. In this way higher-level semantics of transcribed and recorded jazz solos can be exposed. In this approach, the knowledge of the expert jazz performer is taken into account in all ana-lytical decisions. We apply the method to two well-known solos, by Sonny Rollins and Charlie Parker and we discuss how improvisations resemble story telling, employing a broad range of structural, expressive, tech-nical and emotional tools usually associated with the pro-duction and experience of language and of linguistic meaning. We make explicit the choices of the experi-enced jazz improviser who has developed a strong com-mand over the language and unfolds a story in real time, very similar to prose on a given framework, He/she uti-lizes various mechanisms to communicate expressive intent, elicit emotional responses, and make his/her musi-cal “story,” memorable and enjoyable to fellow musicians and listeners. We also comment on potential application areas of this work related to music and artificial intelli-gence.
Keywords
Interaction with music, Jazz Analyses, Jazz performance and AI, Machine learning, Music information retrieval, Semantics
Paper topics
Interaction in music performance, Models for sound analysis and synthesis, Music creation and performance, Music performance analysis and rendering, Perception and cognition of sound and music
Easychair keyphrases
jazz improvisation [14], thematic development [10], sonny rollin [8], personal voice [6], structural element [6], machine learning [5], charlie parker [4], jazz mapping [4], jazz solo [4], kapodistrian university [4], music study [4], story telling [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249431
Zenodo URL: https://zenodo.org/record/3249431
2019.49
Learning to Generate Music with BachProp
Colombo, Florian Laboratory of Computational Neurosciences, Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Brea, Johanni Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Gerstner, Wulfram Ecole Polytechnique Fédérale de Lausanne (EPFL); Lausanne, Switzerland
Abstract
As deep learning advances, algorithms of music composition increase in performance. However, most of the successful models are designed for specific musical structures. Here, we present BachProp, an algorithmic composer that can generate music scores in many styles given sufficient training data. To adapt BachProp to a broad range of musical styles, we propose a novel representation of music and train a deep network to predict the note transition probabilities of a given music corpus. In this paper, new music scores generated by BachProp are compared with the original corpora as well as with different network architectures and other related models. A set of comparative measures is used to demonstrate that BachProp captures important features of the original datasets better than other models and invite the reader to a qualitative comparison on a large collection of generated songs.
Keywords
Automated Music Composition, Deep Learning, Generative Model of Music, Music Representation, Recurrent Neural Networks
Paper topics
Algorithms and Systems for music composition
Easychair keyphrases
neural network [15], generative model [12], recurrent neural network [11], time shift [11], novelty profile [9], music score [8], latexit latexit [7], music composition [7], hidden state [6], note sequence [6], reference corpus [6], auto novelty [5], bach chorale [5], john sankey [5], local statistic [5], machine learning [5], midi sequence [5], novelty score [5], string quartet [5], base unit [4], data set [4], hidden layer [4], musical structure [4], preprint arxiv [4], probability distribution [4], recurrent layer [4], recurrent neural network model [4], science ecole polytechnique [4], song length [4], utzxqxj0wy1i3a2q4fip7kfdydqi5jqljw8hoauq3hrk2ilz3oe64h9gbeqfgfk300ex hegyxu565ypbdwcgy6swkwrkapbkx91 znkik2ssgtopuqn6gduomostujc1pkfsrae8y6mietd nrt4qk6s0idhrg0pjdp190rgi2pguwa7i4pd [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249394
Zenodo URL: https://zenodo.org/record/3249394
2019.50
Mass-Interaction Physical Models for Sound and Multi-Sensory Creation: Starting Anew
Villeneuve, Jérôme Grenoble Images Parole Signal Automatique (GIPSA-Lab), Université de Grenoble-Alpes; Grenoble, France
Leonard, James Grenoble Images Parole Signal Automatique (GIPSA-Lab), Université de Grenoble-Alpes; Grenoble, France
Abstract
Mass-interaction methods for sound synthesis, and more generally for digital artistic creation, have been studied and explored for over three decades, by a multitude of researchers and artists. However, for a number of reasons this research has remained rather confidential, subsequently overlooked and often considered as the "odd-one-out" of physically-based synthesis methods, of which many have grown exponentially in popularity over the last ten years. In the context of a renewed research effort led by the authors on this topic, this paper aims to reposition mass-interaction physical modelling in the contemporary fields of Sound and Music Computing and Digital Arts: what are the core concepts? The end goals? And more importantly, which relevant perspectives can be foreseen in this current day and age? Backed by recent developments and experimental results, including 3D mass-interaction modelling and emerging non-linear effects, this proposed reflection casts a first canvas for an active, and resolutely outreaching, research on mass-interaction physical modelling for the arts.
Keywords
3D Physical Modeling, Emerging Non-linear Behaviors, Mass Interaction, Multi-Sensory, Processing
Paper topics
Interactive performance systems, Models for sound analysis and synthesis, Multimodality in sound and music computing, Music creation and performance, New interfaces for interactive music creation
Easychair keyphrases
mass interaction [31], sound synthesis [17], mass interaction physical modelling [16], physical modelling [15], real time [11], non linear [9], discrete time [7], interaction physical [7], non linear behaviour [7], computer music [6], mass interaction model [6], mass interaction physical model [6], non linearity [5], tension modulation [5], chaotic oscillation [4], finite difference scheme [4], grenoble inp gipsa lab [4], haptic interaction [4], modular physical modelling [4], musical instrument [4], physical model [4], virtual object [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249313
Zenodo URL: https://zenodo.org/record/3249313
2019.51
Mechanical Entanglement: A Collaborative Haptic-Music Performance
Kontogeorgakopoulos, Alexandros Cardiff Metropolitan University; Cardiff, United Kingdom
Sioros, George RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo; Oslo, Norway
Klissouras, Odysseas oneContinuousLab; Athens, Greece
Abstract
Mechanical Entanglement is a musical composition for three performers. Three force feedback devices each containing two haptic faders are mutually coupled using virtual linear springs and dampers. During the composition, the performers feel each others' gestures and collaboratively process the music material. The interaction's physical modelling parameters are modified during the different sections of the composition. An algorithm which process three stereo channels, is stretching in and out-of-sync three copies of the same music clip. The performers are “controlling” the stretching algorithm and an amplitude modulation effect, both applied to recognisable classical and contemporary music compositions. Each of them is substantially modifying the length and the dynamics of the same music clip but also simultaneously affecting subtly or often abruptly the gestural behaviour of the other performers. At fixed points in the length of the composition, the music becomes gradually in sync and the performers realign their gestures. This phasing “game” between gestures and sound, creates tension and emphasises the physicality of the performance.
Keywords
collaborative performance, composition, force-feedback, haptics, interactive music performance, lumped element modelling, mass-interaction networks, physical modelling
Paper topics
Improvisation in music through interactivity, Interaction in music performance, Interactive performance systems, Interfaces for sound and music, Music creation and performance, New interfaces for interactive music creation, Social interaction in sound and music computing
Easychair keyphrases
force feedback [10], computer music [9], haptic device [9], physical model [7], force feedback device [6], audio file [5], haptic fader [5], musical expression [5], musical instrument [5], signal processing [5], haptic digital audio effect [4], haptic signal processing [4], haptic signal processing framework [4], led light [4], mechanical entanglement [4], musical composition [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249242
Zenodo URL: https://zenodo.org/record/3249242
2019.52
Melody Identification in Standard MIDI Files
Jiang, Zheng Carnegie Mellon University; Pittsburgh, United States
Dannenberg, Roger B. Carnegie Mellon University; Pittsburgh, United States
Abstract
Melody identification is an important early step in music analysis. This paper presents a tool to identify the melody in each measure of a Standard MIDI File. We also share an open dataset of manually labeled music for researchers. We use a Bayesian maximum-likelihood approach and dynamic programming as the basis of our work. We have trained parameters on data sampled from the million song dataset and tested on a dataset including 1706 measures of music from different genres. Our algorithm achieves an overall accuracy of 90% in the test dataset. We compare our results to previous work.
Keywords
Bayesian, Melody, Music analysis, Standard MIDI File, Viterbi
Paper topics
Automatic separation, classification of sound and music, Music information retrieval, recognition
Easychair keyphrases
training data [13], melody channel [12], midi file [10], window size [10], melody identification [8], note density [8], dynamic programming [7], standard deviation [7], switch penalty [7], channel containing [5], melody extraction [5], test data [5], bayesian probability model [4], channel switch [4], cross validation [4], feature set [4], fold cross [4], pitch mean [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249256
Zenodo URL: https://zenodo.org/record/3249256
2019.53
Melody Slot Machine
Hamanaka, Masatoshi Center for Advanced Intelligence Project (AIP), RIKEN; Tokyo, Japan
Abstract
This paper describes our interactive music system called the “Melody Slot Machine,” which enables control of a holographic performer. Although many interactive music systems have been proposed, manipulating perfor-mances in real time is difficult for musical novices because melody manipulation requires expert knowledge. Therefore, we developed the Melody Slot Machine to provide an experience of manipulating melodies by enabling users to freely switch between two original melodies and morphing melodies.
Keywords
Generative Theory of Tonal Music, Interactive Music System, Melody Morphing
Paper topics
not available
Easychair keyphrases
melody slot machine [15], time span tree [12], melody morphing method [7], holographic display [6], cache size [5], melody segment [5], frame rate [4], virtual performer [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249262
Zenodo URL: https://zenodo.org/record/3249262
2019.54
Metrics for the Automatic Assessment of Music Harmony Awareness in Children
Avanzini, Federico Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Baratè, Adriano Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Ludovico, Luca Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Mandanici, Marcella Conservatorio Statale di musica “Luca Marenzio” di Brescia; Brescia, Italy
Abstract
In the context of a general research question about the effectiveness of computer-based technologies applied to early music-harmony learning, this paper proposes a web-based tool to foster and quantitatively measure harmonic awareness in children. To this end, we have developed a Web interface where young learners can listen to the leading voice of well-known music pieces and associate chords to it. During the activity, their actions can be monitored, recorded, and analyzed. An early experimentation involved 45 primary school teachers, whose performances have been measured in order to get user-acceptance opinions from domain experts and to determine the most suitable metrics to conduct automated performance analysis. This paper focuses on the latter aspect and proposes a set of candidate metrics to be used for future experimentation with children.
Keywords
assessment, harmony, metrics, music education, web tools
Paper topics
Perception and cognition of sound and music
Easychair keyphrases
tonal harmony [18], music tune [11], harmonic touch [9], leading voice [9], final choice [6], music education [6], parallel chord [6], harmonic function [5], final chord [4], harmonic awareness [4], harmonic space [4], harmony awareness [4], implicit harmony [4], learning effect [4], melody harmonization [4], primary chord [4], primary school child [4], research question [4], tonal function [4], tonic chord [4], web interface [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249389
Zenodo URL: https://zenodo.org/record/3249389
2019.55
MI-GEN∼: An Efficient and Accessible Mass-Interaction Sound Synthesis Toolbox
Leonard, James Grenoble Images Parole Signal Automatique (GIPSA-Lab), Université de Grenoble-Alpes; Grenoble, France
Villeneuve, Jérôme Grenoble Images Parole Signal Automatique (GIPSA-Lab), Université de Grenoble-Alpes; Grenoble, France
Abstract
Physical modelling techniques are now an essential part of digital sound synthesis, allowing for the creation of complex timbres through the simulation of virtual matter and expressive interaction with virtual vibrating bodies. However, placing these tools in the hands of the composer or musician has historically posed challenges in terms of a) the computational expense of most real-time physically based synthesis methods, b) the difficulty of implementing these methods into modular tools that allow for the intuitive design of virtual instruments, without expert physics and/or computing knowledge, and c) the generally limited access to such tools within popular software environments for musical creation. To this end, a set of open-source tools for designing and computing mass-interaction networks for physically-based sound synthesis is presented. The audio synthesis is performed within Max/MSP using the gen~ environment, allowing for simple model design, efficient calculation of systems containing single-sample feedback loops, as well as extensive real-time control of physical parameters and model attributes. Through a series of benchmark examples, we exemplify various virtual instruments and interaction designs.
Keywords
Mass-interaction, Max/MSP, Physical modelling, Toolbox
Paper topics
Models for sound analysis and synthesis, Multimodality in sound and music computing, Sound/music signal processing algorithms
Easychair keyphrases
mass interaction [25], mass interaction model [12], physical model [12], sound synthesis [11], computer music [9], physical modelling [9], mass interaction physical modelling [8], discrete time [7], harmonic oscillator [7], mass interaction modelling [7], mass interaction network [7], motion buffer [7], physical modeling [6], real time [6], drunk triangle [5], physical parameter [5], stability condition [5], control rate parameter [4], digital sound synthesis [4], external position [4], force feedback [4], gen patch [4], grenoble inp gipsa lab [4], mass interaction physical modeling [4], mass type element [4], mi gen toolbox [4], model based digital piano [4], multisensory virtual musical instrument [4], non linear [4], physically based synthesis method [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249376
Zenodo URL: https://zenodo.org/record/3249376
2019.56
MININGSUITE: A COMPREHENSIVE MATLAB FRAMEWORK FOR SIGNAL, AUDIO AND MUSIC ANALYSIS, ARTICULATING AUDIO AND SYMBOLIC APPROACHES
Lartillot, Olivier University of Oslo; Oslo, Norway
Abstract
The MiningSuite is a free open-source and comprehensive Matlab framework for the analysis of signals, audio recordings, music recordings, music scores, other signals such as motion capture data, etc., under a common modular framework. It adds a syntactic layer on top of Matlab, so that advanced operations can be specified using a simple and adaptive syntax. This makes the Matlab environment very easy to use for beginners, and in the same time allows power users to design complex workflows in a modular and concise way through a simple assemblage of operators featuring a large set of options. The MiningSuite is an extension of MIRtoolbox, a Matlab toolbox that has become a reference tool in MIR.
Keywords
Matlab toolbox, MIR, open source
Paper topics
not available
Easychair keyphrases
not available
Paper type
Demo
DOI: 10.5281/zenodo.3249435
Zenodo URL: https://zenodo.org/record/3249435
2019.57
Modeling and Learning Rhythm Structure
Foscarin, Francesco Conservatoire national des arts et métiers (CNAM); France
Jacquemard, Florent Institut national de recherche en informatique et en automatique (INRIA); France
Rigaux, Philippe Conservatoire national des arts et métiers (CNAM); France
Abstract
We present a model to express preferences on rhythmic structure, based on probabilistic context-free grammars, and a procedure that learns the grammars probabilities from a dataset of scores or quantized MIDI files. The model formally defines rules related to rhythmic subdivisions and durations that are in general given in an informal language. Rules preference is then specified with probability values. One targeted application is the aggregation of rules probabilities to qualify an entire rhythm, for tasks like automatic music generation and music transcription. The paper also reports an application of this approach on two datasets.
Keywords
Digital Music Scores, Grammatical Inference, Rhythmic notation, Weighted Context-Free-Grammars
Paper topics
Algorithms and Systems for music composition, Automatic music generation/accompaniment systems, Music information retrieval
Easychair keyphrases
parse tree [33], music notation [10], probabilistic context free grammar [8], weight value [8], context free grammar [7], rhythmic notation [7], time interval [7], time signature [7], training set [7], midi file [6], rhythm structure [6], rhythm tree [6], hierarchical structure [5], rhythm notation [5], enhanced wikifonia leadsheet dataset [4], k div rule [4], musical event [4], non terminal symbol [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249476
Zenodo URL: https://zenodo.org/record/3249476
2019.58
Musical Tempo and Key Estimation using Convolutional Neural Networks with Directional Filters
Schreiber, Hendrik tagtraum industries incorporated; Raleigh, United States
Müller, Meinard International Audio Laboratories Erlangen (AudioLabs); Erlangen, Germany
Abstract
In this article we explore how the different semantics of spectrograms’ time and frequency axes can be exploited for musical tempo and key estimation using Convolutional Neural Networks (CNN). By addressing both tasks with the same network architectures ranging from shallow, domain-specific approaches to VGG variants with directional filters, we show that axis-aligned architectures perform similarly well as common VGG-style networks, while being less vulnerable to confounding factors and requiring fewer model parameters.
Keywords
CNN, Confounds, Key, MIR, Tempo
Paper topics
Automatic separation, classification of sound and music, Content processing of music audio signals, Models for sound analysis and synthesis, Music information retrieval, recognition, Sound/music signal processing algorithms
Easychair keyphrases
music information retrieval [22], tempo estimation [18], convolutional neural network [15], directional filter [13], key detection [12], key estimation [12], th international society [12], gtzan key [9], square filter [8], tempo task [8], convolutional layer [7], deepmod deepmod deepmod [6], electronic dance music [6], genre recognition [6], mir task [6], shallow architecture [6], standard deviation [6], deep architecture [5], giantstep key [5], network architecture [5], signal processing [5], validation accuracy [5], feature extraction module [4], giantstep tempo [4], key accuracy [4], key task [4], layer input conv [4], similar parameter count [4], tempo annotation [4], temporal filter [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249250
Zenodo URL: https://zenodo.org/record/3249250
2019.59
Music Temperaments Evaluation Based on Triads
Tong, Meihui Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Tojo, Satoshi Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Abstract
It is impossible for one temperament to achieve optimally both of consonance and modulation. The dissonance level has been calculated by the ratio of two pitch frequencies, however in the current homophonic music, the level should be measured by chords, especially by triads. In this research, we propose to quantify them as Dissonance Index of Triads (DIT). We select eight well-known temperaments and calculate seven diatonic chords in 12 keys and compare the weighted average and standard deviation to quantify the consonance, and then we visualize our experimental results in a two-dimensional chart to compare the trade-offs between consonance and modulation.
Keywords
equal temperament, mean tone, Pythagoras, Scale, visualization
Paper topics
Computational musicology and ethnomusicology, Perception and cognition of sound and music
Easychair keyphrases
equal temperament [14], sanfen sunyi fa [12], dissonance value [8], dit value [8], just intonation [8], dissonance curve [7], pythagorean tuning [6], critical bandwidth [5], music temperament [5], average consonant level [4], base tone [4], dissonance index [4], dissonance level [4], horizontal axis [4], mean tone [4], pure tone [4], quarter comma meantone [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249327
Zenodo URL: https://zenodo.org/record/3249327
2019.60
MUSICYPHER: MUSIC FOR MESSAGE ENCRYPTION
Jaime Marín, Víctor Universidad de Málaga; Málaga, Spain
Peinado Dominguez, Alberto Universidad de Málaga; Málaga, Spain
Abstract
An Android application has been developed to encrypt messages using musical notes that can be automatically played from the smartphone and/or stored in a midi file to be transmitted over any available connection. The app has been designed to recover the original message on-the-fly detecting the notes played by a different device. The main objective of this project is to make known the rela-tionship between cryptography and music showing old systems (XVII century) implemented in modern devices.
Keywords
Android, Cryptography, Encryption, Fundamental Frecuency, Guyot, Java, Music, Real Time Audio Capture
Paper topics
not available
Easychair keyphrases
musical note [6], android application [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249270
Zenodo URL: https://zenodo.org/record/3249270
2019.61
Non-linear Contact Sound Synthesis for Real-Time Audiovisual Applications using Modal Textures
Maunsbach, Martin Aalborg University; Aalborg, Denmark
Serafin, Stefania Aalborg University; Aalborg, Denmark
Abstract
Sound design is an integral part of making a virtual environment come to life. Spatialization is important to the perceptual localization of sounds, while the quality determines how well virtual objects come to life. The implementation of pre-recorded audio for physical interactions in virtual environments often require a vast library of audio files to distinguish each interaction from the other. This paper explains the implementation of a modal synthesis toolkit for the Unity game engine to automatically add impact and rolling sounds to interacting objects. Position-dependent sounds are achieved using a custom shader that can contain textures with modal weighting parameters. The two types of contact sounds are synthesized using a mechanical oscillator describing a spring-mass system. Since the contact force that is applied to the system includes a non-linear component, its value is found using an approximating algorithm. In this case the Newton-Rhapson algorithm is used. The mechanical oscillator is discretized using the K method with the bilinear transform.
Keywords
Game Audio, Impact, K Method, Non-linear, Physical Modelling, Rolling, Sound Synthesis
Paper topics
Models for sound analysis and synthesis, Sonic interaction design, Sound and music for Augmented/Virtual Reality and games, Sound/music signal processing algorithms
Easychair keyphrases
mechanical oscillator [10], modal texture [10], modal synthesis [9], modal weight [9], virtual environment [8], glass table [6], impact sound [6], modal weighting [6], physical modelling [6], rolling sound [6], computer graphic [5], fundamental frequency [5], game engine [5], micro impact [5], sound synthesis [5], interaction type [4], normal mode [4], unity game engine [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249410
Zenodo URL: https://zenodo.org/record/3249410
2019.62
NO STRINGS ATTACHED: FORCE AND VIBROTACTILE FEEDBACK IN A GUITAR SIMULATION
Serafin, Stefania Aalborg University; Aalborg, Denmark
Nilsson, Niels Christian Aalborg University; Aalborg, Denmark
Paisa, Razvan Aalborg University; Aalborg, Denmark
Fontana, Federico Università di Udine; Udine, Italy
Nordahl, Rolf Aalborg University; Aalborg, Denmark
Passalenti, Andrea Università di Udine; Udine, Italy
Abstract
In this paper we propose a multisensory simulation of plucking guitar strings in virtual reality. The auditory feedback is generated by a physics-based simulation of guitar strings, and haptic feedback is provided by a combination of high fidelity vibrotactile actuators and a Phantom Omni. Moreover, we present a user study (n=29) exploring the perceived realism of the simulation and the relative importance of force and vibrotactile feedback for creating a realistic experience of plucking virtual strings. The study compares four conditions: no haptic feedback, vibrotactile feedback, force feedback, and a combination of force and vibrotactile feedback. The results indicate that the combination of vibrotactile and force feedback elicits the most realistic experience, and during this condition, the participants were less likely to inadvertently hit strings after the intended string had been plucked. Notably, no statistically significant differences were found between the conditions involving either vibrotactile or force feedback, which points towards an indication that haptic feedback is important but does not need to be high fidelity in order to enhance the quality of the experience.
Keywords
guitar simulation, haptic feedback, virtual reality
Paper topics
Sonic interaction design, Sound and music for Augmented/Virtual Reality and games
Easychair keyphrases
vibrotactile feedback [23], haptic feedback [18], virtual string [17], physical string [13], statistically significant difference [12], force feedback [10], significant difference [10], perceived realism [9], pairwise comparison [8], real guitar string [7], aalborg university [6], guitar string [6], involving force feedback [6], phantom omni haptic device [6], plucking guitar string [6], realistic experience [6], virtual guitar [6], auditory feedback [5], median score [5], perceptual similarity [5], questionnaire item [5], audio engineering society [4], computer music [4], musical instrument [4], real string [4], relative importance [4], vibrotactile actuator [4], virtual reality [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249321
Zenodo URL: https://zenodo.org/record/3249321
2019.63
OFFLINE SCORE ALIGNMENT FOR REALISTIC MUSIC PRACTICE
Jiang, Yucong Indiana University Bloomington; Bloomington, United States
Ryan, Fiona Indiana University Bloomington; Bloomington, United States
Cartledge, David Indiana University Bloomington; Bloomington, United States
Raphael, Christopher Indiana University Bloomington; Bloomington, United States
Abstract
In a common music practice scenario a player works with a musical score, but may jump arbitrarily from one passage to another in order to drill on difficult technical challenges or pursue some other agenda requiring non-linear movement through the score. In this work we treat the associated score alignment problem in which we seek to align a known symbolic score to audio of the musician's practice session, identifying all ``do-overs'' and jumps. The result of this effort facilitates a quantitative view of a practice session, allowing feedback on coverage, tempo, tuning, rhythm, and other aspects of practice. If computationally feasible we would prefer a globally optimal dynamic programming search strategy; however, we find such schemes only barely computationally feasible in the cases we investigate. Therefore, we develop a computationally efficient off-line algorithm suitable for practical application. We present examples analyzing unsupervised and unscripted practice sessions on clarinet, piano and viola, providing numerical evaluation of our score-following results on hand-labeled ground-truth audio data, as well as more subjective and easy-to-interpret visualizations of the results.
Keywords
beam search, music practice, score following
Paper topics
Automatic music generation/accompaniment systems, Automatic separation, classification of sound and music, Content processing of music audio signals, Interaction in music performance, Interactive performance systems, Music creation and performance, recognition, Sound/music signal processing algorithms
Easychair keyphrases
score alignment [26], practice session [16], score position [13], data model [9], hidden markov model [9], beam search [7], score alignment problem [7], pitch tree [6], ground truth [5], musical score [5], real time [5], score note [5], dynamic programming [4], mozart clarinet concerto [4], non terminal node [4], quarter note [4], score location [4], skip problem [4], traditional score alignment [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249396
Zenodo URL: https://zenodo.org/record/3249396
2019.64
OM-AI: A Toolkit to Support AI-Based Computer-Assisted Composition Workflows in OpenMusic
Vinjar, Anders Independent; Norway
Bresson, Jean STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
We present ongoing works exploring the use of artificial intelligence and machine learning in computer-assisted music composition. The om-ai library for OpenMusic implements well-known techniques for data classification and prediction, in order to integrate them in composition workflows. We give examples using simple musical structures, highlighting possible extensions and applications.
Keywords
Artificial Intelligence, Common Lisp, Computer-Assisted Composition, Descriptors, Machine Learning, OpenMusic, Vector-Space
Paper topics
not available
Easychair keyphrases
machine learning [8], vector space [7], feature vector [5], computer assisted composition system [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249264
Zenodo URL: https://zenodo.org/record/3249264
2019.65
OSC-XR: A Toolkit for Extended Reality Immersive Music Interfaces
Johnson, David University of Victoria; Victoria, Canada
Damian, Daniela University of Victoria; Victoria, Canada
Tzanetakis, George University of Victoria; Victoria, Canada
Abstract
Currently, developing immersive music environments for extended reality (XR) can be a tedious process requiring designers to build 3D audio controllers from scratch. OSC-XR is a toolkit for Unity intended to speed up this process through rapid prototyping, enabling research in this emerging field. Designed with multi-touch OSC controllers in mind, OSC-XR simplifies the process of designing immersive music environments by providing prebuilt OSC controllers and Unity scripts for designing custom ones. In this work, we describe the toolkit's infrastructure and perform an evaluation of the controllers to validate the generated control data. In addition to OSC-XR, we present UnityOscLib, a simplified OSC library for Unity utilized by OSC-XR. We implemented three use cases, using OSC-XR, to inform its design and demonstrate its capabilities. The Sonic Playground is an immersive environment for controlling audio patches. Hyperemin is an XR hyperinstrument environment in which we augment a physical theremin with OSC-XR controllers for real-time control of audio processing. Lastly, we add OSC-XR controllers to an immersive T-SNE visualization of music genre data for enhanced exploration and sonification of the data. Through these use cases, we explore and discuss the affordances of OSC-XR and immersive music interfaces.
Keywords
Extended Reality, Immersive Interaction, Immersive Interfaces for Musical Expression, Open Sound Control, Virtual Environments
Paper topics
Interactive performance systems, Interfaces for sound and music, New interfaces for interactive music creation, Sound and music for Augmented/Virtual Reality and games
Easychair keyphrases
immersive environment [21], osc message [14], osc xr controller [11], immersive music environment [9], osc controller [9], computer music [8], controller prefab [7], multi touch osc [7], transmitting osc message [7], musical expression [6], osc receiver [6], osc xr slider [6], pad controller [6], sound designer [6], touch osc controller [6], unity inspector [6], use case [6], virtual reality [6], audio processing [5], immersive interface [5], international computer [5], multi touch [5], musical interaction [5], performance environment [5], rapid prototyping [5], traditional instrument [5], immersive musical environment [4], immersive music interface [4], osc controller prefab [4], osc transmit manager [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249319
Zenodo URL: https://zenodo.org/record/3249319
2019.66
Perceptual Evaluation of Modal Synthesis for Impact-Based Sounds
Barahona, Adrián University of York; York, United Kingdom
Pauletto, Sandra KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
The use of real-time sound synthesis for sound effects can improve the sound design of interactive experiences such as video games. However, synthesized sound effects can be often perceived as synthetic, which hampers their adoption. This paper aims to determine whether or not sounds synthesized using filter-based modal synthesis are perceptually comparable to sounds directly recorded. Sounds from 4 different materials that showed clear modes were recorded and synthesized using filter-based modal synthesis. Modes are the individual sinusoidal frequencies at which objects vibrate when excited. A listening test was conducted where participants were asked to identify, in isolation, whether a sample was recorded or synthesized. Results show that recorded and synthesized samples are indistinguishable from each other. The study outcome proves that, for the analysed materials, filter-based modal synthesis is a suitable technique to synthesize hit sound in real-time without perceptual compromises.
Keywords
Game Audio, Modal Synthesis, Procedural Audio, Sound Design
Paper topics
Digital audio effects, Models for sound analysis and synthesis, Perception and cognition of sound and music, Sound and music for Augmented/Virtual Reality and games
Easychair keyphrases
filter based modal synthesis [14], pre recorded sample [12], real time [10], sound effect [10], modal synthesis [9], procedural audio [9], sound design [9], audio file [8], impact based sound [7], perceptual evaluation [6], sound synthesis [5], synthesized version [5], video game [5], audio engineering society [4], deterministic component [4], discrimination factor [4], enveloped white noise signal [4], filterbased modal synthesis [4], f measure value [4], game engine [4], interactive application [4], modal synthesizer [4], musical instrument [4], real time sound synthesis [4], stochastic component [4], synthesized sound effect [4], synthetic sound [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249246
Zenodo URL: https://zenodo.org/record/3249246
2019.67
Percussion synthesis using loopback frequency modulation oscillators
Hsu, Jennifer Department of Music, University California, San Diego (UCSD); San Diego, United States
Smyth, Tamara Department of Music, University California, San Diego (UCSD); San Diego, United States
Abstract
In this work, we apply recent research results in loopback frequency modulation (FM) to real-time parametric synthesis of percussion sounds. Loopback FM is a variant of FM synthesis whereby the carrier oscillator "loops back" to serve as a modulator of its own frequency. Like FM, more spectral components emerge, but further, when the loopback coefficient is made time varying, frequency trajectories that resemble the nonlinearities heard in acoustic percussion instruments appear. Here, loopback FM is used to parametrically synthesize this effect in struck percussion instruments, known to exhibit frequency sweeps (among other nonlinear characteristics) due to modal coupling. While many percussion synthesis models incorporate such nonlinear effects while aiming for acoustic accuracy, computational efficiency is often sacrificed, prohibiting real-time use. This work seeks to develop a real-time percussion synthesis model that creates a variety of novel sounds and captures the sonic qualities of nonlinear percussion instruments. A linear, modal synthesis percussion model is modified to use loopback FM oscillators, which allows the model to create rich and abstract percussive hits in real-time. Musically intuitive parameters for the percussion model are emphasized resulting in a usable percussion sound synthesizer.
Keywords
feedback systems, frequency and phase modulation synthesis, modal synthesis, pitch glides, sound synthesis, time-varying allpass filters
Paper topics
Digital audio effects, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
pitch glide [27], modal frequency [25], loopback fm oscillator [20], sounding frequency [16], carrier frequency [13], time varying [12], modal synthesis [11], percussion instrument [11], time varying timbre [11], percussion synthesis [10], amplitude envelope [9], filtered noise burst [9], raised cosine envelope [9], tom tom [9], acoustic resonator [8], real time [8], circular plate [7], fm percussion synthesis [7], loopback fm percussion [7], raised cosine [7], raised cosine excitation [7], sound synthesis [7], acoustic resonator impulse response [6], feedback coefficient [6], high carrier frequency [6], impulse response [6], percussion sound [6], percussion synthesis method [6], frequency component [5], percussion model [5]
Paper type
Full paper
DOI: 10.5281/zenodo.3249382
Zenodo URL: https://zenodo.org/record/3249382
2019.68
PERFORMING WITH SOUND SAMPLE-CONTROLLED GLOVES AND LIGHT-CONTROLLED ARMS
Pecquet, Frank Université Paris 1 Panthéon-Sorbonne; Paris, France
Moschos, Fotis Vocational Training Institute; Greece
Fierro, David University Paris VIII; Paris, France
Pecquet, Justin Jazz Institute of Berlin (JIB), Berlin University of the Arts (UdK); Berlin, Germany
Abstract
Interacting with media: The TransTeamProject (T3P) works on developing interactive gloves technics - and other materials, with sound and/or visual samples. Piamenca continues the work developed in Transpiano with a specific emphasis on visual content such as transforming sound into lights, in this case together with a strong vernacular inspiration (Flamenco). T3P creative project is involved with art music together with techno-perspectives. After contextualizing the state of the art in the specific field of “body gesture technology”, the present file will explain how Piamenca relates to computers in a technical sense – methods and processes to produce media transformations (audio and vision) - and will comment their integration in terms of sound, music and audio-visual performance. It will finally demonstrate some ideas such as trans-music orientations with regard to enhancement theories in relation with the transhumanism movement.
Keywords
flamenco, glove-technology, interaction, performance, piano, sampling, trans-music
Paper topics
and software environments for sound and music computing, Humanities in Sound and Music Computing, Interaction in music performance, Interactive music recommendation, Languages, Multimodality in sound and music computing, Music creation and performance, protocols
Easychair keyphrases
musical instrument [4], sound spectrum [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249254
Zenodo URL: https://zenodo.org/record/3249254
2019.69
PHYSICAL MODELS AND REAL-TIME CONTROL WITH THE SENSEL MORPH
Serafin, Stefania Aalborg University; Aalborg, Denmark
Willemsen, Silvin Aalborg University; Aalborg, Denmark
Abstract
In this demonstration we present novel physical models controlled by the Sensel Morph interface.
Keywords
comtrol, physical models, selsel
Paper topics
not available
Easychair keyphrases
sympathetic string [8], bowed string [6], hammered dulcimer [6], sensel morph [6], hurdy gurdy [4], physical model [4], plucked string [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249276
Zenodo URL: https://zenodo.org/record/3249276
2019.70
PIANO SCORE-FOLLOWING BY TRACKING NOTE EVOLUTION
Jiang, Yucong Indiana University Bloomington; Bloomington, United States
Raphael, Christopher Indiana University Bloomington; Bloomington, United States
Abstract
Score following matches musical performance audio with its symbolic score in an on-line fashion. Its applications are meaningful in music practice, performance, education, and composition. This paper focuses on following piano music --- one of the most challenging cases. Motivated by the time-changing features of a piano note during its lifetime, we propose a new method that models the evolution of a note in spectral space, aiming to provide an adaptive, hence better, data model. This new method is based on a switching Kalman filter in which a hidden layer of continuous variables tracks the energy of the various note harmonics. The result of this method could potentially benefit applications in de-soloing, sound synthesis and virtual scores. This paper also proposes a straightforward evaluation method. We conducted a preliminary experiment on a small dataset of 13 minutes of music, consisting of 15 excerpts of real piano recordings from eight pieces. The results show the promise of this new method.
Keywords
piano music, score following, switching Kalman filter
Paper topics
Automatic music generation/accompaniment systems, Automatic separation, classification of sound and music, Content processing of music audio signals, Interaction in music performance, Interactive performance systems, Music information retrieval, recognition, Sound/music signal processing algorithms
Easychair keyphrases
kalman filter [17], score following [16], switching kalman filter [9], filtered distribution [7], mvmt1 piano concerto [7], discriminating data model [6], frequency profile [6], independent kalman filter [6], data model [5], observed data [5], piano music [5], real time [5], score alignment [5], state graph [5], art system [4], continuous variable [4], evaluation method [4], frame wise accuracy [4], hidden markov model [4], kalman filter model [4], musical score [4], partial amplitude [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249398
Zenodo URL: https://zenodo.org/record/3249398
2019.71
Polytopic reconfiguration: a graph-based scheme for the multiscale transformation of music segments and its perceptual assessment
Gillot, Valentin Institut de Recherche en Informatique et Systèmes Aléatoires (IRISA); France
Bimbot, Frédéric Institut de Recherche en Informatique et Systèmes Aléatoires (IRISA); France
Abstract
Music is usually considered as a sequential process, where sounds, group of sounds and motifs are occurring chronologically, following the natural unfolding of time. At the same time, repetitions and similarities which develop between elements create multi-scale patterns which participate to the perceived structure of the passage and trigger expectation mechanisms and systems [Narmour 2000][Bimbot et al. 2016]. These can be represented as a Polytopic Graph of Latent Relations [Louboutin et al. 2017] where each node of the graph represents a low-scale musical segment and vertices correspond to their mutual relation within the expectation systems. The content of a musical segment can be manipulated by applying various permutations to the nodes of the graph, thus generating a reconfiguration of its musical content, with the same elements in a different order. Specific permutations, called Primer Preserving Permutations (PPP), are of particular interest, as they preserve systems of analogical implications between metrically homologous elements within the segment. In this paper, we describe the implementation of the polytopic reconfiguration process and we elaborate on the organizational properties of Primer Preserving Permutations as well as their potential impact on the inner structure of musical segments. Then, in order to assess the relevance of the reconfiguration scheme (and its underlying hypotheses) we report on a perceptual test where subjects are asked to rate musical properties of MIDI segments : some of them have been reconfigured with PPPs while others have been transformed by Randomly Generated Permutations (RGP). Results shows that PPP-transformed segments score distinctly better than RGP-transformed ones, indicating that the preservation of implication systems plays an important role in the subjective acceptability of the transformation. Additionnaly, we introduce an automatic method for decomposing segments into low-scale musical elements, taking into account possible phase-shifts between the musical surface and the metrical information (for instance, anacruses). We conclude on the potential of the approach for applications in interactive music composition.
Keywords
multiscale representation, music cognition, music structure, music transformation, perceptual tests, polytopic graph
Paper topics
Algorithms and Systems for music composition, Perception and cognition of sound and music
Easychair keyphrases
implication system [9], musical segment [9], time scale [8], elementary object [6], musical surface [6], phase shift [6], polytopic representation [6], degradation score [5], melodic line [5], musical object [5], perceptual test [5], account possible phase shift [4], analogical implication [4], compressibility criterion [4], inner structure [4], low scale [4], low scale musical element [4], musical consistency [4], parallel face [4], polytopic graph [4], randomly generated permutation [4], time shift [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249408
Zenodo URL: https://zenodo.org/record/3249408
2019.72
Predicting Perceived Dissonance of Piano Chords Using a Chord-Class Invariant CNN and Deep Layered Learning
Dubois, Juliette ENSTA (École nationale supérieure de techniques avancées), MINES ParisTech; Paris, France
Elowsson, Anders anderselowsson@gmail.com, KTH Royal Institute of Technology; Stockholm, Sweden
Friberg, Anders KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper presents a convolutional neural network (CNN) able to predict the perceived dissonance of piano chords. Ratings of dissonance for short audio excerpts were combined from two different datasets and groups of listeners. The CNN uses two branches in a directed acyclic graph (DAG). The first branch receives input from a pitch estimation algorithm, restructured into a pitch chroma. The second branch analyses interactions between close partials, known to affect our perception of dissonance and roughness. The analysis is pitch invariant in both branches, facilitated by convolution across log-frequency and octave-wide max-pooling. Ensemble learning was used to improve the accuracy of the predictions. The coefficient of determination (R2) between rating and predictions are close to 0.7 in a cross-validation test of the combined dataset. The system significantly outperforms recent computational models.
Keywords
CNN, Consonance, DAG network, Deep Layered Learning, Dissonance, Ensemble Learning, Music Information Retrieval, Pitch invariant, Roughness
Paper topics
Automatic separation, classification of sound and music, Content processing of music audio signals, Models for sound analysis and synthesis, Music information retrieval, Perception and cognition of sound and music, recognition, Sound/music signal processing algorithms
Easychair keyphrases
pitch chroma [26], test condition [12], better result [8], computational model [7], cross validation [7], audio file [6], music information retrieval [6], acoustical society [5], dense layer [5], ensemble learning [5], pitch class [5], test run [5], convolutional layer [4], cross fold validation [4], deep layered learning [4], ground truth test [4], just intonation ratio [4], max pooling filter [4], neural network [4], non stationary gabor frame [4], piano chord [4], truth test condition [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249465
Zenodo URL: https://zenodo.org/record/3249465
2019.73
RaveForce: A Deep Reinforcement Learning Environment for Music Generation
Lan, Qichao RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo; Oslo, Norway
Tørresen, Jim RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Informatics, University of Oslo; Oslo, Norway
Jensenius, Alexander Refsum RITMO Centre for Interdisciplinary Studies in Rhythm, Time and Motion, Department of Musicology, University of Oslo; Oslo, Norway
Abstract
RaveForce is a programming framework designed for a computational music generation method that involves audio sample level evaluation in symbolic music representation generation. It comprises a Python module and a SuperCollider quark. When connected with deep learning frameworks in Python, RaveForce can send the symbolic music representation generated by the neural network as Open Sound Control messages to the SuperCollider for non-real-time synthesis. SuperCollider can convert the symbolic representation into an audio file which will be sent back to the Python as the input of the neural network. With this iterative training, the neural network can be improved with deep reinforcement learning algorithms, taking the quantitative evaluation of the audio file as the reward. In this paper, we find that the proposed method can be used to search new synthesis parameters for a specific timbre of an electronic music note or loop.
Keywords
Deep Reinforcement Learning, Music Generation, SuperCollider
Paper topics
Automatic music generation/accompaniment systems, Models for sound analysis and synthesis
Easychair keyphrases
neural network [23], music generation [20], deep reinforcement learning [17], reinforcement learning [16], audio file [13], symbolic representation [13], observation space [11], symbolic music representation [11], computational music generation [9], deep learning [8], non real time synthesis [8], non real time [7], preprint arxiv [7], deep learning framework [6], live coding session [6], music generation task [6], non real time audio synthesis [6], open sound control message [6], raw audio generation [6], drum loop [5], raw audio [5], real time [5], action space [4], audio waveform [4], deep learning music generation [4], deep reinforcement learning environment [4], electronic music [4], kick drum [4], musical context [4], running time [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249325
Zenodo URL: https://zenodo.org/record/3249325
2019.74
Real Time Audio Digital Signal Processing With Faust and the Teensy
Michon, Romain GRAME-CNCM, Lyon // CCRMA, Stanford University GRAME (Générateur de Ressources et d’Activités Musicales Exploratoires), CNCM (Centre national de création musicale), in Lyon Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Fober, Dominique GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
This paper introduces a series of tools to program the Teensy development board series with the Faust programming language. faust2teensy is a command line application that can be used both to generate new objects for the Teensy Audio Library and standalone Teensy programs. We also demonstrate how faust2api can produce Digital Signal Processing engines (with potential polyphony support) for the Teensy. Details about the implementation and optimizations of these systems are provided and the results of various tests (i.e., computational, latency, etc.) are presented. Finally, future directions for this work are discussed through a discussion on bare-metal implementation of real-time audio signal processing applications.
Keywords
DSP, Faust, Micocontroller, Teensy
Paper topics
and software environments for sound and music computing, Hardware systems for sound and music computing, Languages, New interfaces for interactive music creation, protocols
Easychair keyphrases
teensy audio library [22], code listing [14], block size [13], faust program [13], teensy audio [11], teensy program [11], floating point [9], real time audio signal processing [9], teensy audio shield [9], polyphonic dsp engine [6], signal processing [6], audio shield [5], audio signal processing [5], sound synthesis [5], void loop [5], audio shield teensy audio shield [4], audio signal processing application [4], bare metal implementation [4], command line [4], digital signal processing [4], faust2api teensy [4], faust compiler [4], faust program implementing [4], monophonic dsp engine [4], processing power [4], realtime audio signal processing [4], sampling rate [4], sawtooth oscillator [4], standalone faust teensy program [4], void setup [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249282
Zenodo URL: https://zenodo.org/record/3249282
2019.75
Real-time Control of Large-scale Modular Physical Models using the Sensel Morph
Willemsen, Silvin Aalborg University; Aalborg, Denmark
Andersson, Nikolaj Aalborg University; Aalborg, Denmark
Serafin, Stefania Aalborg University; Aalborg, Denmark
Bilbao, Stefan The University of Edinburgh; Edinburgh, United Kingdom
Abstract
In this paper, implementation, instrument design and control issues surrounding a modular physical modelling synthesis environment are described. The environment is constructed as a network of stiff strings and a resonant plate, accompanied by user-defined connections and excitation models. The bow, in particular, is a novel feature in this setting. The system as a whole is simulated using finite difference (FD) methods. The mathematical formulation of these models is presented, alongside several new instrument designs, together with a real-time implementation in JUCE using FD methods. Control is through the Sensel Morph.
Keywords
high-fidelity control, physical modelling, real-time
Paper topics
Interactive performance systems, Models for sound analysis and synthesis, Sonic interaction design
Easychair keyphrases
grid point [14], bowed string [12], stiff string [11], sympathetic string [11], physical model [10], sensel morph [10], real time [8], grid spacing [7], sound synthesis [7], finite difference [6], hurdy gurdy [6], next time [6], plucked string [6], computer music [5], cpu usage [5], hammered dulcimer [5], non linear [5], connection term [4], discretised distribution function [4], excitation function [4], mass ratio [4], melody string [4], modular physical modelling synthesis environment [4], system architecture [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249295
Zenodo URL: https://zenodo.org/record/3249295
2019.76
Real-time Mapping of Periodic Dance Movements to Control Tempo in Electronic Dance Music
Jap, Lilian KTH Royal Institute of Technology; Stockholm, Sweden
Holzapfel, André KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
Dancing in beat to the music of one's favorite DJ leads oftentimes to a powerful and euphoric experience. In this study we investigate the effect of putting a dancer in control of music playback tempo based on a real-time estimation of body rhythm and tempo manipulation of audio. A prototype was developed and tested in collaboration with users, followed by a main study where the final prototype was evaluated. A questionnaire was provided to obtain ratings regarding subjective experience, and open-ended questions were posed in order to obtain further insights for future development. Our results imply the potential for enhanced engagement and enjoyment of the music when being able to manipulate the tempo, and document important design aspects for real-time tempo control.
Keywords
beat tracking, electronic dance music, embodiment, real-time interaction, rhythm
Paper topics
Interactive performance systems, Interfaces for sound and music, New interfaces for interactive music creation, Sonic interaction design
Easychair keyphrases
tempo manipulation [17], real time [10], second session [9], body movement [8], first session [6], hand wrist [5], tempo change [5], dance experience [4], data stream [4], electronic dance music [4], mean value rating [4], playback tempo [4], quality factor [4], slide value [4], standard playback [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249343
Zenodo URL: https://zenodo.org/record/3249343
2019.77
Real-Time Modeling of Audio Distortion Circuits with Deep Learning
Damskägg, Eero-Pekka Aalto University; Espoo, Finland
Juvela, Lauri Aalto University; Espoo, Finland
Välimäki, Vesa Aalto University; Espoo, Finland
Abstract
This paper studies deep neural networks for modeling of audio distortion circuits. The selected approach is black-box modeling, which estimates model parameters based on the measured input and output signals of the device. Three common audio distortion pedals having a different circuit configuration and their own distinctive sonic character have been chosen for this study: the Ibanez Tube Screamer, the Boss DS-1, and the Electro-Harmonix Big Muff Pi. A feedforward deep neural network, which is a variant of the WaveNet architecture, is proposed for modeling these devices. The size of the receptive field of the neural network is selected based on the measured impulse-response length of the circuits. A real-time implementation of the deep neural network is presented, and it is shown that the trained models can be run in real time on a modern desktop computer. Furthermore, it is shown that approximately three minutes of audio is a sufficient amount of data for training the models. The deep neural network studied in this work is useful for real-time virtual analog modeling of nonlinear audio circuits.
Keywords
Audio systems, Feedforward neural networks, Music, Nonlinear systems, Supervised learning
Paper topics
Digital audio effects, Sound/music signal processing algorithms
Easychair keyphrases
neural network [25], real time [25], convolutional layer [20], big muff [16], deep neural network [15], distortion effect [13], processing speed [13], ibanez tube screamer [12], training data [12], convolution channel [11], digital audio effect [11], receptive field [10], activation function [9], clipping amp [9], gated activation [9], harmonix big muff pi [8], layer model [8], non linear bp filter [8], signal ratio [8], tube screamer [8], audio interface [7], big muff pi [7], black box modeling [7], impulse response [7], audio distortion circuit [6], computational load [6], nonlinear activation function [6], selected model [6], tone stage [6], validation loss [6]
Paper type
Full paper
DOI: 10.5281/zenodo.3249374
Zenodo URL: https://zenodo.org/record/3249374
2019.78
Representations of Self-Coupled Modal Oscillators with Time-Varying Frequency
Smyth, Tamara University California, San Diego (UCSD); San Diego, United States
Hsu, Jennifer University California, San Diego (UCSD); San Diego, United States
Abstract
In this work we examine a simple mass spring system in which the natural frequency is modulated by its own oscillations, a self-coupling that creates a feedback system in which the output signal ``loops back'' with an applied coefficient to modulate the frequency. This system is first represented as a mass-spring system, then in the context of well-known frequency and phase modulation synthesis, and finally, as a time-varying stretched allpass filter, where both allpass coefficients and filter order are made time varying, the latter to allow for changes to sounding frequency other time (e.g. pitch glides). Expressions are provided that map parameters of one representation to another, allowing for either to be used for real-time synthesis.
Keywords
feedback systems, frequency and phase modulation synthesis, nonlinear modal coupling, pitch glides, time-varying allpass filters
Paper topics
Digital audio effects, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
time varying [16], sounding frequency [13], made time varying [12], self coupled oscillator [11], instantaneous phase [9], instantaneous frequency [8], real part [8], closed form representation [7], loopback fm parameter [7], loopback fm oscillator [6], mass spring system [6], frequency modulation [5], numerical integration [5], discrete time [4], final expression [4], time varying frequency [4], transfer function [4], unit sample delay [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249423
Zenodo URL: https://zenodo.org/record/3249423
2019.79
Resonance Improviser: A system for transmitting the embodied sensations of vocalization between two people during improvisation
Kelkar, Tejaswinee University of Oslo; Oslo, Norway
Gerry, Lynda Aalborg University; Aalborg, Denmark
Abstract
This is a system prototype for joint vocal improvisation between two people that involves sharing embodied sensations of vocal production. This is accomplished by using actuators that excite two participants' rib cages with each other's voices, turning a person's body into a loud speaker. A microphone transmits vocal signals and the players are given a Max Patch to modulate the sound and feel of their voice. The receiver hears the other person's speech and effects through their own body (as if it were their own voice), while also feeling the resonance of the sound signal as it would resonate in the chest cavity of the other. The two players try to re-enact and improvise a script prompt provided to them while not knowing what the other person can hear, of their voice. The game may or may not turn collaborative, adversarial, or artistic depending on the game play.
Keywords
actuator, sound exciter, system prototype, vocal improvisation
Paper topics
not available
Easychair keyphrases
social embodiment [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249443
Zenodo URL: https://zenodo.org/record/3249443
2019.80
SonaGraph. A cartoonified spectral model for music composition
Valle, Andrea Interdipartimental Center for Research on Multimedia and Audiovideo (CIRMA), Dipartimento di Studi Umanistici, Università di Torino; Torino, Italy
Abstract
This paper presents SonaGraph, a framework and an application for a simplified but efficient harmonic spectrum analyzer suitable for assisted and algorithmic composition. The model is inspired by the analog Sonagraph and relies on a constant-Q bandpass filter bank. First, the historical Sonagraph is introduced, then, starting from it, a simplified (“cartoonified”) model is discussed. An implementation in SuperCollider is presented that includes various utilities (interactive GUIs, music notation generation, graphic export, data communication). A comparison of results in relation to other tools for assisted composition is presented. Finally, some musical examples are discussed, that make use of spectral data from SonaGraph to generate, retrieve and display music information.
Keywords
Assisted composition, Music notation, Spectral information
Paper topics
Algorithms and Systems for music composition, Interfaces for sound and music, Models for sound analysis and synthesis, Music information retrieval
Easychair keyphrases
sound object level [12], spectral data [12], music notation [11], filter bank [10], real time [10], music notation transcription [6], audio level [5], computer music [5], interactive gui [5], sample rate [5], spectral information [5], time resolution [5], amplitude threshold [4], assisted composition [4], constant q bandpass filter [4], gathered data [4], lilypond code [4], music information retrieval [4], spectral analysis [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249425
Zenodo URL: https://zenodo.org/record/3249425
2019.81
SONIC CHARACTERISTICS OF ROBOTS IN FILMS
Latupeirissa, Adrian B. KTH Royal Institute of Technology; Stockholm, Sweden
Frid, Emma KTH Royal Institute of Technology; Stockholm, Sweden
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
Today, robots are increasingly becoming an integral part of our everyday life. Expectations humans have about robots are influenced by how they are represented in science fiction films. The process of designing sonic interaction for robots is similar to how a Foley artist designs sound effect of a film. In this paper, we present an exploratory study focusing on sonic characteristics of robot sounds in films. We believe that findings from the current study could be of relevance for future robotic applications involving the communication of internal states through sounds, as well for sonification of expressive robot movements. Excerpts from five films were analyzed using Long Time Average Spectrum (LTAS). As an overall observation, we found that robot sonic presence is highly related to its physical appearance. Preliminary results show that most of the robots analysed in this study have a ``metallic'' quality in their voice, matching the material of their physical form. Characteristics of their voice show significant differences compared to that of human characters; fundamental frequency of robots is either shifted to higher or lower values compared to that of human characters, and their voice spans over a larger frequency band.
Keywords
film sound design, human-robot interaction, LTAS, non-verbal communication, robot sound, sonic interaction design
Paper topics
Multimodality in sound and music computing, Social interaction in sound and music computing, Sonic interaction design
Easychair keyphrases
sound design [11], andrew martin [7], human robot interaction [7], robot sound [7], sonao project [7], robot movement [6], bicentennial man [5], frequency band [5], non verbal [5], physical appearance [5], short circuit [5], bremen emotional sound toolkit [4], emotional expression [4], fictional robot [4], fundamental frequency [4], kth royal institute [4], main human character [4], mechanical sound [4], music computing kth [4], non verbal communication [4], non verbal sound [4], real world robot [4], robot andrew [4], robot sonic presence [4], video excerpt [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249337
Zenodo URL: https://zenodo.org/record/3249337
2019.82
Sonic Sweetener Mug
Mathiesen, Signe Lund Department of Food Science, Aarhus University; Aarhus, Denmark
Byrne, Derek Victor Department of Food Science, Aarhus University; Aarhus, Denmark
Wang, Qian Janice Department of Food Science, Aarhus University; Aarhus, Denmark
Abstract
Food and music are fundamental elements of most lives. Both eating and listening can modify our emotional and cognitive states, and when paired, can result in surprising perceptual effects. This demo explores the link between the two phenomena of music and food, specifically the way in which what we taste can be influenced by what we listen to. We demonstrate how the same beverage can taste very differently depending on the music that happens to be playing at the same time. To do this, we have created a system that turns the act of drinking into a form of embodied interaction with music. This highlights the multisensory character of flavour perception and underscore the way in which sound can be used to raise people’s awareness of their own eating behaviour.
Keywords
Interactive systems, Multisensory flavour perception, Music, Sonic seasoning
Paper topics
not available
Easychair keyphrases
crossmodal correspondence [6], aarhus university [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249364
Zenodo URL: https://zenodo.org/record/3249364
2019.83
SOUND DESIGN THROUGH LARGE AUDIENCE INTERACTION
Hansen, Kjetil Falkenberg KTH Royal Institute of Technology; Stockholm, Sweden
Ljungdahl Eriksson, Martin University West / Edsbyn; Trollhättan, Sweden
Atienza, Ricardo University of Arts, Crafts and Design (Konstfack); Stockholm, Sweden
Abstract
In collaboration with Volvo Cars, we presented a novel design tool to a large public of approximately three million people at the three leading motor shows in 2017 in Geneva, Shanghai and New York. The purpose of the tool was to explore the relevance of interactive audio-visual strategies for supporting the development of sound environments in future silent cars, i.e., a customised sonic identity that would alter the sonic ambience for the driver and by-passers. This new tool should be able to efficiently collect non-experts' sonic preferences for different given contexts. The design process should allow for a high-level control of complex synthesised sounds. The audience interacted individually using a single-touch selection of colour from five palettes and applying it by pointing to areas in a colour-book painting showing a road scene. Each palette corresponded to a sound, and the colour nuance in the palette corresponded to certain tweaking of the sound. In effect, the user selected and altered each sound, added it to the composition, and finally would hear a mix of layered sounds based on the colouring of the scene. The installation involved large touch screens with high quality headphones. In the study presented here, we examine differences in sound preferences between two audiences and a control group, and evaluate the feasibility of the tool based on the sound designs that emerged.
Keywords
Car sounds, Interaction, Novel interfaces, Sound design, Sound installation
Paper topics
Interactive performance systems, Interfaces for sound and music, Multimodality in sound and music computing, New interfaces for interactive music creation, Sonic interaction design
Easychair keyphrases
sound design [15], control group [13], school bell sound [9], motor sound [8], colour nuance [6], rolling sound [6], shanghai audience [6], colour book [5], colour palette [5], data collection [5], school scene [5], sound effect [5], audio effect [4], bell harmonic rolling [4], city centre [4], geneva audience [4], harmonic sound [4], musical expression [4], school area [4], school bell [4], volvo car [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249284
Zenodo URL: https://zenodo.org/record/3249284
2019.84
Sound in Multiples: Synchrony and Interaction Design using Coupled-Oscillator Networks
Lem, Nolan Stanford University; Stanford, United States
Abstract
Systems of coupled-oscillators can be employed in a variety of algorithmic settings to explore the self-organizing dynamics of synchronization. In the realm of audio-visual generation, coupled oscillator networks can be usefully applied to musical content related to rhythmic perception, sound synthesis, and interaction design. By formulating different models of these generative dynamical systems, I outline different methodologies from which to generate sound from collections of interacting oscillators and discuss how their rich, non-linear dynamics can be exploited in the context of sound-based art. A summary of these mathematical models are discussed and a range of applications (audio synthesis, rhythmic generation, and music perception) are proposed in which they may be useful in producing and analyzing sound. I discuss these models in relationship to two of my own kinetic sound sculptures to analyze to what extent they can be used to characterize synchrony as an analytical tool.
Keywords
generative music, sonification, sound art, sound sculpture, synchrony
Paper topics
Algorithms and Systems for music composition, and software environments for sound and music computing, Auditory display and data sonification, Hardware systems for sound and music computing, Interaction in music performance, Interactive performance systems, Interfaces for sound and music, Languages, Models for sound analysis and synthesis, Music creation and performance, New interfaces for interactive music creation, Perception and cognition of sound and music, protocols, Sonic interaction design, Sound/music signal processing algorithms
Easychair keyphrases
coupled oscillator [33], instantaneous phase [11], coupled oscillator model [9], coupled oscillator network [9], intrinsic frequency [8], center frequency [6], complex order parameter [6], dynamical system [6], external forcing [5], audio visual resonance [4], coupled oscillator dynamic [4], coupled oscillator system [4], oscillator phase [4], phase coherence [4], phase response function [4], phase vocoder model [4], pushing motion [4], rhythmic generation [4], signal processing [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249427
Zenodo URL: https://zenodo.org/record/3249427
2019.85
State Dependency - Audiovisual interaction through brain states
Neff, Patrick Center for Neuromodulation, Department of Psychiatry and Psychotherapy, University of Regensburg; Regensburg, Germany
Schacher, Jan C. Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Bisig, Daniel Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
Artistic installations using brain-computer interfaces (BCI) to interact with media in general, and sound in specific, have become increasingly numerous in the last years. Brain or mental states are commonly used to drive musical score or sound generation as well as visuals. Closed loop setups can emerge here which are comparable to the propositions of neurofeedback (NFB). The aim of our audiovisual installation State Dependency, driven by brain states and motor imagery, was to enable the participant to engage in unbound exploration of movement through sound and space unmediated by one's corpo-reality. With the aid of an adaptive feedback loop, perception is taken to the edge. We deployed a BCI to collect motor imagery, visual and cognitive neural activity to calculate approximate entropy (a second order measure of neural signal activity) which was in turn used to interact with the surround Immersive Lab installation. The use of entropy measures on motor imagery and various sensory modalities generates a highly accessible, reactive and immediate experience transcending common limitations of the BCI technology. State dependency goes beyond common practice of abstract routing between mental or brain with external audiovisual states. It provides new territory of unrestrained kinaesthetic and polymodal exploration in an immersive audiovisual environment.
Keywords
audio visual interaction, biofeedback, brain computer interface, motor imagery
Paper topics
Auditory display and data sonification, Multimodality in sound and music computing, Perception and cognition of sound and music, Sound/music and the neurosciences
Easychair keyphrases
motor imagery [16], neural activity [11], approximate entropy [8], entropy measure [8], immersive lab [8], state dependency [8], movement control [7], real time [7], audio visual [6], audio visual medium [6], brain state [5], eeg signal [5], mental state [5], visual cortex [5], adaptive feedback loop [4], bci art [4], closed loop setup [4], computer music [4], feedback loop [4], left primary motor cortex [4], motor cortex [4], motor imagery data [4], movement perception [4], primary visual cortex [4], right primary motor cortex [4], signal quality [4], swiss national science foundation [4], wet electrode [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249244
Zenodo URL: https://zenodo.org/record/3249244
2019.86
Teach Me Drums: Learning Rhythms through the Embodiment of a Drumming Teacher in Virtual Reality
Serafin, Stefania Aalborg University; Aalborg, Denmark
Moth-Poulsen, Mie Aalborg University; Aalborg, Denmark
Bednarz, Tomasz The University of New South Wales (UNSW); Sydney, Australia
Kuchelmeister, Volker The University of New South Wales (UNSW); Sydney, Australia
Abstract
This paper investigates how to design an embodied learning experience of a drumming teacher playing hand drums, to aid higher rhythm understanding and accuracy. By providing novices the first-person perspective of a drumming teacher while learning to play a West-African djembe drum, participants' learning was measured objectively by their ability to follow the drumming teacher’s rhythms. Participants subjective learning was assessed through a self assessment questionnaire measuring aspects of flow, user-experience, oneness, and presence. Two test iterations were conducted. In both there was found no significance difference in participants ability to follow the drumming teacher' s tempo for the experimental group exposed to the first-person perspective of the teacher in a VR drum lesson, versus the control group exposed to a 2D version of the stereoscopic drum lesson. There was found a significance difference in the experimental group' s presence scores in the first test iteration, and a significant difference in experimental group' s oneness scores in the second test iteration. Participants' subjective feelings indicated enjoyment and motivation to the presented learning technique in both groups.
Keywords
drumming, embodiment, pedagogy, virtual reality
Paper topics
Interaction in music performance, Sonic interaction design
Easychair keyphrases
drum lesson [17], first test iteration [17], control group [15], drumming teacher [15], test stimulus [13], test group [10], test iteration [10], first person perspective [9], hand drum [8], d drum lesson [7], virtual reality [7], vr drum lesson [7], independent t test [6], rhythm pattern [6], second test iteration [6], teaching material [6], trial phase [6], user experience [6], drumming lesson [5], drumming recording [5], significant difference [5], djembe drum [4], embodied first person perspective [4], fast tempo difference score [4], mean value [4], participant rhythm performance [4], playing teacher [4], rhythm accuracy [4], self assessment questionnaire [4], significance difference [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249341
Zenodo URL: https://zenodo.org/record/3249341
2019.87
Tempo and Metrical Analysis By Tracking Multiple Metrical Levels Using Autocorrelation
Lartillot, Olivier University of Oslo; Oslo, Norway
Grandjean, Didier University of Geneva; Geneva, Switzerland
Abstract
We present a method for tempo estimation from audio recordings based on signal processing and peak tracking, and not depending on training on ground-truth data. First an accentuation curve, emphasising the temporal location and accentuation of notes, is based on a detection of bursts of energy localised in time and frequency. This enables to detect notes in dense polyphonic texture, while ignoring spectral fluctuation produced by vibrato and tremolo. Periodicities in the accentuation curve are detected using an improved version of autocorrelation function. Hierarchical metrical structures, composed of a large set of periodicities in pairwise harmonic relationships, are tracked over time. In this way, the metrical structure can be tracked even if the rhythmical emphasis switches from one metrical level to another. This approach, compared to all the other participants to the MIREX Audio Tempo Extraction from 2006 to 2018, is the third best one among those that can track tempo variations. While the two best methods are based on machine learning, our method suggests a way to track tempo founded on signal processing and heuristics-based peak tracking. Besides, the approach offers for the first time a detailed representation of the dynamic evolution of the metrical structure. The method is integrated into MIRtoolbox, a Matlab toolbox freely available.
Keywords
autocorrelation, metrical analysis, tempo
Paper topics
Computational musicology and ethnomusicology, Content processing of music audio signals, Music information retrieval, Sound/music signal processing algorithms
Easychair keyphrases
metrical level [50], metrical structure [33], metrical layer [28], metrical grid [24], metrical period [16], accentuation curve [10], autocorrelation function [10], music information retrieval [7], periodicity score [7], dvorak new world symphony [6], contextual background [5], global tempo [5], metrical centroid [5], peak lag [5], tempo estimation [5], allegro con fuoco [4], autocorrelation based periodogram [4], core metrical level [4], deep learning [4], dotted quarter note [4], dynamic evolution [4], dynamic metrical centroid [4], dynamic metrical centroid curve [4], large range [4], main metrical level [4], metrical analysis [4], mirex audio tempo extraction [4], strongest periodicity [4], successive frame [4], whole note [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249305
Zenodo URL: https://zenodo.org/record/3249305
2019.88
The Chordinator: an Interactive Music Learning Device
McCoy, Eamon Georgia Institute of Technology; Atlanta, United States
Greene, John Georgia Institute of Technology; Atlanta, United States
Henson, Jared Georgia Institute of Technology; Atlanta, United States
Pinder, James Georgia Institute of Technology; Atlanta, United States
Brown, Jonathan Georgia Institute of Technology; Atlanta, United States
Arthur, Claire Georgia Institute of Technology; Atlanta, United States
Abstract
The Chordinator is an interactive and educational music device consisting of a physical board housing a “chord stacking” grid. There is an 8x4 grid on the board which steps through each of the eight columns from left to right at a specified tempo, playing the chords you have built in each column. To build a chord, you place blocks on the board which represent major or minor thirds above blocks that designate a root (or bass) note represented as a scale degree. In the bottom row, the user specifies a bass (root) note, and any third blocks placed above it will add that interval above the bass note. Any third blocks placed above other third blocks add an additional interval above the prior one, creating a chord. There are three rows above each root allowing either triads or seventh chords to be built. This interface combined with the board design is intended to create a simple representation of chord structure. Using the blocks, the user can physically “build” a chord using the most fundamental skills, in this case “stacking your thirds.” One also learns which chords work the best in a sequence. It provides quick satisfaction and a fun, interactive way to learn about the structure of chords and can even spark creativity as people build interesting progressions or try to recreate progressions they love from their favorite music.
Keywords
Arduino, Chords, Chord Sequencer, Education, Interactive, Learning, Stacking Thirds
Paper topics
not available
Easychair keyphrases
third block [7], chord progression [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249360
Zenodo URL: https://zenodo.org/record/3249360
2019.89
The Viking HRTF Dataset
Spagnol, Simone Aalborg University; Aalborg, Denmark
Purkhús, Kristján Bjarki University of Iceland; Reykjavik, Iceland
Björnsson, Sverrir Karl Technical University of Denmark (DTU); Kongens Lyngby, Denmark
Unnthorsson, Runar University of Iceland; Reykjavik, Iceland
Abstract
This paper describes the Viking HRTF dataset, a collection of head-related transfer functions (HRTFs) measured at the University of Iceland. The dataset includes full-sphere HRTFs measured on a dense spatial grid (1513 positions) with a KEMAR mannequin with 20 different artificial left pinnae attached, one at a time. The artificial pinnae were previously obtained through a custom molding procedure from 20 different lifelike human heads. The analyses of results reported here suggest that the collected acoustical measurements are robust, reproducible, and faithful to reference KEMAR HRTFs, and that material hardness has a negligible impact on the measurements compared to pinna shape. The purpose of the present collection, which is available for free download, is to provide accurate input data for future investigations on the relation between HRTFs and anthropometric data through machine learning techniques or other state-of-the-art methodologies.
Keywords
binaural, HRTF, KEMAR, spatial sound
Paper topics
and virtual acoustics, reverberation, Spatial sound
Easychair keyphrases
head related transfer function [14], related transfer function [10], negative mold [7], right channel [7], left channel [6], mean spectral distortion [6], pinna shape [6], standard large anthropometric pinna [6], audio eng [5], kemar mannequin [5], left pinna [5], measurement session [5], custom made pinna [4], dummy head [4], ear canal [4], impulse response [4], jesmonite r ear [4], kemar pinna replica [4], lifelike human head [4], pinna related transfer function [4], related transfer [4], shore oo hardness [4], signal process [4], starting point [4], viking hrtf dataset [4], virtual sound source [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249252
Zenodo URL: https://zenodo.org/record/3249252
2019.90
Toward Automatic Tuning of the Piano
Tuovinen, Joonas Aalto University; Espoo, Finland
Hu, Jamin Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Välimäki, Vesa Aalto University; Espoo, Finland
Abstract
The tuning of a piano is a complicated and time-consuming process, which is usually left for a professional tuner. To make the process faster and non-dependent on the skills of a professional tuner, a semi-automatic piano tuning system is developed. The aim of the system is to tune a grand piano semi-automatically with the help of a non-professional tuner. The system composes of an aluminum frame, a stepper motor, Arduino, microphone, and laptop computer. The stepper motor changes the tuning of the piano strings by turning pins connected to them whereas the aluminum frame holds the motor in place and the Arduino controls the motor. The microphone and the computer are used as a part of a closed loop control system, which is used to tune the strings automatically. The control system tunes the strings by minimising the difference between the current and optimal fundamental frequency. The current fundamental frequency is obtained with an inharmonicity coefficient estimation algorithm and the optimal fundamental frequency is calculated with the Connected Reference Interval (CRI) tuning process. With the CRI tuning process, a tuning close to that of a professional tuner is achieved with a deviation of 2.5 cents (RMS) between the keys A0 and G5 and 8.1 cents (RMS) between G#5 and C8 where the tuners tuning seems to be less consistent.
Keywords
acoustic signal processing, audio systems, automatic control, music, spectral analysis
Paper topics
Hardware systems for sound and music computing, Models for sound analysis and synthesis, Sound/music signal processing algorithms
Easychair keyphrases
fundamental frequency [37], partial frequency [14], professional tuner [14], closed loop control system [12], inharmonicity coefficient [12], stepper motor [12], beating rate [11], cri tuning process [11], inharmonicity coefficient estimation [9], piano string [8], coefficient estimation algorithm [7], target fundamental frequency [7], tuning process [7], aluminum frame [6], control system [6], piano tuner [6], piano tuning [6], piano tuning system [6], reference octave [6], cri process [5], lower tone [5], mat algorithm [5], measured output [5], mode frequency [5], target frequency [5], first matching partial [4], optimal fundamental frequency [4], piano tuning robot [4], tone equal temperament scale [4], yamaha grand piano [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249293
Zenodo URL: https://zenodo.org/record/3249293
2019.91
Towards a High-Performance Platform for Sonic Interaction Interfaces
Fasciani, Stefano University of Wollongong in Dubai / University of Oslo; Dubai, United Arab Emirates
Vohra, Manohar University of Wollongong in Dubai; Dubai, United Arab Emirates
Abstract
In this paper we introduce a hardware platform to pro-totype interfaces of demanding sonic interactive sys-tems. We target applications featuring a large array of analog sensors requiring data acquisition and transmis-sion to computers at fast rates, with low latency, and high bandwidth. This work is part of an ongoing pro-ject which aims to provide designers with a cost effec-tive and accessible platform for fast prototyping of complex interfaces for sonic interactive systems or mu-sical instruments. The high performances are guaran-teed by a SoC FPGA. The functionality of the platform can be customized without requiring significant tech-nical expertise. In this paper, we discuss the principles, the current design, and the preliminary evaluation against common microcontroller-based platforms. The proposed platform can sample up to 96 analog channels at rates up to 24 kHz and stream the data via UDP to computers with a sub millisecond latency.
Keywords
Hardware Platform, Musical Interface, Sonic Interaction
Paper topics
Hardware systems for sound and music computing, Interfaces for sound and music, New interfaces for interactive music creation, Sonic interaction design
Easychair keyphrases
sampling rate [16], sonic interactive system [14], analog signal [13], data acquisition [11], acquisition board [10], microcontroller based platform [9], sound synthesis [9], simultaneous sampling [8], fpga pin [7], maximum rate [7], maximum sampling rate [7], arm cortex [6], board computer [6], data acquisition system [6], pure data [6], udp packet [6], buffer size [5], musical instrument [5], serial interface [5], sonic interactive [5], bit arm cortex [4], filter bank [4], fpga based platform [4], fpga fabric [4], maximum data acquisition rate [4], measured data transmission [4], microcontroller based board [4], pressure sensitive touchpad [4], sensor data [4], sonic interaction [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249278
Zenodo URL: https://zenodo.org/record/3249278
2019.92
Towards CNN-based Acoustic Modeling of Seventh Chords for Automatic Chord Recognition
Nadar, Christon-Ragavan Semantic Music Technologies Group, Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Abeßer, Jakob Semantic Music Technologies Group, Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Grollmisch, Sascha Semantic Music Technologies Group, Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Abstract
In this paper, we build upon a recently proposed deep convolutional neural network architecture for automatic chord recognition (ACR). We focus on extending the commonly used major/minor vocabulary (24 classes) to an extended chord vocabulary of seven chord types with a total of 84 classes. In our experiments, we compare joint and separate classification of the chord type and chord root pitch class using one or two separate models, respectively. We perform a large-scale evaluation using various combinations of training and test sets of different timbre complexity. Our results show that ACR with an extended chord vocabulary achieves high f-scores of 0.97 for isolated chord recordings and 0.66 for mixed contemporary popular music recordings. While the joint ACR modeling leads to the best results for isolated instrument recordings, the separate modeling strategy performs best for complex music recordings. Alongside with this paper, we publish a novel dataset for extended-vocabulary chord recognition which consists of synthetically generated isolated recordings of various musical instruments.
Keywords
automatic chord recognition, deep convolutional neural network, harmony analysis
Paper topics
Automatic separation, classification of sound and music, Models for sound analysis and synthesis, Music information retrieval, recognition, Sound/music signal processing algorithms
Easychair keyphrases
chord type [28], chord recognition [20], isolated chord recording [15], music information retrieval [14], root pitch class [14], extended vocabulary acr [12], chord root pitch [11], chord voicing [10], seventh chord [10], acr model [8], extended vocabulary [8], music recording [8], neural network [8], automatic chord recognition [7], chord tone [7], th international society [7], acoustic modeling [6], chord label [6], chord vocabulary [6], isolated instrument recording [6], midi file [6], minor chord [6], minor chord vocabulary [6], modeling strategy [6], real life acr application [6], novel dataset [5], training set [5], chord recognition dataset [4], final dense layer [4], high f score [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249472
Zenodo URL: https://zenodo.org/record/3249472
2019.93
URALi: a proposal of approach to real-time audio synthesis in Unity
Dorigatti, Enrico Conservatorio F. A. Bonporti; Trento, Italy
Abstract
This paper aims to give a basic overview about the URALi (Unity Real-time Audio Library) project, that is currently under development. URALi is a library that aims to provide a collection of software tools to realize real-time sound synthesis in applications and softwares developed with Unity.
Keywords
not available
Paper topics
not available
Easychair keyphrases
not available
Paper type
Demo
DOI: 10.5281/zenodo.3249266
Zenodo URL: https://zenodo.org/record/3249266
2019.94
VIBRA - Technical and Artistic Issues in an Interactive Dance Project
Bergsland, Andreas Norwegian University of Science and Technology (NTNU); Trondheim, Norway
Saue, Sigurd Norwegian University of Science and Technology (NTNU); Trondheim, Norway
Stokke, Pekka Ljos A/S; Norway
Abstract
The paper presents the interactive dance project VIBRA, based on two workshops taking place in 2018. The paper presents the technical solutions applied and discusses artistic and expressive experiences. Central to the discussion is how the technical equipment, implementation and mappings to different media has affected the expressive and experiential reactions of the dancers.
Keywords
computer visuals, Interactive dance, motion sensors, spatial sound
Paper topics
Improvisation in music through interactivity, Interaction in music performance, Interactive performance systems, Interfaces for sound and music, Sonic interaction design
Easychair keyphrases
interactive dance [17], computer visual [11], myo armband [10], sensor data [10], interactive instrument [7], ngimu sensor [7], third author [7], body part [6], causal relationship [6], technical setup [6], dancer movement [5], musical expression [5], myo mapper [5], data communication [4], first author [4], myo sensor [4], project participant [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249248
Zenodo URL: https://zenodo.org/record/3249248
2019.95
Virtual Reality Music Intervention to Reduce Social Anxiety in Adolescents Diagnosed with Autism Spectrum Disorder
Adjorlu, Ali Aalborg University; Aalborg, Denmark
Betancourt, Nathaly Università di Trento; Trento, Italy
Serafin, Stefania Aalborg University; Aalborg, Denmark
Abstract
This project investigates the potentials of Head-Mounted-Display (HMD) based Virtual Reality (VR) that incorporates musical elements as a tool to perform exposure therapy. This is designed to help adolescents diagnosed with Autism Spectrum Disorder (ASD) to deal with their social anxiety. An application was built that combines the possibility of singing in VR while a virtual audience provides feedback. The application was tested with four adolescents diagnosed with ASD from a school for children with special needs in Denmark. The results of the evaluation are presented in this paper.
Keywords
Autism Spectrum Disorder, Music, Performance Anxiety, Performing, Singing, Social Anxiety, Virtual Audience, Virtual Reality
Paper topics
Interaction in music performance, Sound and music for accessibility and special needs, Sound and music for Augmented/Virtual Reality and games
Easychair keyphrases
virtual audience [27], social anxiety [26], simplified version [21], autism spectrum disorder [17], exposure therapy [15], virtual reality [14], liebowitz social anxiety scale [10], none none none [9], virtual environment [9], vr music intervention [9], likert scale [6], smiley face likert [6], smiley likert scale [6], concert hall [5], described situation [5], future iteration [5], voice command [5], developmental disorder [4], face likert scale [4], feared outcome [4], head mounted display [4], immersive tendency questionnaire [4], multisensory experience lab aalborg [4], presence questionnaire [4], scale ranging [4], virtual concert hall [4], vr exposure therapy [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249339
Zenodo URL: https://zenodo.org/record/3249339
2019.96
VISUALIZING MUSIC GENRES USING A TOPIC MODEL
Panda, Swaroop Indian Institute of Technology Kanpur (IIT KANPUR); Kanpur, India
Namboodiri, Vinay P. Indian Institute of Technology Kanpur (IIT KANPUR); Kanpur, India
Roy, Shatarupa Thakurta Indian Institute of Technology Kanpur (IIT KANPUR); Kanpur, India
Abstract
Music Genres serve as an important meta-data in the field of music information retrieval and have been widely used for music classification and analysis tasks. Visualizing these music genres can thus be helpful for music exploration, archival and recommendation. Probabilistic topic models have been very successful in modelling text documents. In this work, we visualize music genres using a probabilistic topic model. Unlike text documents, audio is continuous and needs to be sliced into smaller segments. We use simple MFCC features of these segments as musical words. We apply the topic model on the corpus and subsequently use the genre annotations of the data to interpret and visualize the latent space.
Keywords
Music Genre Visualization, Probabilistic Music Genres, Probabilistic Topic Models
Paper topics
not available
Easychair keyphrases
topic model [19], music genre [13], probabilistic topic model [9], cluster mean [7], document topic proportion [7], text document [6], latent space [4], progressive genre visualization [4], term topic proportion [4], topic proportion [4]
Paper type
Demo
DOI: 10.5281/zenodo.3249352
Zenodo URL: https://zenodo.org/record/3249352
2019.97
Visual Pitch Estimation
Koepke, A. Sophia University of Oxford; Oxford, United Kingdom
Wiles, Olivia University of Oxford; Oxford, United Kingdom
Zisserman, Andrew University of Oxford; Oxford, United Kingdom
Abstract
In this work, we propose the novel task of automatically estimating pitch (fundamental frequency) from video frames of violin playing using vision alone. In order to investigate this task, we curate a novel dataset of violin playing, which we plan to release publicly to the academic community. To solve this task, we propose a novel Convolutional Neural Network (CNN) architecture that is trained using a student- teacher strategy to transfer discriminative knowledge from the audio domain to the visual domain. At test time, our framework takes video frames as input and directly regresses the pitch. We train and test this architecture on different subsets of our new dataset. Impressively, we show that this task (i.e. pitch prediction from vision) is actually possible. Furthermore, we verify that the network has indeed learnt to focus on salient parts of the image, e.g. the left hand of the violin player is used as a visual cue to estimate pitch.
Keywords
Audio-visual, Multi-modality, Visual pitch estimation
Paper topics
Multimodality in sound and music computing
Easychair keyphrases
video frame [14], visual information [14], pitch network [10], student network [9], convolutional layer [8], pseudo ground truth pitch [8], teacher network [8], violin playing [6], midi number [5], rpa tol [5], silent video [5], test time [5], audio visual [4], ground truth pitch [4], modal audio visual generation [4], multiple input frame [4], pitch frame [4], predict pitch [4], raw pitch accuracy [4], regress pitch [4], test set [4], truth pitch information [4], urmp dataset [4], visual cue [4], visual music transcription [4], visual pitch estimation [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249433
Zenodo URL: https://zenodo.org/record/3249433
2019.98
VocalistMirror: A Singer Support Interface for Avoiding Undesirable Facial Expressions
Lin, Kin Wah Edward National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
We present VocalistMirror, an interactive user interface that enables a singer to avoid their undesirable facial expressions in singing video recordings. Since singers usually focus on singing expressions and do not care about facial expressions, they sometimes notice that some of their own facial expressions are undesirable when watching recorded singing videos. VocalistMirror allows a singer to first specify their undesirable facial expressions in a recorded video, and then sing again while seeing a real-time warning that is shown when the facial expression of the singer becomes similar to one of the specified undesirable expressions. It also displays Karaoke-style lyrics with piano-roll melody and visualizes acoustic features of singing voices. iOS ARKit framework is used to quantify the facial expression as a 52-dimensional vector, which is then used to compute the distance from undesirable expressions. Our experimental results showed the potential of the proposed interface.
Keywords
facial expression, singer support interface, singing video
Paper topics
Interfaces for sound and music, Multimodality in sound and music computing
Easychair keyphrases
facial expression [68], undesirable facial expression [38], singing voice [18], serious music background [15], real time [14], short singing video clip [10], video clip [10], acoustic feature interface [9], singing video clip [9], acoustic feature [7], facial expression interface [7], fundamental frequency [7], dimensional facial vector [6], karaoke style lyric [6], l1 norm distance [6], selected undesirable facial expression [6], singing pitch [6], interface design [5], music computing [5], singing video [5], truedepth camera [5], video recording [5], expression overall impression [4], exterior design feature [4], piano roll melody [4], real time vocal part arrangement [4], rwc music database [4], similar facial expression [4], singer facial expression [4], singing app [4]
Paper type
Full paper
DOI: 10.5281/zenodo.3249451
Zenodo URL: https://zenodo.org/record/3249451
2019.99
VUSAA: AN AUGMENTED REALITY MOBILE APP FOR URBAN SOUNDWALKS
Moreno, Josué University of the Arts Helsinki; Helsinki, Finland
Norilo, Vesa University of the Arts Helsinki; Helsinki, Finland
Abstract
This paper presents VUSAA, an augmented reality sound- walking application for Apple iOS Devices. The application is based on the idea of Urban Sonic Acupuncture, providing site-aware generative audio content aligned with the present sonic environment. The sound-generating algorithm was implemented in Kronos, a declarative programming lan- guage for musical signal processing. We discuss the con- ceptual framework and implementation of the application, along with the practical considerations of deploying it via a commercial platform. We present results from a number of soundwalks so far organized and outline an approach to develop new models for urban dwelling.
Keywords
augmented reality, generative composition, mobile application
Paper topics
Automatic music generation/accompaniment systems, Sonic interaction design, Sound and music for Augmented/Virtual Reality and games
Easychair keyphrases
urban sonic acupuncture [14], aural weather [8], sonic acupuncture [7], app store [6], augmented reality [6], augmented reality soundwalking [6], ios app store [6], sonic content [6], user interface [5], app store review [4], conceptual framework [4], mobile device [4], public space [4], urban acupuncture [4], urban sonic acupuncture strategy [4]
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.3249416
Zenodo URL: https://zenodo.org/record/3249416
Sound and Music Computing Conference 2020 (ed. 17)
Dates: from June 20 to June 26, 2020
Place: Torino, Italy
Proceedings info: Proceedings of the 17th Sound & Music Computing Conference, ISBN 978-88-945415-0-2
Sound and Music Computing Conference 2021 (ed. 18)
Dates: from June 29 to July 01, 2021
Place: Virtual Conference,
Proceedings info: not available