Papers
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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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not available
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Paper type
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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not available
Paper type
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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not available
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not available
Paper type
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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not available
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Easychair keyphrases
not available
Paper type
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.
Keywords
not available
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Easychair keyphrases
not available
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.
Keywords
not available
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not available
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not available
Paper type
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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not available
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not available
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not available
Paper type
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.
Keywords
not available
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not available
Easychair keyphrases
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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not available
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not available
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not available
Paper type
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.
Keywords
not available
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not available
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not available
Paper type
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.
Keywords
not available
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not available
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not available
Paper type
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.
Keywords
not available
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not available
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not available
Paper type
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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not available
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not available
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not available
Paper type
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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not available
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not available
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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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not available
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not available
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not available
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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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not available
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not available
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not available
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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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not available
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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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not available
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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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not available
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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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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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not available
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not available
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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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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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not available
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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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not available
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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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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
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.
Keywords
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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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).
Keywords
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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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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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.
Keywords
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.
Keywords
not available
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not available
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not available
Paper type
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
Paper type
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.
Keywords
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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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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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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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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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
Paper type
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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Paper type
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
not available
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not available
Paper type
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
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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.
Keywords
not available
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not available
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not available
Paper type
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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not available
Paper type
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.
Keywords
not available
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not available
Paper type
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.
Keywords
not available
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not available
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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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not available
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not available
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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
not available
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not available
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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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not available
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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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not available
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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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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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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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not available
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not available
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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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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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unknown
DOI: 10.5281/zenodo.850439
Zenodo URL: https://zenodo.org/record/850439