Papers
Sound and Music Computing Conference 2014 (ed. 11)
Dates: from September 14 to September 20, 2014
Place: Athens, Greece
Proceedings info: Proceedings ICMC|SMC|2014, ISBN 978-0-9845274-3-4
2014.1
3DMIN - Challenges and Interventions in Design, Development and Dissemination of New Musical Instruments
Bovermann, Till Berlin University of the Arts (UdK); Berlin, Germany
Egermann, Hauke Technische Universität Berlin (TU Berlin); Berlin, Germany
Foerstel, Alexander Technische Universität Berlin (TU Berlin); Berlin, Germany
Hardjowirogo, Sarah-Indriyati Technische Universität Berlin (TU Berlin); Berlin, Germany
Hinrichsen, Amelie Berlin University of the Arts (UdK); Berlin, Germany
Hildebrand Marques Lopes, Dominik Berlin University of the Arts (UdK); Berlin, Germany
Pysiewicz, Andreas Technische Universität Berlin (TU Berlin); Berlin, Germany
Weinzierl, Stefan Technische Universität Berlin (TU Berlin); Berlin, Germany
de Campo, Alberto Berlin University of the Arts (UdK); Berlin, Germany
Abstract
This paper presents challenges in the design, development and dissemination of electronic and digital musical instruments as they were identified within a newly established interdisciplinary research project. These challenges, covering a range of theoretical, artistic and practical perspectives, fall into the categories Embracing Technology, Musicology-informed Design, Researching and Integrating Embodiment and Aesthetics and Artistic Values. We illustrate, how the research project provides interventions and measures to the community that are related to these challenges. Furthermore we intend to investigate conditions for the success of new musical instruments with respect to their design and both their scientific and artistic values.
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DOI: 10.5281/zenodo.850945
Zenodo URL: https://zenodo.org/record/850945
2014.2
About the Different Types of Listeners for Rating the Overall Listening Experience
Schoeffler, Michael International Audio Laboratories Erlangen (AudioLabs); Erlangen, Germany
Herre, Jürgen International Audio Laboratories Erlangen (AudioLabs); Erlangen, Germany
Abstract
When the overall listening experience is rated, listeners are asked to take every aspect into account which seems important to them, including song, lyrics, mood and audio quality. The results of two previously conducted experiments revealed a significant influence of the signal bandwidth and the spatial reproduction format on the overall listening experience. In this work, a systematic analysis is applied to the results of these two experiments with the purpose to investigate listeners in more detail. Regarding rating the overall listening experience, the results show that listeners can rather be described by continuous variables which reflect their preferences than clear categorizations of different listener types. Furthermore, a regression model for predicting ratings was significantly improved by describing the listeners with such continuous variables.
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DOI: 10.5281/zenodo.850717
Zenodo URL: https://zenodo.org/record/850717
2014.3
A Bowed String Physical Model Including Finite-width Thermal Friction and Hair Dynamics
Maestre, Esteban CCRMA, Stanford University; Stanford, United States
Spa, Carlos Universidad Federico Santa Marı́a; Valparaíso, Chile
Smith, Julius Orion III CCRMA, Stanford University; Stanford, United States
Abstract
In light of the promising results obtained by driving a lowcomplexity digital waveguide (DW) violin model with synthetic bowing gestures 1 , we currently explore the possibilities of combining DW and finite-difference time-domain (FDTD) frameworks to construct refined, yet efficient physical models of string quartet instruments. We extend previous approaches by combining a finite-width bow-string interaction model with a dynamic friction model based on simulating heat diffusion along the width of the bow. Bow hair dynamics are incorporated in the bow-string interaction, which includes two transversal string polarizations. The bridge termination is realized using an efficient, passive digital reflectance matrix obtained from fitting admittance measurements. In this paper we present and discuss the current status and future directions of our modeling work.
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DOI: 10.5281/zenodo.850848
Zenodo URL: https://zenodo.org/record/850848
2014.4
A Computer-mediated Interface for Jazz Piano Comping
Dias, Rui University of Porto / INESC; Porto, Portugal
Guedes, Carlos New York University Abu Dhabi; Abu Dhabi, United Arab Emirates
Marques, Telmo Research Center for Science and Technology of the Arts (CITAR), Portuguese Catholic University; Porto, Portugal
Abstract
This paper presents a dynamic interface and voicing algorithm for real-time performance of jazz piano comping. Starting with a given song with a predefined harmonic progression, the algorithm calculates and maps an array of chord voicings to a virtual piano keyboard that can be played in real-time with any physical multi-touch input device like an iPad or computer keyboard. By taking care of the note selection for the voicings, the interface provides a simplified and intuitive way to play sophisticated voicings, while leaving the control over the performance aspects like timing, register, wideness and density to the user.
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DOI: 10.5281/zenodo.850615
Zenodo URL: https://zenodo.org/record/850615
2014.5
A Design Exploration on the Effectiveness of Vocal Imitations
Delle Monache, Stefano Department of Architecture and Arts, IUAV University of Venice; Venezia, Italy
Baldan, Stefano Department of Architecture and Arts, IUAV University of Venice; Venezia, Italy
Mauro, Davide Andrea Department of Architecture and Arts, IUAV University of Venice; Venezia, Italy
Rocchesso, Davide Department of Architecture and Arts, IUAV University of Venice; Venezia, Italy
Abstract
Among sonic interaction design practices a rising interest is given to the use of the voice as a tool for producing fast and rough sketches. Goal of the EU project SkAT-VG (Sketching Audio Technologies using Vocalization and Gestures, 2014-2016) is to develop vocal sketching as a reference practice for sound design by (i) improving our understanding on how sounds are communicated through vocalizations and gestures, (ii) looking for physical relations between vocal sounds and sound-producing phenomena, (iii) designing tools for converting vocalizations and gestures into parametrized sound models. We present the preliminary outcomes of a vocal sketching workshop held at the Conservatory of Padova, Italy. Research through design activities focused on how teams of potential designers make use of vocal imitations, and how morphological attributes of sound may inform the training of basic vocal techniques.
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DOI: 10.5281/zenodo.850947
Zenodo URL: https://zenodo.org/record/850947
2014.6
Affective Jukebox: A Confirmatory Study of EEG Emotional Correlates in Esponse to Musical Stimuli
Eaton, Joel Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Williams, Duncan Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Abstract
This paper presents a proof-of-concept pilot study investigating whether 2-dimensional arousal-valence correlates determined from electroencephalogram (EEG) readings can be used to select music based on the affective state of a user. Self-reported emotional states are used to evaluate a system for estimating arousal and valance from EEG by means of music selection from a real-time jukebox, with stimuli that have strong emotional connotations determined by a perceptual scaling analysis. Statistical analysis of participant responses suggests that this approach can provide a feasible platform for further experimentation in future work. This could include using affective correlations to EEG measurements in order to control real-time systems for musical applications such as arrangement, re-composition, re-mixing, and generative composition via a neurofeedback mechanism which responds to listener affective states.
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DOI: 10.5281/zenodo.850621
Zenodo URL: https://zenodo.org/record/850621
2014.7
A Flexible and Modular Crosslingual Voice Conversion System
Machado, Anderson Fraiha University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo University of São Paulo (USP); São Paulo, Brazil
Abstract
A cross-lingual voice conversion system aims at modifying the timbral structure of recorded sentences from a source speaker, in order to obtain processed sentences which are perceived as the same sentences uttered by a target speaker. This work presents the cross-lingual voice conversion problem as a network of related sub-problems and discuss several techniques for solving each of these sub-problems, in the context of a modular implementation that facilitates comparisons between competing techniques. The implemented system aims at high-quality cross-lingual voice conversion in a text-independent setting, i.e. where the training sets of sentences recorded by source and target speakers are not the same. New strategies are introduced, such as artificial phonetic maps, N -likelihood clustering and normalized frequency warping, which are evaluated through numerical experiments.
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DOI: 10.5281/zenodo.850850
Zenodo URL: https://zenodo.org/record/850850
2014.8
A Framework for Music Analysis/Resynthesis Based on Matrix Factorization
Burred, Juan José Independent Research, Independent; Paris, France
Abstract
Spectrogram factorization is a recent and promising alternative to sinusoidal or source/filter modeling for analysis/resynthesis systems aimed at musical creation. This paper presents a framework designed to perform a wide range of sound manipulations based on Non-negative Matrix Factorization (NMF), including a set of new techniques for creating artificial cross-components not present in the original analyzed sound. The system can process individual sounds by modifying their internal structure, or can be used for a flexible type of cross-synthesis between two input sounds. The different processing modules are illustrated by a collection of sound examples available on a companion website.
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DOI: 10.5281/zenodo.850852
Zenodo URL: https://zenodo.org/record/850852
2014.9
A Genetic Algorithm Approach to Collaborative Music Creation on a Multi-touch Table
Klügel, Niklas Technische Universität München (TUM); Garching, Germany
Lindström, Andreas KTH Royal Institute of Technology; Kista, Sweden
Groh, Georg Technische Universität München (TUM); Garching, Germany
Abstract
Multi-touch interfaces provide new opportunities for collaborative music composing. In this report, an approach using genetic algorithms to evolve musical beats in a collaborative setting is presented. A prototype using a multitouch interface is developed and evaluated.
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DOI: 10.5281/zenodo.850527
Zenodo URL: https://zenodo.org/record/850527
2014.10
A High-level Review of Mappings in Musical iOS Applications
Kell, Thor IDMIL / CIRMMT, McGill University; Montreal, Canada
Wanderley, Marcelo M. IDMIL / CIRMMT, McGill University; Montreal, Canada
Abstract
We present a high-level review of mappings in musical iOS applications. All of the 38,750 music applications on the iOS store were reviewed and classified, using their title and descriptive text. Fifty music-making categories were found, along with sixteen non-music-making categories. Summarized mappings for each music-making category were defined and enumerated, by downloading and examining the screenshots for each app in each category. We present the total mappings, across all fifty categories, in terms of pitch, trigger, time, volume, and timbre. The sixteen non-music making categories were overviewed, but not discussed in detail. We also discuss broad trends and underutilized mappings, as well as suggesting areas for innovation. Finally, we provide public access to the created dataset, in order to further research around both iOS applications and text classification. This dataset includes the title, URL, and descriptive text for all applications, and is available both classified and unclassifed.
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DOI: 10.5281/zenodo.850617
Zenodo URL: https://zenodo.org/record/850617
2014.11
A History of Emerging Paradigms in EEG for Music
Christopher, Kameron R. School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Kapur, Ajay School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Carnegie, Dale A. School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Grimshaw, Gina M. School of Psychology, Victoria University of Wellington; Wellington, New Zealand
Abstract
In recent years, strides made in the development of BrainComputer Interface (BCI) technology have foreseen a contemporary evolution in the way we create music with Electroencephalography (EEG). The development of new BCI technology has given musicians the freedom to take their work into new domains for music and art making. However, a fundamental challenge for artists using EEG in their work has been expressivity. In this paper, we demonstrate how emerging paradigms in EEG music are dealing with this issue, and discuss the outlook for the field moving forward.
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DOI: 10.5281/zenodo.850793
Zenodo URL: https://zenodo.org/record/850793
2014.12
A Hybrid Guitar Physical Model Controller: The BladeAxe
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Smith, Julius Orion III Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
The B LADE A XE is a guitar-like controller that uses “real world” audio excitations from six piezoelectric films (one per “string”) to drive a physical model of a guitar on a laptop. The B LADE A XE body is made out of laser cut acrylic sheets and can be easily reproduced. As a fully “plug and play” interface, it can be used on any computer to communicate with our open-source virtual-guitar software.
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DOI: 10.5281/zenodo.850619
Zenodo URL: https://zenodo.org/record/850619
2014.13
Alarm/will/sound: Perception, Characterization, Acoustic Modeling, and Design of Modified Car Alarms
Sigman, Alexander Department of Composition, Keimyung University, School of Music and Performing Arts; Daegu, South Korea
Misdariis, Nicolas Research and Development, Sound Perception and Design, STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This article outlines the salient phases, goals, and results of alarm/will/sound, a multidisciplinary musical research project carried out in the context of the IRCAM IRC (Interface Recherche-Création) Musical Residency Research program. 1 After the rationale for and motivations behind the project are presented, the following research and production milestones are described: 1) the elaboration and characterization of the sound corpus intended for the modified car alarm prototypes; 2) a sound perception experiment testing source typicality of a sub-category of sounds within the corpus; 3) an acoustic descriptor space in which a subset of the stimuli employed in the typicality experiment were situated; 4) the construction of synthetic auditory warnings from sound-sources within the descriptor space, prototypical environmental sound envelopes, and inter-onset intervals (IOI's) derived from extant car alarms; and 5) the design of a second experiment pertaining to levels of repulsion vs. attraction to the synthetic auditory warnings. Finally, short-, mid-, and long-term objectives and directions for the project are discussed.
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DOI: 10.5281/zenodo.850719
Zenodo URL: https://zenodo.org/record/850719
2014.14
Algebraic Mozart by Tree Synthesis
Hirata, Keiji Future University Hakodate; Hakodate, Japan
Tojo, Satoshi Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Hamanaka, Masatoshi Kyoto University; Kyoto, Japan
Abstract
Thus far, we have been automatizing the time-span analysis of Jackendoff and Lehrdahl’s Generative Theory of Tonal Music (GTTM). We have also introduced the distance between two time-span trees and verified by an experiment that the distance was properly supported by the psychological similarity. In this paper, we synthesize a new piece of music using the algebraic operations on timespan trees, with this notion of distance. For this process, we need an operation to retain a certain number of pitch events as well as reduction, then we employ join operation on two input pieces of music. But, the result of the join operation is not obvious as two or more pitch events may occupy the same position on a score in a conflicting way. Therefore, in this research, we distinguish the tree representation from actual music written on a score and define join and meet in the domain of the tree representation in the algebraic manner. Then, to demonstrate the validity of our approach, we compose artificial variations of K.265/300e by Wolfgang Amadeus Mozart by a morphing technique using join and meet. We examine the results with human intuitive similarity and show that algebraic operations such as join and meet suffices to produce viable Mozartoid variations.
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DOI: 10.5281/zenodo.850747
Zenodo URL: https://zenodo.org/record/850747
2014.15
Algorithmic Cross-mixing and Rhythmic Derangement
Baracskai, Zlatko University of the West of England (UWE Bristol); Bristol, United Kingdom
Abstract
This paper discusses the circumstances and the results in automating rhythmical derangement of popular music in order to render an odd-meter version of a tune. The resulting pieces will be performed in a late night concert of the International Computer Music Conference resembling a typical DJ performance setting. Created remixes often use two widely known tunes in parallel to bear the title of a cross-mix. The cross-mixes are made by firstly synchronising the tracks in their original timeflow by using audio stretching techniques. Secondly, the probabilistic splicing algorithms and further timestretching are employed to render the tracks within a different metric structure. Finally, DJ production and performance techniques provide appropriate ways of mastering and presenting the pieces in a club-type environment. The paper will further deal with the intentions behind using popular tunes, odd-meters and algorithms in the light of the motivation that yielded the currently presented system. The designed software plug-in will be briefly documented and made public as open-source development.
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DOI: 10.5281/zenodo.850749
Zenodo URL: https://zenodo.org/record/850749
2014.16
Ambient Culture: Coping Musically With the Environment
Maeder, Marcus Institute for Computer Music and Sound Technology ICST, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
Since its creation by the composer Brian Eno in 1976, the term ambient has undergone significant change. The musical style ambient has developed into a framework of reception and terminology within which digital electronic music as well as visual art are conceived and received. The term ambient opens up a context of artistic and social practices reflecting a reality that is increasingly transported via and created by media technologies. Using as point of departure biologist Jakob von Uexküll’s concept of »Umwelt« which postulates a world-generating context of body, cognition and environment, modern constructions of immanence are examined: Ambient as a sort of mimetic ceremony produces extremely complex yet coherent images of the world. The study develops a phenomenology of the sounds found in current ambient music as well as associations and meanings elicited by them. Ambient is a compound of spaces in which a reflection of the world takes place, created through artistic, social, geographical and increasingly virtual devices. The idea of space as the expansion of thought, enclosing its infinite movements as an absolute horizon is implied by the concept of the plane of immanence proposed by Gilles Deleuze and Félix Guattari. In Ambient, a soundtrack of immanence is created, a polyphonic sound of the environment as we experience it, which renders the world in its diversity imaginable and experienceable.
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DOI: 10.5281/zenodo.850951
Zenodo URL: https://zenodo.org/record/850951
2014.17
Ambisonics User Defined Opcodes for Csound
Neukom, Martin Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
This text describes the implementation of Ambisonics as user defined opcodes (UDOs) for Csound. The presented package of UDOs includes a basic encoder and a decoder up to 8th order, an encoder with distance correction, an in-phase decoder, opcodes for the two-dimensional equivalent of Ambisonics for any order, opcodes for Ambisonics equivalent panning (AEP) and several utilities such as coordinate converters, Doppler effect and more. Finally the usage of the UDOs is explained in some examples.
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DOI: 10.5281/zenodo.850693
Zenodo URL: https://zenodo.org/record/850693
2014.18
A Method of Timbre-Shape Synthesis Based on Summation of Spherical Curves
Putnam, Lance Department of Architecture, Design and Media Technology, Aalborg University; Aalborg, Denmark
Abstract
It is well-known that there is a rich correspondence between sound and visual curves, perhaps most widely explored through direct input of sound into an oscilloscope. However, there have been relatively few proposals on how to translate sound into three-dimensional curves. We present a novel method for simultaneous production of sonic tones and graphical curves based on additive synthesis of spherical curves. The spherical curves are generated from a sequence of elemental 3D rotations, similar to a Euler rotation. We show that this method can produce many important twoand three-dimensional curves directly from sine waves and thus provide a basic language for exploring timbre-shape relationships.
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DOI: 10.5281/zenodo.850856
Zenodo URL: https://zenodo.org/record/850856
2014.19
A Multi-agent Interactive Composing System for Creating "Expressive" Accompaniment
Spicer, Michael Independent; Finland
Abstract
This paper describes the approach and an application that the author has adopted for creating real time performance systems whose musical output is created by the interactions of a human performer and a multi-agent system that acts as an ensemble of software “performers”. The music produced typically consists of several distinct textural layers, where all the sounds produced are transformations of the sound made by the human performer. This type of system can be thought of as an “extended” instrument, where the performer effectively “plays” the ensemble. This approach has been used with notated compositions, improvisation performances and for creating installations. This paper focuses on a composition that utilises a notated score, and is concerned with how the score is interpreted in the context of the musical output of the agent ensemble.This system makes use of two broad categories of agent: performers and controllers. Performer agents transform the live sound in various ways, while controller agents’ work at a higher structural level. They specify goal states and determine which agents are currently heard. Each performer agent has a way of transforming the audio input, and has its own internal strategies for determining what it does. The complexity of the performer agents note choice strategies ranges from simple harmony generators, to algorithmic composition systems.
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DOI: 10.5281/zenodo.850826
Zenodo URL: https://zenodo.org/record/850826
2014.20
An Agent Based Approach to Interaction and Composition
Pearse, Stephen University of Sheffield; Sheffield, United Kingdom
Moore, David University of Sheffield; Sheffield, United Kingdom
Abstract
The Agent Tool [1] is a complex composition and performance environment that affords the scripting of abstract agents of varying complexity to control elements of synthesis and sound manipulation. The micro-threaded architecture of the system means that all scripts are written from the perspective of an agent/performer. Consequently, complex compositions, gestures and performances can be crafted in a simple and efficient manner. It is designed to be an open-ended framework whereby all data can be emitted via Open Sound Control (OSC) for external processing if required. User interaction with the system can come in a variety of forms. These include, but are not limited to graphical manipulation, scripting, real time video input and external control via OSC. The system was initially designed as an environment to allow dynamic and efficient graphic sound synthesis through extraction of data from static imagery, video playback or real time video input. The open scripting engine consequently allows the system to perform direct audification of image stimuli or conversely allow complex sonifications to take place. The Agent Tool is a cross-platform package that runs on various Linux distributions, Mac OSX and Windows operating systems. This paper seeks to discuss the agent based functionality the system offers and consequently the composition and interaction design that the system affords.
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DOI: 10.5281/zenodo.850695
Zenodo URL: https://zenodo.org/record/850695
2014.21
Analysis of the Simultaneity, Voice/layer Balance and Rhythmic Phrasing in Works for Guitar by Rodrigo, Brouwer and Villa-Lobos
Freire, Sérgio School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Nézio, Lucas Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
dos Reis, Anderson School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Abstract
The paper analyzes different right-hand guitar techniques, such as the use of block chords, the balance between independent musical voices and layers, and global rhythmic control. Three well-known musical excerpts were chosen from the twentieth-century repertoire for guitar and were played in three different renditions: the beginning of Rodrigo’s Entre Olivares, Brouwer’s Étude II and a phrase from Villa-Lobos’s Étude 8. The audio was recorded by means of an acoustic guitar with hexaphonic pickups, and data extraction was programmed in Max. Finer timing adjustments—down to 1 ms—were made manually. At this scale, we found that block chords are rarely played simultaneously; for the description of this quasi-simultaneity, we introduced the concepts of spread interval and spread pattern. The excerpts were analyzed also on the note/chord level and in terms of general rhythmic phrasing. Using these combined parameters enabled us to explore the technical difficulties and expressive choices in each rendition.
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DOI: 10.5281/zenodo.850753
Zenodo URL: https://zenodo.org/record/850753
2014.22
An Automatic Singing Impression Estimation Method Using Factor Analysis and Multiple Regression
Kanato, Ai Graduate School of Human Sciences, Waseda University; Tokyo, Japan
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Kikuchi, Hideaki Graduate School of Human Sciences, Waseda University; Tokyo, Japan
Abstract
This paper describes a method for estimating the impression of a singing voice via acoustic features. While much research has been conducted on singing impression, to date no method for determining appropriate words to represent the impressions created by a person’s singing has been developed, primarily due to the lack of a comprehensive evaluation scale. We followed two steps: construction of such an impression scale, and development of models for estimating the impression score of each word. In the scale construction, two experiments were carried out. Firstly, 44 words were selected as relevant words based on subjective evaluation. Secondly, 12 words were selected as an impression scale, and three factors (“powerful”, “cautious”, and “cheerful”) were extracted by factor analysis. To estimate impression scores, multiple regression models were constructed for each impression word with acoustic features. The models were tested by cross validation. The average R 2 value for the 12 words of the complete scale was 0.567, and the R 2 for the three factors were 0.863 (powerful), 0.381 (cautious), and 0.603 (cheerful).
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DOI: 10.5281/zenodo.850828
Zenodo URL: https://zenodo.org/record/850828
2014.23
An Experimental Classification of the Programing Patterns for Scheduling in Computer Music Programming
Nishino, Hiroki NUS Graduate School for Integrative Sciences & Engineering,, National University of Singapore; Singapore, Singapore
Abstract
How to schedule a desired temporal pattern is one of the most elementary issues to consider when implementing a computer music system, and there already exist several major programming patterns for scheduling. However, such computer music-specific programming patterns seem to not be discussed as frequently as general programming patterns, and thus there may still be some necessity for additional clarification. For instance, the programming pattern called temporal recursion may be better described as self-rescheduling, when contrasted with other programming patterns that perform similar tasks. In this paper, we describe four programming patterns that can be seen in the existing computer music languages and propose the names for these programming patterns. Such a discussion can benefit by initiating the discussion on the computer musicspecific programming patterns in our community, to avoid an unnecessary ambiguity in further investigation of the related programming patterns.
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DOI: 10.5281/zenodo.850797
Zenodo URL: https://zenodo.org/record/850797
2014.24
An Idiom-independent Representation of Chords for Computational Music Analysis and Generation
Cambouropoulos, Emilios Independent; Finland
Kaliakatsos-Papakostas, Maximos Independent; Finland
Tsougras, Costas Independent; Finland
Abstract
In this paper we focus on issues of harmonic representation and computational analysis. A new idiomindependent representation is proposed of chord types that is appropriate for encoding tone simultaneities in any harmonic context (such as tonal, modal, jazz, octatonic, atonal). The General Chord Type (GCT) representation, allows the re-arrangement of the notes of a harmonic simultaneity such that abstract idiom-specific types of chords may be derived; this encoding is inspired by the standard roman numeral chord type labeling, but is more general and flexible. Given a consonance-dissonance classification of intervals (that reflects culturallydependent notions of consonance/dissonance), and a scale, the GCT algorithm finds the maximal subset of notes of a given note simultaneity that contains only consonant intervals; this maximal subset forms the base upon which the chord type is built. The proposed representation is ideal for hierarchic harmonic systems such as the tonal system and its many variations, but adjusts to any other harmonic system such as post-tonal, atonal music, or traditional polyphonic systems. The GCT representation is applied to a small set of examples from diverse musical idioms, and its output is illustrated and analysed showing its potential, especially, for computational music analysis & music information retrieval.
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DOI: 10.5281/zenodo.850751
Zenodo URL: https://zenodo.org/record/850751
2014.25
Animating Timbre - A User Study
Soraghan, Sean Centre for Digital Entertainment, ROLI; London, United Kingdom
Abstract
The visualisation of musical timbre requires an effective mapping strategy. Auditory-visual perceptual correlates can be exploited to design appropriate mapping strategies. Various acoustic descriptors and verbal descriptors of timbre have been identified in the psychoacoustic literature. The studies suggest that the verbal descriptors of timbre usually refer to material properties of physical objects. Thus, a study was conducted to investigate the visualisation of acoustic timbre features using various visual features of a 3D rendered object. Participants were given coupled auditory-visual stimulations and asked to indicate their preferences. The first experiment involved participants rating audio-visual mappings in isolation. The second experiment involved participants observing multiple parameters at once and choosing an ‘optimal’ mapping strategy. The results of the first experiment suggest agreement on preferred mappings in the isolated case. The results of the second experiment suggest both that individual preferences change when multiple parameters are varied, and that there is no general consensus on preferred mappings in the multivariate case.
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not available
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unknown
DOI: 10.5281/zenodo.850623
Zenodo URL: https://zenodo.org/record/850623
2014.26
A Paradigm Shift for Modelling Sound Sensation
Mourjopoulos, Ioannis N. (John) Audio and Acoustic Technology Group, Department of Electrical & Computer Engineering, University of Patras; Patras, Greece
Abstract
How do we describe the exemplary acuity of humans to analyze and respond to sounds, particularly to music? Is our current knowledge sufficient to produce working computational models for such sensations? Has our perspective for the conceptual structure of such models changed and why is this important? This work attempts to provide brief answers to these questions, focusing on a recent comprehensive model of binaural listening which is directed towards engineering applications in audio and acoustics [1]. It is also discussed how such model can formally approach the concepts of quality and fidelity in sounds and how it may be employed to demystify experienced listener and audiophile perception. A brief discussion of the conceptual and philosophical implications of such a model is also given.
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unknown
DOI: 10.5281/zenodo.850715
Zenodo URL: https://zenodo.org/record/850715
2014.27
A Protocol for Creating Multiagent Systems in Ensemble With Pure Data
Bruel, Pedro University of São Paulo (USP); São Paulo, Brazil
Queiroz, Marcelo University of São Paulo (USP); São Paulo, Brazil
Abstract
This work presents a protocol for integration of two software platforms, the Ensemble framework for musical multiagent systems and the Pure Data programming environment. Ensemble is written in Java and requires knowledge of this language in order to access high-level features of the framework, such as creating customized agent reasonings, new event servers for non-supported data-types, or new physical models for the virtual world. On the other hand, Pure Data (Pd) is a very popular programming environment for real-time audio processing (among other things) and has an ever-growing community of users interested in sound and music applications. The protocol described here allows Pd users with no knowledge of Java to create musical multiagent applications in Ensemble with a high degree of flexibility, including configuration of parameters defining the virtual world, creation of agents and agent components (sensors, actuators, memories and knowledge base) and the definition of agent reasonings, which control agent behaviour and agent interactions in the virtual world, all from within Pd patches.
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unknown
DOI: 10.5281/zenodo.850907
Zenodo URL: https://zenodo.org/record/850907
2014.28
A Recursive Mapping System for Motion and Sound in a Robot Between Human Interaction Design
Bökesoy, Sinan sonicLAB; Istanbul, Turkey
Abstract
We present in this article an artistic human-robot interaction form, which allows us to engage and evolve new experiences through to use of artificial animate behavior, kinesis and generated sound in a feedback communication medium. This meta system, which could be regarded also as one total composed instrument, is a recursive interaction process between its agents; a robot arm, human body and a sound space being rendered artificially. The computational modeling of this embodied approach is explained and a proto-type of the experiment is shown as a real tool to test empirically this artistic concept.
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unknown
DOI: 10.5281/zenodo.850949
Zenodo URL: https://zenodo.org/record/850949
2014.29
A Research of Automatic Composition and Singing Voice Synthesis System for Taiwanese Popular Songs
Huang, Chih-Fang Department of Information Communications, Kainan University; Taoyuan, Taiwan
Hong, Wei-Gang Master Program of Sound and Music, National Chiao Tung University; Hsinchu, Taiwan
Li, Min-Hsuan Master Program of Sound and Music, National Chiao Tung University; Hsinchu, Taiwan
Abstract
The paper discussed the integration of the automatic composing and singing voice synthesis systems, to let the computer can compose a new song and sing in Taiwanese. First, the automatic composer system analyzes 10 Taiwanese popular songs through a first-order Markov chain and establishes the probability transition matrixes of the pitch and the duration. Second, the singing synthesis is based on STRAIGHT algorithm and 509 Taiwanese basic syllables are analyzed to build a text-to-singing (TTSI) synthesis system. Finally, the MIDI music files which are produced by automatic composer system and lyrics are fed into TTSI synthesis system to synthesis a new song. In order to improve naturalness, the pitch curve adds the vibrato and fine fluctuation.
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unknown
DOI: 10.5281/zenodo.850854
Zenodo URL: https://zenodo.org/record/850854
2014.30
ArmKeyBoard: A Mobile Keyboard Instrument Based on Chord-scale System and Tonal Hierarchy
Deng, Jun-qi The University of Hong Kong; Hong Kong, Hong Kong
Lau, Francis Chi Moon The University of Hong Kong; Hong Kong, Hong Kong
Kwok, Yu-kwong The University of Hong Kong; Hong Kong, Hong Kong
Abstract
Traditional keyboard instruments, with their sheer size and key anisotropy, although are versatile in musical expression, are difficult to learn and inconvenient to carry around; and its linear layout somewhat rules out the musical possibility of non-linearity. Trying to address this, we design a keyboard with both linear and non-linear layouts based on chord-scale system and tonal hierarchy. Several flipping mechanisms and mapping algorithms are devised to try to equip this small portable keyboard with as much musical expression capability as possible as compared with a traditional keyboard. Evaluation results show that both the musical outcome and user experience of ArmKeyBoard are satisfactory, although people may still prefer a linear keyboard to a non-linear one.
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unknown
DOI: 10.5281/zenodo.850625
Zenodo URL: https://zenodo.org/record/850625
2014.31
AscoGraph: A User Interface for Sequencing and Score Following for Interactive Music
Coffy, Thomas Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Cont, Arshia Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Giavitto, Jean-Louis Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Composing interactive music using score following, requires tight coordination and several round trips between many tools to write the score to follow, and to author the electronic actions, and assess their synchronisation. In addition, at performance time, the score-following must be monitored to ensure proper execution. Unifying composition and performance phases provides composers and electronic music designers a global approach with the best of both worlds. The AscoGraph interface is an incarnation of the need for unifying authorship and performance for Antescofo’s score following and reactive engines. AscoGraph provides high precision tools for textual and graphical authorship of complex dynamic interactive music pieces with intuitive and sustainable design. This article presents the design, challenges and integration of AscoGraph for edition and representation of mixed music scores using Antescofo by affording complex hierarchical constructions such as nested blocks and polyphony in electronic actions while maintaining readability and ease of authorship.
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unknown
DOI: 10.5281/zenodo.850627
Zenodo URL: https://zenodo.org/record/850627
2014.32
Association of Sound Movements in Space to Takete and Maluma
De Götzen, Amalia Sound and Music Computing, Department of Architecture, Design and Media Technology, Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
This paper describes an experiment that has been performed to verify if the well known association between the words “takete” and “maluma” and the images of two shapes (one jagged and one rounded) could be replicated using two sound movements in space instead of the visual shapes. In this case the association is not cross-modal since both the stimuli are in the auditory domain, but the connection between words and sound movements is not trivial. A significant preference (twelve out of thirteen subjects) associated “takete” with the jagged sound movement and “maluma” with the round one. Colored noise was used as stimulus. The qualitative answers of the subjects suggest also a possible common expressive intention that could be conveyed by the two words/sound movements: an aggressive attitude to “takete” and a more calm and feminine one to “maluma”.
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unknown
DOI: 10.5281/zenodo.850953
Zenodo URL: https://zenodo.org/record/850953
2014.33
A Study on Cross-cultural and Cross-dataset Generalizability of Music Mood Regression Models
Hu, Xiao The University of Hong Kong; Hong Kong, Hong Kong
Yang, Yi-Hsuan Academia Sinica; Taipei, Taiwan
Abstract
The goal of music mood regression is to represent the emotional expression of music pieces as numerical values in a low-dimensional mood space and automatically predict those values for unseen music pieces. Existing studies on this topic usually train and test regression models using music datasets sampled from the same culture source, annotated by people with the same cultural background, or otherwise constructed by the same method. In this study, we explore whether and to what extent regression models trained with samples in one dataset can be applied to predicting valence and arousal values of samples in another dataset. Specifically, three datasets that differ in factors such as cultural backgrounds of stimuli (music) and subjects (annotators), stimulus types and annotation methods are evaluated and the results suggested that cross-cultural and cross-dataset predictions of both valence and arousal values could achieve comparable performance to within-dataset predictions. We also discuss how the generalizability of regression models can be affected by dataset characteristics. Findings of this study may provide valuable insights into music mood regression for nonWestern and other music where training data are scarce.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850795
Zenodo URL: https://zenodo.org/record/850795
2014.34
ATK Reaper: The Ambisonic Toolkit as JSFX Plugins
Lossius, Trond Bergen Center for Electronic Arts (BEK); Bergen, Norway
Anderson, Joseph DXARTS, University of Washington; Seattle, United States
Abstract
While there is a well-established workflow for stereo production in DAWs, options have been more limited when working with Ambisonics. The Ambisonic Toolkit (ATK) brings together a number of tools and transforms for working with first order Ambisonic surround sound, and includes intriguing possibilities for spatial soundfield imaging. These tools have previously only been available for public release via the SuperCollider real-time processing environment. Cockos Reaper is a reasonably priced and flexible DAW, popular among many composers and sonic artists working with spatial sound. Reaper’s versatile design conveniently supports the ATK’s Ambisonic workflow model. Using the JSFX text-based scripting language, the ATK has now been ported to plugins for Reaper; these include intuitive graphical user interfaces.
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unknown
DOI: 10.5281/zenodo.850858
Zenodo URL: https://zenodo.org/record/850858
2014.35
Audio-rate Modulation of Physical Model Parameters
Berdahl, Edgar 226 School of Music, Louisiana State University (LSU); Baton Rouge, United States
Abstract
Audio-rate modulation of the parameters of physical models is investigated. For example, the resonance frequency of a simple resonator can be modulated smoothly at an audio rate to produce a brighter tone. As with traditional frequency modulation (FM) signal models, complex spectra can be produced through variation of the resonator’s frequency. It is possible to create such hybrid physical/signal models in which the physical portion conserves energy despite the modulation of its parameters. However, most interesting hybrid models will have some nonpassive characteristics. Example models are developed, whose vibrations can be felt and interacted with using a haptic force-feedback device. This technique can make exotic systems tangible that would not normally be found in nature. Hence, if one considers the process of designing a physical model a kind of “dematerialization” process, then one could consider that the present technique is physically “rematerializing” novel audio-rate-modulated virtual objects.
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unknown
DOI: 10.5281/zenodo.850862
Zenodo URL: https://zenodo.org/record/850862
2014.36
Audio Rendering/Processing and Control Ubiquity? A Solution Built Using Faust Dynamic Compiler and JACK/NetJack
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Denoux, Sarah GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
We usually think of an audio application as a self-contained executable that will compute audio, allow user interface control, and render sound in a single process, on a unique machine. With the appearance of fast network and sophisticated, light and wireless control devices (such as tablets, smartphones...) the three different parts (that are audio computation, interface control and sound rendering) can naturally be decoupled to run on different processes on a given machine, or even on different machines (on a LAN or WAN network). We describe a solution to run and control audio DSP on different machines based on: • the F AUST audio DSP language which permits local and remote dynamic compilation, code migration and deployment (using libfaust, libfaustremote and LLVM) • local and remote control capabilities (via OSC and HTTP based control interfaces) • JACK/NetJack network audio real-time layer to handle remote audio processing and rendering.
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not available
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unknown
DOI: 10.5281/zenodo.850909
Zenodo URL: https://zenodo.org/record/850909
2014.37
Audio Signal Visualisation and Measurement
Gareus, Robin CICM EA 1572, University Paris VIII; Paris, France / linuxaudio.org, University Paris VIII; Paris, France
Goddard, Chris Freelance audio engineer, Independent; United Kingdom
Abstract
The authors offer an introductory walk-through of professional audio signal measurement and visualisation using free software. Many users of audio software at some time face problems that requires reliable measurement. The presentation focuses on the SiSco.lv2 (Simple Audio Signal Oscilloscope) and the Meters.lv2 (Audio Level Meters) LV2 plugins, which have been developed open-source since August 2013. The plugin bundle is a super-set, built upon existing tools adding novel GUIs (e.g ebur128, jmeters,..), and features new meter-types and visualisations unprecedented on GNU/Linux (e.g. true-peak, phase-wheel,..). Various meter-types are demonstrated and the motivation for using them explained. The accompanying documentation provides an overview of instrumentation tools and measurement standards in general, emphasising the requirement to provide a reliable and standardised way to measure signals. The talk is aimed at developers who validate DSP during development, as well as sound-engineers who mix and master according to commercial constraints.
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unknown
DOI: 10.5281/zenodo.850860
Zenodo URL: https://zenodo.org/record/850860
2014.38
Auditory Fusion and Holophonic Musical Texture in Xenakis's Pithoprakta
Kokoras, Panayiotis University of North Texas; Denton, United States
Abstract
One of the most important factors, which affect the perception of textures, depends on the fusion of separate components of the musical passage. The possibilities of such fusion occurring are almost certain in some cases. This is due to the way our auditory system is constructed and the way it functions. The main properties, which promote fusion in a music passage, include the high density of attacks and the timbral similarities of the sounds being played. The latter element includes various spectral features of the sounds. In addition the register of the instrumental parts and their dynamic range promotes textural fusion. This paper uses this set of properties to evaluate and quantify one instance in Iannis Xenakis’s Pithoprakta (1955-56) where two or more simultaneous sound streams are easily perceived as forming a coherent whole.
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unknown
DOI: 10.5281/zenodo.850465
Zenodo URL: https://zenodo.org/record/850465
2014.39
Augmented Exercise Biking With Virtual Environments for Elderly Users: Considerations on the Use of Auditory Feedback
Bruun-Pedersen, Jon Ram Aalborg University Copenhagen; Copenhagen, Denmark
Serafin, Stefania Aalborg University Copenhagen; Copenhagen, Denmark
Busk Kofoed, Lise Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
Virtual reality (VR) has been shown to function well as an assistive technology to physical therapy for elderly users. Elderly users, and more specifically retirement home residents, form a unique user group in this field, due to their characteristics and demands. In a case study, retirement home residents used an audio-visual virtual environment (VE) augmentation for an exercise bike. Besides a visual display, a soundscape was played to the subjects using headphones. The soundscape was not noticed wand the headphones were found to be obtrusive. In this paper, we consider and discuss possible approaches to alternative auditory and haptic delivery methods for future studies. These nonvisual displays need to fit the requirements and limitations of the retirement home subjects who are to exercise using the VE-based augmentation from the case study.
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unknown
DOI: 10.5281/zenodo.850955
Zenodo URL: https://zenodo.org/record/850955
2014.40
AutoChorusCreator: Four-part Chorus Generator With Musical Feature Control, Using Search Spaces Constructed From Rules of Music Theory
Evans, Benjamin Hokkaido University; Sapporo, Japan
Fukayama, Satoru National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Munekata, Nagisa Hokkaido University; Sapporo, Japan
Ono, Tetsuo Hokkaido University; Sapporo, Japan
Abstract
This paper describes AutoChorusCreator(ACC), a system capable of producing, in real-time, a variety of fourpart harmonies from lead sheet music. Current algorithms for generating four-part harmony have established a high standard in producing results following rules of harmony theories. However, it is still a challenging task to increase variation in the output. Detailed constraints for describing musical variation tend to complicate the rules and methods used to search for a solution. Reducing constraints to gain degrees of freedom in variation often lead to generating outputs which do not follow the rules of harmony theories. Our system ACC is based on a novel approach of generating four-part harmony with variations by incorporating two algorithms, statistical rule application and dynamic programming. This dual implementation enables the system to gain the positive aspects of both algorithms. Evaluations indicate that ACC is capable of generating four-part harmony arrangements of lead-music in realtime. We also confirmed that ACC achieved generating outputs with variations without neglecting to fulfil rules of harmony theories.
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unknown
DOI: 10.5281/zenodo.850755
Zenodo URL: https://zenodo.org/record/850755
2014.41
Automatic Competency Assessment of Rhythm Performances of Ninth-grade and Tenth-grade Pupils
Abeßer, Jakob Semantic Music Technologies, Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Hasselhorn, Johannes Hochschule für Musik Würzburg; Würzburg, Germany
Grollmisch, Sascha Semantic Music Technologies, Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Dittmar, Christian Semantic Music Technologies, Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Lehmann, Andreas Hochschule für Musik Würzburg; Würzburg, Germany
Abstract
In this paper, we introduce an approach for automated testing of music competency in rhythm production of ninthgrade and tenth-grade pupils. This work belongs in the larger context of modeling ratings of vocal and instrumental performances. Our approach relies on audio recordings from a specialized mobile application. Rhythmic features were extracted and used to train a machine-learning model which was targeted to approximate human ratings. Using two classes to assess the rhythmic performance, we obtained a mean class accuracy of 0.86.
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unknown
DOI: 10.5281/zenodo.850830
Zenodo URL: https://zenodo.org/record/850830
2014.42
Automatic Singer Identification for Improvisational Styles Based on Vibrato, Timbre and Statistical Performance Descriptors
Kroher, Nadine Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Automatically detecting the singer by analyzing audio is a challenging task which gains in complexity for polyphonic material. Related approaches in the context of Western commercial music use machine learning models which mainly rely on low-level timbre descriptors. Such systems are prone to misclassifications when spectral distortions are present, since the timbre of the singer cannot be accurately modeled. For improvisational styles, where the performance is strongly determined by spontaneous interpretation characteristic for the singer, a more robust system can be achieved by additionally modeling the singer’s typical performance style. In addition to timbre and vibrato descriptors we therefore extract highlevel features related to the performance character from the predominant fundamental frequency envelope and automatic symbolic transcriptions. In a case study on flamenco singing, we observe an increase in accuracy for monophonic performances when classifying on this combined feature set. We furthermore compare the performance of the proposed approach for opera singing and investigate the influence of the album effect.
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unknown
DOI: 10.5281/zenodo.850799
Zenodo URL: https://zenodo.org/record/850799
2014.43
AutoRhythmGuitar: Computer-aided Composition for Rhythm Guitar in the Tab Space
McVicar, Matt National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Fukayama, Satoru National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
We present AutoRhythmGuitar, a simple computer-aided composition model which algorithmically composes realistic rhythm guitar tablature. AutoRhythmGuitar takes as input a downbeat-synchronised chord sequence and generates a digital score in both traditional notation and tablature. Our model is data-driven, trained from digital tablatures obtained from the internet. By varying this training data, we are able to model individual rhythm guitarists’ rhythmic and melodic styles. Algorithmic evaluation of our system reveals that it effectively models style, whilst a qualitative analysis by the authors confirms that the resulting tablatures are realistic and, for the most part, playable.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850529
Zenodo URL: https://zenodo.org/record/850529
2014.44
Bassline Pitch Prediction for Real-time Performance Systems
Robertson, Andrew Centre for Digital Music, School of Electronic Engineering and Computer Science, Queen Mary University of London; London, United Kingdom
Abstract
This paper presents a methodology for predicting the pitch of bass notes by utilising their metrical position within the bar. Our system assumes two separate audio channels for drums and bass. We make use of onset detection and beat tracking algorithms to determine the onset times for each bass note and the beat locations. A monophonic bass track is analysed for repetitive structures relative to the beat grid, enabling the system to make a prediction of the pitch of each bass note prior to any pitch-related analysis. We present an analysis on a small collection of studio recordings.
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not available
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unknown
DOI: 10.5281/zenodo.850587
Zenodo URL: https://zenodo.org/record/850587
2014.45
Being There & Being With: The Philosophical and Cognitive Notions of Presence and Embodiment in Virtual Instruments
Luciani, Annie ACROE & Laboratoire ICA, Ministère de la Culture et de la Communication, Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
In this paper, we will discuss two main concepts, associated with the development of Virtual Worlds, which are “Presence” and “Embodiment”. Presence is stamped as the sense of “Being there”, that has to be reconstructed in Local world to render Distant Worlds accessible by networked or mediated communications. “Embodiment” could be the property of a Virtual entity to be incorporated by human as a second nature. We will show then, how (1) the first situation can be seen as a definition of “immateriality” and its correlative concept of infinity, (2) the second situation can be seen as a definition of “tangibility” with its correlative concept of instrumental embodiment. After exploring the complementary properties of these situations in detail, we will focus on the second one, identified as “the instrumental situation”. We will propose some of its relevant properties, those that are able to trigger the sense of embodiment, as the main property supported in the real physical world by the feature of “tangibility”. Consequently, we estimate that “embodiment” is more important than the tangibility in itself and we examine some criteria able to help us to recreate them in digital representations.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850629
Zenodo URL: https://zenodo.org/record/850629
2014.46
Beyond the Beat: Towards Metre, Rhythm and Melody Modelling With Hybrid Oscillator Networks
Lambert, Andrew City University London; London, United Kingdom
Weyde, Tillman City University London; London, United Kingdom
Armstrong, Newton City University London; London, United Kingdom
Abstract
In this paper we take a connectionist machine learning approach to the problem of metre perception and learning in musical signals. We present a hybrid network consisting of a nonlinear oscillator network and a recurrent neural network. The oscillator network acts as an entrained resonant filter to the musical signal. It ‘perceives’ metre by resonating nonlinearly to the inherent periodicities within the signal, creating a hierarchy of strong and weak periods. The neural network learns the long-term temporal structures present in this signal. We show that this hybrid network outperforms our previous approach of a single layer recurrent neural network in a melody prediction task. We hypothesise that our hybrid system is enabled to make use of the relatively long temporal resonance in the oscillator network output, and therefore model more coherent long-term structures. A system such as this could be used in a multitude of analytic and generative scenarios, including live performance applications.
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not available
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unknown
DOI: 10.5281/zenodo.850589
Zenodo URL: https://zenodo.org/record/850589
2014.47
Broadening Telematic Electroacoustic Music by Affective Rendering and Embodied Real-time Data Sonification
Whalley, Ian University of Waikato; Hamilton, New Zealand
Abstract
Often played in traditional music performance formats, much recent telematic electroacoustic music focuses on the relationships between people/machines and geographically distributed cultures/spaces/players, and/or it adopts electroacoustic music’s historical concerns with natural environmental sound art or space manipulation. But a more suitable environment for telematic art works is perhaps found in the inter-relationship between ‘players’ and broader contemporary networked life – one embedded in multiple real-time informational data streams. While these streams are often rendered visually, they are also partly interpreted through embodied cognition that can be similar to music and sonic art interpretation. A fruitful meeting point for telematic electroacoustic music and real-time data sonification is in using affective composition/performance and an affective/embodied means of data sonification. To illustrate this, one means of rendering affective telematic electroacoustic music is outlined, and a bridge to one form of real-time data stream representing collective embodiment put forward – forex data rendering – as an example. Amalgamating these approaches in telematic electroacoustic music allows dialectic between networked performers/composers and clusters of collective behaviors. Artistically, this facilitates the notion of how small groups of individuals might plot course(s) of action that are often altered by external pressures, therefore demonstrating a means of exploring participants’ placement in contemporary environments.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850531
Zenodo URL: https://zenodo.org/record/850531
2014.48
Building a Gamelan From Bricks
Ngiao, Tzu-En (Ernest) New Zealand School of Music (NZSM); Wellington, New Zealand
Abstract
The composition process of the acousmatic piece Gazelle Rain Petals began with the construction of the elemental pitch and rhythmic modules – the organogeometric brick modules, as a musical metaphor to Dubuffet’s lithographic series Les Murs. These brick modules are 4-pitch series (tetrachords) that cover all possible pitch permutations to represent 4-sided geometric as well as organo-geometric structures. For the harmonic conception based on the monochromatic hue of the brick wall, 12-tone rows were constructed out of those brick modules (tetrachords). The 12-tone rows were selected based on the characteristic profiles of their constituent modules and were subsequently deployed in an intricate rhythmic/contrapuntal structure of the musical “wall” scored for pitched instruments, resulting in a gamelan sounding musical passage. The brick analogy provided an intermodal (graphical and musical) link between graphical abstraction and musical abstraction, and also a method of configuring the 12-tone pitch-space. The profiles of tetrachords and their relationships with each other in a tone row governed how the 12-tone pitch-space could be traversed. Further development of techniques investigated here could be realised in a computational system that allows for the creative control of a visual pitch-space beyond geometric or organo-geometric abstractions for the purpose of creative composition.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850631
Zenodo URL: https://zenodo.org/record/850631
2014.49
cage: A High-level Library for Real-time Computer-aided Composition
Agostini, Andrea HES-SO University of Applied Sciences and Arts Western Switzerland; Geneva, Switzerland
Daubresse, Éric HES-SO University of Applied Sciences and Arts Western Switzerland; Geneva, Switzerland
Ghisi, Daniele HES-SO University of Applied Sciences and Arts Western Switzerland; Geneva, Switzerland
Abstract
This paper is an introduction to cage, a library for the Max environment 1 including a number of high-level modules for algorithmic and computer-aided composition (CAC). The library, in the alpha development phase at the time of writing, is composed by a set of tools aimed to ease manipulation of symbolic musical data and solve typical CAC problems, such as generation of pitches, generation and processing of melodic profiles, symbolic processes inspired by digital signal processing, harmonic and rhythmic interpolations, automata and L-systems, tools for musical set theory, tools for score generation and handling. This project, supported by the Haute École de Musique in Geneva, has a chiefly pedagogical vocation: all the modules in the library are abstractions, lending themselves to be easily analyzed and modified.
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unknown
DOI: 10.5281/zenodo.850533
Zenodo URL: https://zenodo.org/record/850533
2014.50
CeMFI and Earquake: (Epi-)Centers for Experimental Music, Media and Research
Hadjakos, Aristotelis Center of Music and Film Informatics (CeMFI), Hochschule für Musik Detmold (HfM Detmold) / Technische Hochschule Ostwestfalen-Lippe (TH OWL); Detmold, Germany
Bock, Steffen Center of Music and Film Informatics (CeMFI), Hochschule für Musik Detmold (HfM Detmold) / Technische Hochschule Ostwestfalen-Lippe (TH OWL); Detmold, Germany
Lévy, Fabien Earquake, Hochschule für Musik Detmold (HfM Detmold); Detmold, Germany
Abstract
The Center of Music and Film Informatics (CeMFI) is a joint institution of two universities: the HfM Detmold and the HS OWL. The CeMFI extends existing activities of the founding universities in the area of music and film informatics. It was founded in April 2013. Earquake, the epicenter of experimental music, was founded in October 2013 to bundle and intensify existing activities at HfM Detmold in the area of experimental music: studies of composition, ensembles for new music, organization of concerts and events, sound installations, improvisation, studios for electroacoustic music, sound research & design.
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unknown
DOI: 10.5281/zenodo.851011
Zenodo URL: https://zenodo.org/record/851011
2014.51
Chorale Synthesis by the Multidimensional Scaling of Pitches
Barlow, Clarence University of California, Santa Barbara (UCSB); Santa Barbara, United States
Abstract
This paper outlines a unique algorithmic model of chorale synthesis based on mathematics, speci cally on algebra and geometry. There were four distinct stages in its development, 1. algebraic formulæ (1978) for the quanti cation of the harmonicity of pitch intervals and of the rhythmic relevance or indispensability of the pulses in a multiplicative meter, 2. the computer program package Autobusk (1986) using the harmonicity formula for the interpretation of a pitch set or musical scale as a ratio matrix, 3. multidimensionally scaling (2001) a scale ratio matrix into a Cartesian chart of two or more dimensions and 4. chorale synthesis (2012) by rules based on the multidimensional scaling of pitch sets and on the pulse indispensability formula. These four stages will each be outlined in a separate section.
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unknown
DOI: 10.5281/zenodo.850451
Zenodo URL: https://zenodo.org/record/850451
2014.52
Chronotope: The Mutual Dependency of Time and Space in Visual Music
Zavada, Ivan Sydney Conservatorium of Music, The University of Sydney; Sydney, Australia
Abstract
This article proposes an interdisciplinary and multimodal approach on visual music presenting three different perspectives relating to audiovisual chronotopes; the abstract notion of artistic consciousness in non-representational art, the space-time relationship between sonic and visual elements in the visual music idiom and finally, the notion of emotional intent versus response proposed in recent cognitive science studies. Three recent examples of my own visual music works are described in relation to multisensory stimuli and audiovisual chronotopes, defined in this text.
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unknown
DOI: 10.5281/zenodo.850467
Zenodo URL: https://zenodo.org/record/850467
2014.53
Citygram One: One Year Later ...
Park, Tae Hong Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Musick, Michael Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Turner, John Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Mydlarz, Charlie Center for Urban Science and Progress (CUSP), New York University (NYU); New York, United States
Lee, Jun Hee Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
You, Jaeseong Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
DuBois, Luke Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Abstract
Citygram is a multidisciplinary project that seeks to measure, stream, archive, analyze, and visualize spatiotemporal soundscapes. The infrastructure is built on a cyber-physical system that captures spatio-acoustic data via deployment of a flexible and scalable sensor network. This paper outlines recent project developments which includes updates on our sensor network comprised of crowd-sourced remote sensing, as well as inexpensive and high quality outdoor remote sensing solutions; development of a number of software tools for analysis, visualization, and development of machine learning; and an updated web-based exploration portal with real-time animation overlays for Google Maps. This paper also includes a summary of technologies and strategies that engage citizen scientist initiatives to measure New York City’s spatio-acoustic noise pollution in collaboration with the Center for Urban Science and Progress (CUSP).
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unknown
DOI: 10.5281/zenodo.850591
Zenodo URL: https://zenodo.org/record/850591
2014.54
Color and Emotion Caused by Auditory Stimuli
Partesotti, Elena Department of Didactics of Musical, Bodily and Plastic Expression, University of Valladolid; Valladolid, Spain
Tavares, Tiago Fernandes Interdisciplinary Nucleus of Sound Communication, Department of Music, University of Campinas (UNICAMP); Campinas, Brazil
Abstract
Recent studies have shown correlations between perceived colors and aspects of a musical piece such as tonality, tempo and musical articulation. Other studies have demonstrated that major and minor tonalities of music trigger people to perceived a different hue of colors. The purpose of this study is to investigate the correlation between musical aspects and the attribution of colors and emotions, as well as to observe if a specific correlation exists in the population tested. Furthermore, the results of this experiment will be considered for a therapeutic application. We conducted an Internet-based experiment evaluating whether musical stimuli would be consistently linked to perceived emotions and colors. The stimuli consisted of short sound excerpts containing a variety of musical phrases played in different styles and on different instruments. Thus, we were able to gather more data than that obtained by similar past studies, because we tested with a larger variety of music. The result analysis shows that the combination of sound and ascribed emotion forms a more reliable prediction of color perception than emotion alone or sound alone. In addition, we found a number of correlations between perceived emotions and the spectrum of selected colors; however, these results have shown to be insufficient for a precise prediction.
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unknown
DOI: 10.5281/zenodo.850721
Zenodo URL: https://zenodo.org/record/850721
2014.55
Comparing Models of Symbolic Music Using Probabilistic Grammars and Probabilistic Programming
Abdallah, Samer A. University College London; London, United Kingdom
Gold, Nicolas E. University College London; London, United Kingdom
Abstract
We conduct a systematic comparison of several probabilistic models of symbolic music, including zeroth and first order Markov models over pitches and intervals, a hidden Markov model over pitches, and a probabilistic context free grammar with two parameterisations, all implemented uniformly using a probabilistic programming language (PRISM). This allows us to take advantage of variational Bayesian methods for learning parameters and assessing the goodness of fit of the models in a principled way. When applied to a corpus of Bach chorales and the Essen folk song collection, we show that, depending on various parameters, the probabilistic grammars sometimes but not always out-perform the simple Markov models. On looking for evidence of overfitting of complex models to small datasets, we find that even the smallest dataset is sufficient to support the richest parameterisation of the probabilistic grammars. However, examining how the models perform on smaller subsets of pieces, we find that the simpler Markov models do indeed out-perform the best grammar-based model at the small end of the scale.
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unknown
DOI: 10.5281/zenodo.850911
Zenodo URL: https://zenodo.org/record/850911
2014.56
Computational Ethnomusicology: A Music Information Retrieval Perspective
Tzanetakis, George Department of Computer Science, University of Victoria; Victoria, Canada
Abstract
Computational ethnomusicology (CE) refers to the use of computational techniques for the study of musics from around the world. It has been a growing field that has benefited from the the many advances that have been made in music information retrieval (MIR). The historical development of CE and the types of tasks that have been addressed so far, is traced in this paper. The use of computational techniques enables types of analysis and processing that would be either impossible or very hard to perform using only audio recordings and human listening. The small but growing subset of music cultures that have been investigated is also overviewed. Research in computational ethnomusicology is still at early stage and the engagement of musicologists and musicians is still limited. The paper ends with interesting directions for future work and suggestions for how to engange musicologists and musicians. The material presented formed the basis of an invited talk by the author presented at the 2014 joint International Computer Music/Sound and Music Computing conference in Athens, Greece, 2014.
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unknown
DOI: 10.5281/zenodo.850463
Zenodo URL: https://zenodo.org/record/850463
2014.57
Computer, Formalisms, Intuition and Metaphors. Α Xenakian and Post-Xenakian Approach
Besada, José Luis University Paris VIII; Saint-Denis, France / Universidad Complutense de Madrid; Madrid, Spain
Abstract
Xenakis played an outstanding role as a pioneer in the development of algorithmic and computer music. His theoretical approaches and interviews often link those aspects of his career with philosophical and cognitive topics: these clues reveal an attitude far away from a blind use of technology. The aim of this paper is to discuss how intuition is fruitful to set the necessary and sufficient conditions in order to hold up a robust modeling of certain compositional practices aided with technological tools. We will support our arguments with the help of logics, epistemology of sciences, contemporary theories of metaphor –rather from a cognitive perspective than a hermeneutic one– and pragmatic philosophy. Some examples borrowed from Xenakis will be summoned from a critical point of view for this purpose, specially his personal exploitation –both electronic and instrumental– of Brownian motion. The paper will also finish with a genetic criticism of a post-xenakian approach: we’ve assisted Alberto Posadas (Valladolid, 1967) with an eye to help him out to transpose the Bezier curves from computeraided design into musical patterns.
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unknown
DOI: 10.5281/zenodo.850471
Zenodo URL: https://zenodo.org/record/850471
2014.58
Computer Game Piece: Exploring Video Games as Means for Controlled Improvisation
Jackowski, Dariusz CeTA - Audiovisual Technology Centre; Wrocław, Poland
Meléndez, Francho CeTA - Audiovisual Technology Centre; Wrocław, Poland
Bauer, Andrzej The Fryderyk Chopin University of Music; Warsaw, Poland
Hendrich, Paweł The Karol Lipiński Academy of Music in Wrocław; Wrocław, Poland
Duchnowski, Cezary The Karol Lipiński Academy of Music in Wrocław; Wrocław, Poland
Abstract
Video games provide an interesting framework of rules, actions, events, and user interaction for the exploration of music expression. In this paper we describe a set of computer games designed for group improvisation and controlled by playing musical instruments. The main contribution of our work is the two-way interaction between music and video games, as opposed to the more commonly explored one-way interaction. We investigate the different challenges involved, such as finding adequate game controlling events, provide enough expressive freedom to musicians, correct playing speed and game complexity, and different artistic expression forms. We also present the problems encountered, design considerations, and different proposed and tested solutions. The games developed in this project were used in a concert and a set of workshops.
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unknown
DOI: 10.5281/zenodo.850469
Zenodo URL: https://zenodo.org/record/850469
2014.59
Computing Musical Meter - an Approach to an Integrated Formal Description
Härpfer, Bernd IMWI Institute for Musicology and Music Informatics, Hochschule für Musik Karlsruhe; Karlsruhe, Germany
Abstract
Musical meter is described as an abstract temporal template for the timing of concrete musical events. The essential structural properties of meter are specified to prepare the development of an analytic method for the formalisation of meter in terms of numeric structures. An elaborated notion of the hierarchic architecture of meter supports an integrated numerical description of multiplicative and additive meters which may serve as a consistent resource for advanced computer-aided research on meter and for algorithmic composition. Likewise aiming at theoretic validity and implementability a set of underlying formal principles is suggested to guide the method of description. It is supposed as one possible axiomatic approach in order to avoid limitations on systematic flexibility and expandability as well as on artistic usability.
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unknown
DOI: 10.5281/zenodo.850757
Zenodo URL: https://zenodo.org/record/850757
2014.60
Conceptual Blending in Biomusic Composition Space: The "Brainswarm" Paradigm
Hadjileontiadis, Leontios J. Department of Electrical and Computer Engineering, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
Conceptual blending and biomusic composition spaces are approached in this work, in an effort to identify in them any creative potentialities as new compositional trajectories. The basic ideas and objectives of these two spaces are approached through a paradigm, consisting of a relevant, compositional work of the author, namely “Brainswarm”, which employs real-time acquisition of the body/hands gestural information along with the brain activity of the so-called bio-conductor. The latter acts as a mediator between the real (instrumental ensemble) and the virtual (consisting of swarm ontologies) worlds. The nature of the work allows for exploration and discussion upon specific realization, organization and aesthetic issues, surfacing the main conceptual blending axons involved. The proposed compositional trajectory calls for further understanding of the functional mechanisms of the human body and brain, so to be creatively used in a shared, yet blended, aesthetic expression.
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unknown
DOI: 10.5281/zenodo.850633
Zenodo URL: https://zenodo.org/record/850633
2014.61
Connecting SUM With Computer-assisted Composition in PWGL: Recreating the Graphic Scores of Anestis Logothetis
Adhitya, Sara Universal Composition Laboratory, University College London; London, United Kingdom
Kuuskankare, Mika Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Abstract
This paper describes further developments of the SUM tool, initially developed for the sonification of images, towards the composition and execution of graphic scores. Closer integration of the SUM user library within the computer-aided composition environment of PWGL has allowed the composition and realization of more complex graphic scores. After first explaining the existing structure and sonification approach of the SUM tool, we introduce its new macro-structure utilising PWGL’s VIUHKA texture generator, which supports higher structural levels and thus the generation of more complex sonic events. As a proof-of-concept demonstration of SUM’s new macro scheme, we attempt to reproduce the graphic scores of Greek composer Anestis Logothetis, notable for his extensive graphic-sound taxonomy. We thus demonstrate the combined capabilities of PWGL and the SUM tool to support the computer-aided composition of graphic scores.
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unknown
DOI: 10.5281/zenodo.850913
Zenodo URL: https://zenodo.org/record/850913
2014.62
Considering Roughness to Describe and Generate Vertical Musical Structure in Content-based Algorithmic-assisted Audio Composition
Bernardes, Gilberto Faculty of Engineering, University of Porto; Porto, Portugal
Davies, Matthew E. P. INESC TEC; Porto, Portugal
Guedes, Carlos New York University Abu Dhabi; Abu Dhabi, United Arab Emirates
Pennycook, Bruce UT Austin; Austin, United States
Abstract
This paper examines the correlation between musical dissonance and auditory roughness—the most significant factor of psychoacoustic dissonance—and the contribution of the latter to algorithmic composition. We designed an empirical study to assess how auditory roughness correlates with human judgments of dissonance in natural musical stimuli on the sound object time scale. The results showed a statistically significant correlation between roughness and listeners’ judgments of dissonance for quasi-harmonic sounds. This paper concludes by presenting two musical applications of auditory roughness in algorithmic composition, in particular to supervise the vertical recombination of sound objects in the software earGram.
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unknown
DOI: 10.5281/zenodo.850537
Zenodo URL: https://zenodo.org/record/850537
2014.63
Contemporary Practices in the Performance and Sustainability of Computer Music Repertoire
Baguyos, Jeremy C. University of Nebraska Omaha; Omaha, United States
Abstract
An UnConference UnSession on Computer Music Performance was hosted on June 5, 2010 at the International Computer Music Conference in New York to initiate a dialog regarding the past practices, current state, challenges, and future opportunities for the field of computer music performance. Reflecting the inherently eclectic make-up of computer music, the unsession attracted a diverse group of performers, composers, researchers, computer scientists, sound engineers, and technicians. The event provided a rare and honest peek into what is on the minds of those who are focused on computer music performance, which, relative to computer music research and composition, is a largely undeveloped sub-discipline of computer music. What follows in the main text of this paper and main content of the corresponding poster presentation is a brief and organized list of takeaways from the unsession unconference along with appropriately summarized elaboration. The takeaways centered on recurring interdependent themes: effective notation of computer music, sustainability, the role and responsibility of the performer and performer-engineer, and ultimately, the rationale and final authority governing sustainability. Sustainability was the unifying theme that tied together most of the discussion. This paper will be of interest to computer musicians whose primary creative activity is live performance/interpretation/realization, performers who specialize in contemporary music, composers who want to facilitate effective communication and collaboration with performers, concert producers, virtual instrument designers, music technology educators, and musicologists. More specifically, this paper delves into the salient points regarding the preservation of computer music repertoire and discusses the best practices for the facilitation of repeated performances.
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unknown
DOI: 10.5281/zenodo.850473
Zenodo URL: https://zenodo.org/record/850473
2014.64
Corpora for Music Information Research in Indian Art Music
Srinivasamurthy, Ajay Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Koduri, Gopala Krishna Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Gulati, Sankalp Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Ishwar, Vignesh Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Research corpora are representative collections of data and are essential to develop data-driven approaches in Music Information Research (MIR). We address the problem of building research corpora for MIR in Indian art music traditions of Hindustani and Carnatic music, considering several relevant criteria for building such corpora. We also discuss a methodology to assess the corpora based on these criteria and present an evaluation of the corpora in their coverage and completeness. In addition to the corpora, we briefly describe the test datasets that we have built for use in many research tasks. In specific, we describe the tonic dataset, the Carnatic rhythm dataset, the Carnatic varṇaṁ dataset, and the Mridangam stroke dataset. The criteria and the evaluation methodology discussed in this article can be used to systematically build a representative and comprehensive research corpus. The corpora and the datasets are accessible to the research community from a central online repository.
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unknown
DOI: 10.5281/zenodo.850759
Zenodo URL: https://zenodo.org/record/850759
2014.65
Corporeality, Actions and Perceptions in Gestural Performance of Digital Music
Schacher, Jan C. Institute for Computer Music and Sound Technology ICST, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
What is the relationship between the performer’s body, the instrument, the musical actions and their perception by an audience? And how do they relate when the music is generated by abstract digital processes controlled through actions on technical control surfaces, or gestural, tangible interfaces? This article investigates these questions by examining elements and concepts from physiology, the cognitive sciences with an ‘enactive’ and phenomenological perspective and from the point of view of an artistic performance practice, which brings these elements together on stage. In a broad arc the investigation covers instrumental and perceptual affordances, the physical senses of the body, different levels of awareness, corporeal states and modes of awareness, the senses of agency and intentionality, and the sense of movement inherent to music. Based on these insights, the contradiction between the corporeal space of performance and the abstract, codified domain of the digital sound processes is revealed. By looking at the prevalent metaphors, but also the interaction concepts and models of control and their shortcomings, it becomes evident that they need to be refined, possibly based on the perceptual and corporeal criteria developed here.
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unknown
DOI: 10.5281/zenodo.850635
Zenodo URL: https://zenodo.org/record/850635
2014.66
Could the Endless Progressions in James Tenney's Music Be Viewed as Sonic Koans?
Féron, François-Xavier LaBRI, UMR 5800, Université Bordeaux-I; Talence, France
Abstract
In Zen practice, a koan is an enigmatic spiritual question that doesn’t suppose a rational answer. Koan is also the name of a solo violin piece composed by James Tenney in 1971 that presents an endless melodic progression. Koan is actually derived from the electronic piece For Ann (rising) composed two years prior. This paper focuses on both pieces. It examines how this American composer drew his inspiration from both a Buddhist philosophical idea and from Shepard and Risset’s investigations in the field of auditory computer-generated illusions.
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unknown
DOI: 10.5281/zenodo.850475
Zenodo URL: https://zenodo.org/record/850475
2014.67
Creating a Place as a Medium for Musical Communication Using Multiple Electroencephalography
Hamano, Takayuki Okanoya Emotional Information Project, ERATO, Japan Science and Technology Agency (JST); Kawaguchi, Japan
Ohmura, Hidefumi Okanoya Emotional Information Project, ERATO, Japan Science and Technology Agency (JST); Kawaguchi, Japan
Nakagawa, Ryu Okanoya Emotional Information Project, ERATO, Japan Science and Technology Agency (JST); Kawaguchi, Japan
Terasawa, Hiroko PRESTO, Japan Science and Technology Agency (JST); Kawaguchi, Japan / University of Tsukuba; Tsukuba, Japan
Hoshi-Shiba, Reiko BSI, RIKEN; Wako, Japan
Okanoya, Kazuo The University of Tokyo; Tokyo, Japan
Furukawa, Kiyoshi Tokyo University of the Arts; Tokyo, Japan
Abstract
Music is an activity that expresses human thoughts and emotions, for which human brain takes a central role. Meanwhile, music offers an emotionally compelling experience when multiple persons lively participate. We hypothesize that brain activities would exhibit specific responses and patterns to music in a situation where multiple persons gather and perform the music. Upon these premises, we created an installation piece, which attempts to represent the interconnection of people’s minds by capturing the characteristics of brain activities associated with music. The system for the installation handles Electroencephalography (EEG) data acquisition, data analysis, sonification, and visualization. The system analyzes EEG of multiple participants when they respond to given stimuli, such as acoustically played musical notes or simple visual elements. The result of spectral analysis and the averaged responses of brain activities of all the participants are represented with musical notes and visual images. The system has been devised to be compact and reproducible by making good use of devices that are commercially available. With this system, we created an installation piece focusing on the human brain to constitutively form a space where musical communication arises.
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not available
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unknown
DOI: 10.5281/zenodo.850637
Zenodo URL: https://zenodo.org/record/850637
2014.68
Creative Symbolic Interaction
Assayag, Gérard STMS Lab, CNRS UPMC, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Creative Symbolic Interaction brings together the advantages from the worlds of interactive real-time com-puting and intelligent, content-level analysis and proc-essing, in order to enhance and humanize man-machine communication. Performers improvising along with Symbolic Interaction systems experiment a unique ar-tistic situation where they interact with musical (and possibly multi-modal) agents which develop themselves in their own ways while keeping in style. Symbolic in-teraction aims at defining a new artificial creativity paradigm in computer music, and extends to other fields as well : The idea to bring together composition and improvisation through modeling cognitive structures and processes is a general idea that makes sense in many artistic and non-artistic domains.
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not available
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unknown
DOI: 10.5281/zenodo.850441
Zenodo URL: https://zenodo.org/record/850441
2014.69
Creativity Through Technology and Science in Xenakis
Paparrigopoulos, Kostas Technological Educational Institute of Crete; Crete, Greece
Abstract
Nowadays it is common for creativity to be linked to technological advancement and there is a widely held impression that new ideas and concepts emerge daily as a result of technology. However, technology and even science and progress are often criticized leading towards a tendency for simplification and more human and natural consideration of reality. This issue is much discussed in music and one of the field’s most representative figures is Iannis Xenakis. His work with technology is well known and widely studied; and allowed him to create a number of highly original and creative artistic compositions. However, he was always aware of the danger of being "trapped by tools". So let us begin by looking at how, and to what purpose Xenakis used technology. In his work we encounter his desire to justify the world through philosophy. His philosophical considerations touched on different domains and proved extremely fertile in his music, such as, for example, the interpenetration of determinism and indeterminism, or of inference and revelation. This paper endeavors to highlight certain aspects of his creative process, beginning with his technological realizations and philosophical considerations that touch his music and other work and his relationship with a philosophy of technology.
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unknown
DOI: 10.5281/zenodo.850477
Zenodo URL: https://zenodo.org/record/850477
2014.70
CriticalEd: A Tool for Assisting with the Creation of Critical Commentaries
Kjellberg, Caspar Mølholt Aalborg University; Aalborg, Denmark
Meredith, David Aalborg University; Aalborg, Denmark
Abstract
The best text method is commonly applied among music scholars engaged in producing critical editions. In this method, a comment list is compiled, consisting of variant readings and editorial emendations. This list is maintained by inserting the comments into a document as the changes are made. Since the comments are not input sequentially, with regard to position, but in arbitrary order, this list must be sorted by copy/pasting the rows into place—an errorprone and time-consuming process. Scholars who produce critical editions typically use off-the-shelf music notation software such as Sibelius or Finale. It was hypothesized that it would be possible to develop a Sibelius plugin, written in Manuscript 6, that would improve the critical editing work flow, but it was found that the capabilities of this scripting language were insufficient. Instead, a 3-part system was designed and built, consisting of a Sibelius plug-in, a cross-platform application, called CriticalEd, and a REST-based solution, which handles data storage/retrieval. A prototype has been tested at the Danish Centre for Music Publication, and the results suggest that the system could greatly improve the efficiency of the critical editing work flow.
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not available
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unknown
DOI: 10.5281/zenodo.850639
Zenodo URL: https://zenodo.org/record/850639
2014.71
Data Auditorio: Towards Intense Interaction, an Interactive Hyper-Directional Sound for Play and Ubiquity
Misawa, Daichi Interface Cultures, Kunstuniversität Linz (UFG); Linz, Austria
Odai, Kiyomitsu Independent research; Tokyo, Japan
Abstract
This paper presents the playful and ubiquitous interaction of sound: intense interaction. It aims to realise, in other words, an interactive sound produced in a certain space. It enables audience to participate in a game called performance play (e.g. playing piano, playing music, being a play actor, etc.) in order to significantly change and overcome the existing patterns of reality in the space by their own various activities. An interactive hyper-directional sound environment Data Auditorio was created to realise the concept. The interactive sound software processes the feedback signals between the microphone and the hyperdirectional speaker keeping it under control. It aims to ultimately give rise to a kind of sonic organism; the sound is, in fact, an algorithmic composition entirely derived from the feedback signals in a real-time sonic environment. The installation utilises the format of a performance stage and encourages the audience to interact in a natural fashion with the interactive sound, thereby making the game of Data Auditorio a more active endeavour. The result of it can be applied to a hyper-directional sound interface design, as well as works of art and music.
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not available
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unknown
DOI: 10.5281/zenodo.850957
Zenodo URL: https://zenodo.org/record/850957
2014.72
December Variations (on a Theme by Earle Brown)
Hoadley, Richard Anglia Ruskin University; Cambridge, United Kingdom
Abstract
Earle Brown’s December 1952 is a score characterised by the use of 31 abstract graphical elements. Brown later reimagined it as a Calderesque orrery in which “elements would actually physically be moving in front of the pianist” [1]. Although there are many more recent examples of graphic, open and animated scores, for the purposes of this practice-led research the simplicity and grace of Brown’s score makes it a pragmatic choice as it is significantly easier to follow the “translations” being applied. This composition involves research into the construction of a software system allowing multiple automatic ‘variations’ of the piece, live and in real-time, using common practice notations. Each variation is created by mapping a uniquely generated version of Brown’s original score according to a series of settings - the size and shape of the elements, the ‘route’ taken through the score: right to left, top to bottom or vice versa, etc. In its current form there is no interaction between performer and score. The notation provided, although detailed, is intended to be used as a foundation for performance rather than as precise instructions. In this way the project also helps explore the nature or intuition and improvisation through technology and notation.
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unknown
DOI: 10.5281/zenodo.850479
Zenodo URL: https://zenodo.org/record/850479
2014.73
Declarative Composition and Reactive Control in Marsyas
Leben, Jakob Department of Computer Science, University of Victoria; Victoria, Canada
Tzanetakis, George Department of Computer Science, University of Victoria; Victoria, Canada
Abstract
We present a new coordination language for audio processing applications, designed for the dynamic dataflow capabilities of the Marsyas C++ framework. We refer to the language as Marsyas Script. It is a declarative coordination language that enables intuitive and quick composition of dataflow networks and reactive processing control. It separates the tasks of dataflow coordination and computation, while increasing the expressivity of the coordination level. This allows more dynamic dataflow behavior and more powerful interaction with other multimedia applications and the physical world. It also increases code portability and allows multiple tools to operate on the same network definition with the purpose of real-time or nonreal-time execution, network visualization, operational inspection and debugging, etc. This naturally enhances and extends the functionality within the domain of the Marsyas framework and makes it more accessible to users of other audio software frameworks and languages.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850539
Zenodo URL: https://zenodo.org/record/850539
2014.74
Degrees of Interpretation in Computer Aided Algorithmic Composition
Aslan, Jessica The University of Edinburgh; Edinburgh, United Kingdom
Abstract
In 2012 Michael Edwards introduced his open-source composition system, Slippery Chicken (sc). Since then I have been working with the software, experimenting with the possibilities and limits of its output and identifying its constants and mutations. In this paper I will analyse some of the different compositional methodologies that sc offers, tracing its digital fingerprint and examining its persistent presence through degrees of composer and performer interpretation. I will include a discussion of the broad spectrum of opportunities for the parallel generation of ideas and maintenance of each user’s compositional voice, not only through choice of input material but flexibility of output formats from the software. Summarising some current thought on Computer Aided and Algorithmic composition I will attempt to unpick some of sc’s design mechanisms, with particular attention to the relationship between form and process of composition when using the software. I will then examine case studies from my compositions with specific reference to degrees of interpretation. Firstly, I will present my experiences using the software in a first degree approach, which represents unmediated algorithms. Following this I will look at hybrid mediation, second degree usage. In this case study sc is still directly present through sound file organisation in a fixed-media part, however the notated score is created through aural interpretation of the fixed-media. Finally I will outline the compositional methodology in a third degree, fully mediated composition in which I place myself directly in front of the information flow between algorithm and score, meaning no digital (only a perceptual) trace of the software can be found.
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unknown
DOI: 10.5281/zenodo.850481
Zenodo URL: https://zenodo.org/record/850481
2014.75
Demo: Using Jamama's MVC Features to Design an Audio Effect Interface
Lossius, Trond Bergen Center for Electronic Arts (BEK); Bergen, Norway
Wolek, Nathan Stetson University; DeLand, United States
de la Hogue, Théo Centre National de Creation Musicale (GMEA); Albi, France
Baltazar, Pascal L’Arboretum, Independent; France
Abstract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, and views that can be dynamically loaded, repurposed, and disposed. The use of MVC is widespread in web applications, but is far less common in interactive computer music programming environments. Jamoma 0.6 enables MVC separation in Cycling’74 Max, as presented in [1]. This demonstration will examine the development of a multi-band equaliser using these recent additions to Jamoma. This review of the design process will serve to highlight many of the benefits of MVC separation.
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unknown
DOI: 10.5281/zenodo.850995
Zenodo URL: https://zenodo.org/record/850995
2014.76
Design Process for Interactive Sound Installations: The Designer, the Interactor and the System
Le Prado, Cécile Conservatoire national des arts et métiers (CNAM); Paris, France
Natkin, Stéphane Conservatoire national des arts et métiers (CNAM); Paris, France
Abstract
In the design process of interactive sound walk art installations, the composer must think his sound design in a real or a virtual space according to the listener’s promenade. For a given piece, the sound designer leaves to the interactor a certain amount of freedom and to the system, according to its level of self-sufficiency, a certain amount of autonomy. This paper presents an analysis of this fundamental composition choice between determinism, emergence and interactivity. In the first part, this problem is stated as the position of an art piece in the D.I.S. (Designer/Interactor/System) triangle. We analyze from this point of view several interactive pieces. The second part concerns mainly the design process of The Listening Walker scripted version. This interactive sound walk relies on the technology and the design principle of video games. In the scripting style, the designer takes the point of view of the interactor, who becomes the narrator. We conclude by an introduction to the second version of the same piece written according to the emergent style. In this case the designer takes the point of view of Non Player Characters controlled by the system.
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unknown
DOI: 10.5281/zenodo.850593
Zenodo URL: https://zenodo.org/record/850593
2014.77
Detection of Random Spectral Alterations of Sustained Musical Instrument Tones in Repeated Note Contexts
Lee, Chung The Information Systems Technology and Design Pillar, Singapore University of Technology and Design; Singapore, Singapore
Horner, Andrew Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Abstract
Eight sustained musical instrument sounds were randomly altered by a time-invariant process to determine how well spectral alteration could be detected on repeated notes. Sounds were resynthesized in a series of eight 0.25-second repeated notes and spectrally altered with average spectral alterations of 8, 16, 24, 32, and 48%. Listeners were asked to discriminate each randomly altered repeated note sequence from the original unaltered sequence. The results showed that spectrally altered repeated note sequences were significantly more discriminable than single tones in comparisons of the same duration (two seconds). Non-uniform repeated note sequences were more discriminable than uniform sequences that simply repeated the same random instance.
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unknown
DOI: 10.5281/zenodo.850864
Zenodo URL: https://zenodo.org/record/850864
2014.78
Diffusing Diffusion: A History of the Technological Advances in Spatial Performance
Johnson, Bridget New Zealand School of Music (NZSM); Wellington, New Zealand
Norris, Michael New Zealand School of Music (NZSM); Wellington, New Zealand
Kapur, Ajay Victoria University of Wellington; Wellington, New Zealand
Abstract
This paper assesses current trends in diffusion performance practice. It aims to identify the most important stages of development in diffusion and its related fields, and how historical events have continued to influence modern diffusion practice. The main focus is on advancements in spatialisation techniques and the way they helped catalyze new movements in diffusion. A split in two schools of thought within diffusion is recognized and each of these is discussed. The paper also looks at the way both stems of diffusion have more recently, embraced the design of custom interfaces focusing on the ways they aim to increase spatial expressivity in performance. Three main areas of diffusion interface design are discussed in depth and examples from each category are given.
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unknown
DOI: 10.5281/zenodo.850483
Zenodo URL: https://zenodo.org/record/850483
2014.79
Digitally Extending the Optical Soundtrack
Dupuis, Alexander Brown University; Providence, United States
Dominguez, Carlos Dartmouth College; Hanover, United States
Abstract
The optical soundtrack has a long history in experimental film as a means of image sonification. The technique translates image luminance into amplitude along the vertical axis, enabling the sonification of a wide variety of filmed patterns. While the technical challenges of working with film preclude casual exploration of the technique, digital implementation of optical image sonification allows interested users with skill sets outside of film to access this process as a means of sonifying video input. This paper presents an overview of the workings of optical image sonification, as well as a basic implementation in the Max/MSP/Jitter environment. The benefits and drawbacks of the technique in its digital and analog forms are discussed, as well as the greatly improved control over the sonification process afforded by digital image processing. An example of these expanded possibilities in the context of audiovisual composition is presented, and supplementary code is given to provide a basis for users to test and apply the technique.
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not available
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unknown
DOI: 10.5281/zenodo.850485
Zenodo URL: https://zenodo.org/record/850485
2014.80
DIMI-6000: An Early Musical Microcomputer by Erkki Kurenniemi
Lassfolk, Kai Musicology, Department of Philosophy, History, Culture and Art Studies, University of Helsinki; Helsinki, Finland
Suominen, Jari Independent research, Independent; Finland
Ojanen, Mikko Musicology, Department of Philosophy, History, Culture and Art Studies, University of Helsinki; Helsinki, Finland
Abstract
DIMI-6000 is an early microcomputer-based synthesizer designed in the mid-1970s by the Finnish inventor Erkki Kurenniemi. Designed as a hub for electronic music studios, DIMI-6000 featured a computer-controlled analog sound synthesis circuitry and a modular design. Despite its innovative design, only two units were built, one for Finland's national broadcasting company Yle and the other for Swedish composer Ralph Lundsten. This paper presents an overview of the instrument and its use, especially of the unit built for the Experimental Studio of Yle.
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unknown
DOI: 10.5281/zenodo.850915
Zenodo URL: https://zenodo.org/record/850915
2014.81
Directed Transitional Composition for Gaming and Adaptive Music Using Q-Learning
Cullimore, Jason Interdisciplinary Studies, University of Regina; Regina, Canada
Hamilton, Howard Computer Science, University of Regina; Regina, Canada
Gerhard, David Computer Science, University of Regina; Regina, Canada
Abstract
One challenge relating to the creation of adaptive music involves generating transitions between musical ideas. This paper proposes a solution to this problem based on a modification of the Q-Learning framework described by Reese, Yampolskiy and Elmaghraby. The proposed solution represents chords as states in a domain and generates a transition between any two major or minor chords by finding a pathway through the domain in a manner based on a Q-Learning framework. To ensure that the transitional chords conform to the tonalities defined by the start and goal chords, only chords that contain notes that are found in combined pentatonic scales built from the start and goal chords are included within the domain. This restriction increases the speed of pathfinding and improves the conformation of the transitions to desirable tonal spaces (in particular the keys most closely related to the start and goal chords). This framework represents an improvement over previous music generation systems in that it supports transitions from any point in a musical cue to any point in another, and these transitions can be rendered in real time. A general method for implementing this solution in a video game is also discussed.
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unknown
DOI: 10.5281/zenodo.850541
Zenodo URL: https://zenodo.org/record/850541
2014.82
Distance in Pitch Sensitive Time-span Tree
Matsubara, Masaki University of Tsukuba; Tsukuba, Japan
Hirata, Keiji Future University Hakodate; Hakodate, Japan
Tojo, Satoshi Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Abstract
The time-span tree of Jackendoff and Lehrdahl’s Generative Theory of Tonal Music is one of the most promising representations of human cognition of music. In order to show this, we compare the distance in trees and psychological dissimilarity by using variations of Ah vous dirais-je, maman by Mozart. Since pitch and chord sequence also affect the time spans, we amend the time-span analysis to include pitch information. Then, we introduce a pitch distance based on Lerdahl’s theory and revise the tree distance. We compare analyses with and without the pitch information and show the efficacy of our method.
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unknown
DOI: 10.5281/zenodo.850802
Zenodo URL: https://zenodo.org/record/850802
2014.83
Easter Eggs: Hidden Tracks and Messages in Musical Mediums
Weinel, Jonathan Creative & Applied Research for the Digital Society (CARDS), Glyndŵr University; Wrexham, United Kingdom
Griffiths, Darryl Creative & Applied Research for the Digital Society (CARDS), Glyndŵr University; Wrexham, United Kingdom
Cunningham, Stuart Creative & Applied Research for the Digital Society (CARDS), Glyndŵr University; Wrexham, United Kingdom
Abstract
‘Easter eggs’ are hidden components that can be found in computer software and various other media including music. In this paper the concept is explained, and various examples are discussed from a variety of mediums including analogue and digital audio formats. Through this discussion, the purpose of including easter eggs in musical mediums is considered. We propose that easter eggs can serve to provide comic amusement within a work, but can also serve to support the artistic message of the artwork. Concealing easter eggs in music is partly dependent on the properties of the chosen medium; vinyl records may use techniques such as double grooves, while digital formats such as CD may feature hidden tracks that follow long periods of empty space. Approaches such as these and others are discussed. Lastly, we discuss some software components we have developed ourselves in Max/MSP, which facilitate the production of easter eggs by performing certain sequences of notes, or as a result of time-based events. We therefore argue that computer music performances present unique opportunities for the incorporation of easter eggs. These may occur to the surprise of audiences, performers and composers, and may support the artistic purpose of compositions as a whole.
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unknown
DOI: 10.5281/zenodo.850487
Zenodo URL: https://zenodo.org/record/850487
2014.84
Echoes in Plato's Cave: Ontology of Sound Objects in Computer Music and Analysis
Marsden, Alan Lancaster University; Lancaster, United Kingdom
Abstract
The sonic aspects of Plato’s analogy of the cave is taken as a starting point for thought experiments to investigate the objective nature of sound, and the idea of quasiPlatonic forms in music. Sounds are found to be objects in a way that sights or appearances are not, and it is only in the presence of technology that they become artificial. When recognition, control and communication about sound come into play, abstract concepts emerge, but there is no reason to give these the priority status Plato affords to forms. Similar issues arise in discussion of the ontology of musical works, where the ideas of extension and intension prove useful for clarity about the nature of musical objects. They are also useful for strategies in the development of music software. Musical concepts are not fixed but arise from complex cultural interactions with sound. Music software should aim to use abstract concepts with are useful rather than correct.
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unknown
DOI: 10.5281/zenodo.850455
Zenodo URL: https://zenodo.org/record/850455
2014.85
Ecologically Grounded Multimodal Design: The Palafito 1.0 Study
Keller, Damián NAP, Federal University of Acre; Rio Branco, Brazil
Timoney, Joseph National University of Ireland Maynooth; Maynooth, Ireland
Constalonga, Leandro L. Federal University of Espirito Santo; Vitória, Brazil
Capasso, Ariadna Independent Artist, Independent; New York, United States
Tinajero, Patricia Independent Artist, Independent; Quito, Ecuador
Lazzarini, Victor National University of Ireland Maynooth; Maynooth, Ireland
Pimenta, Marcelo Soares Federal University of Rio Grande do Sul; Porto Alegre, Brazil
de Lima, Maria Helena Federal University of Rio Grande do Sul; Porto Alegre, Brazil
Johann, Marcelo Federal University of Rio Grande do Sul; Porto Alegre, Brazil
Abstract
We present results of a ten-month design study targeting the observation of creative artistic practice by a video-ar tist, a sculptor and a composer. The study yielded the multimedia installation Palafito/Palafita/Home-on-stilts 1.0, featuring 19:30 minutes of sonic material and video footage, and three 5x8x3-meter raw-wood sculptures. This paper focuses on the procedural dimensions of the asynchronous, ubiquitous group activities carried out by the three subjects through light-weight, off-the-shelf in frastructure. Data was extracted from a virtual forum and a file repository. The analysis of the creative exchange in dicated cycles of activity alternating between reflection, exploratory action and product-oriented action. The parti cipants were engaged in reflective activities 63% of the time, epistemic activities spanned 33% of the study and product-oriented activities accounted for only 4% of the creative design cycle. Dialogic activities did not follow a regular pattern, but a relationship between enactive and dialogic activities was observed. We discuss the implica tions of these results for embedded-embodied approaches to sound art.
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unknown
DOI: 10.5281/zenodo.850959
Zenodo URL: https://zenodo.org/record/850959
2014.86
Effects of Different Bow Stroke Styles on Body Movements of a Viola Player: An Exploratory Study
Visi, Federico Interdisciplinary Centre for Computer Music research (ICCMR), University of Plymouth; Devon, United Kingdom
Coorevits, Esther IPEM – Institute for Psychoacoustics and Electronic Music, Ghent University; Ghent, Belgium
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music research (ICCMR), University of Plymouth; Devon, United Kingdom
Leman, Marc IPEM – Institute for Psychoacoustics and Electronic Music, Ghent University; Ghent, Belgium
Abstract
This paper describes an exploratory study of different gestures and body movements of a viola player resulting from the variation of bow strokes length and quantity. Within the theoretical framework of embodied music cognition and the study of musical gestures, we aim to observe how the variation of a musical feature within the piece affects the body movements of the performer. Two brief pieces were performed in four different versions, each one with different directions regarding the bow strokes. The performances were recorded using a multimodal recording platform that included audio, video and motion capture data obtained from high-speed tracking of reflective markers placed on the body of the performer and on the instrument. We extracted measurements of quantity of motion and velocity of different parts of the body, the bow and the viola. Results indicate that an increased activity in soundproducing and instrumental gestures does not always resonate proportionally in the rest of the body and the outcome in terms of ancillary gestures may vary across upper body and lower body.
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unknown
DOI: 10.5281/zenodo.850866
Zenodo URL: https://zenodo.org/record/850866
2014.87
EmbodiComp: Embodied Interaction for Mixing and Composition
El-Shimy, Dalia Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Cowan, Steve Professional Guitarist and Composer, Independent; Canada
Cooperstock, Jeremy R. Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Abstract
We introduce EmbodiComp, a novel system that leverages simple and common gestures to allow for simultaneous mixing and composition. Through the use of a “band performance” metaphor that offers users the illusion of being part of an ensemble, musicians are able to play and mix their instruments with pre-recorded tracks in real-time through embodied interactions. Using five unique features, our system allows musicians to experiment seamlessly with volume and reverb levels, as well as the degree to which instruments are mixed, as they simply move about their space. As such, users can easily explore various settings and arrangements during composition, and determine how an instrument might best fit with others in the final piece. The system evolved, in part, as a result of a collaboration between an engineer and a composer that is also described in this paper. The outcomes of this participatory design cycle indicate that EmbodiComp could prove beneficial for musicians seeking to facilitate the process of composition through alternatives to traditional mixing tools.
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unknown
DOI: 10.5281/zenodo.850543
Zenodo URL: https://zenodo.org/record/850543
2014.88
Eroticism and Time in Computer Music: Juliana Hodkinson and Niels Rønsholdt's Fish & Fowl
Sofer, Danielle University of Music and Performing Arts (KUG); Graz, Austria
Abstract
Music analysts often default to alternate forms of visualization when dealing with electroacoustic music for which no score exists, thus sound becomes situated within the limitations of a visual system. In this paper I show that visual models do not always convey the varied possible hearings of multiple listeners, particularly in music with an erotic tinge. Coupled with clicking heels and a cracking whip, Fish & Fowl (2011) by Juliana Hodkinson and Niels Rønsholdt is an electroacoustic work rife for suggestive inferences. The sexualized breathing of the female “protagonist” in Fish & Fowl is an allusion to a territory typically, if tacitly, forbidden as an expression of sonic “art,” but it is precisely in this transgression to normative hearing that Fish & Fowl is potentially interesting for analysis. Unfolding with temporal and spatial changes in the music are variable structures of listening that mediate our perceptions of, for example, the instrumentation, performance space, and semantic meaning of what we hear. In employing Gilles Deleuze’s philosophy of time, this paper offers an alternative to visualized analytical models by elaborating on the experience of erotic sound through multiple and synchronic temporalities.
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unknown
DOI: 10.5281/zenodo.850489
Zenodo URL: https://zenodo.org/record/850489
2014.89
Estimation of Vocal Duration in Monaural Mixtures
Elowsson, Anders KTH Royal Institute of Technology; Stockholm, Sweden
Schön, Ragnar KTH Royal Institute of Technology; Stockholm, Sweden
Höglund, Matts KTH Royal Institute of Technology; Stockholm, Sweden
Zea, Elias KTH Royal Institute of Technology; Stockholm, Sweden
Friberg, Anders KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
In this study, the task of vocal duration estimation in monaural music mixtures is explored. We show how presently available algorithms for source separation and predominant f0 estimation can be used as a front end from which features can be extracted. A large set of features is presented, devised to connect different vocal cues to the presence of vocals. Two main cues are utilized; the voice is neither stable in pitch nor in timbre. We evaluate the performance of the model by estimating the length of the vocal regions of the mixtures. To facilitate this, a new set of annotations to a widely adopted data set is developed and made available to the community. The proposed model is able to explain about 78 % of the variance in vocal region length. In a classification task, where the excerpts are classified as either vocal or non-vocal, the model has an accuracy of about 0.94.
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unknown
DOI: 10.5281/zenodo.850804
Zenodo URL: https://zenodo.org/record/850804
2014.90
Ethos in Sound Design for Brand Advertisement
Toppano, Elio Dipartimento di Informatica, Università di Udine; Udine, Italy
Toppano, Alessandro EdgyLab, Università di Udine; Udine, Italy
Abstract
Traditionally advertising has aimed to influence purchasing by affecting beliefs about the consequences of consuming a product. With the rise of brand marketing, the focus shifted from products to brands viewed as symbolic universes endowed with values and meanings that circulate in the imagination of a society. The paper explores the use of sound in syncretic multimodal advertising product as a bearer of brand and rhetorical meanings. A conceptual framework is proposed that addresses this issues by integrating the perspective of Design Theory and Transmedia Storytelling. In this context, two different senses of Ethos emerged and are discussed. A selected set of video commercials produced by Lancôme in the period 1990-2010 is used as a concrete example to show how the proposed framework can be used to analyze how sound features have been consistently exploited to communicate symbolic meanings.
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unknown
DOI: 10.5281/zenodo.850961
Zenodo URL: https://zenodo.org/record/850961
2014.91
Evaluating HRTF Similarity Through Subjective Assessments: Factors That Can Affect Judgment
Andreopoulou, Areti Laboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur (LIMSI), Audio Acoustics Group, Université Paris-Sud XI; Orsay, France
Roginska, Agnieszka Music and Audio Research Lab, New York University (NYU); New York, United States
Abstract
This work investigates the associations between objectively measured distance metrics and subjective assessments of similarity in HRTF data. For this purpose two different means of matching users to HRTF sets were compared: a simple system computing correlations between personally collected HRTF data and a repository of 111 measured binaural datasets, and an HRTF user-preference study assessing the spatial quality of a subset of this data based on certain attributes. The purpose of this comparison is twofold: first, to investigate the presence of an association between HRTF distance and perceived spatial quality, and second, to identify factors that can affect subjective judgment. The results primarily highlighted the importance of binaural reproduction exposure and training for the appreciation and understanding of a virtual auditory scene. In addition, they offered a means of assessing the effectiveness of the utilized evaluation criteria as a function of user expertise.
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unknown
DOI: 10.5281/zenodo.850868
Zenodo URL: https://zenodo.org/record/850868
2014.92
Evaluating Perceptual Separation in a Pilot System for Affective Composition
Williams, Duncan Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Kirke, Alexis Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music research, University of Plymouth; Devon, United Kingdom
Daly, Ian Brain Embodiments Laboratory, University of Reading; Reading, United Kingdom
Roesch, Etienne B. Brain Embodiments Laboratory, University of Reading; Reading, United Kingdom
Weaver, James C. E. Brain Embodiments Laboratory, University of Reading; Reading, United Kingdom
Nasuto, Slawomir J. Brain Embodiments Laboratory, University of Reading; Reading, United Kingdom
Abstract
Research evaluating perceptual responses to music has identified many structural features as correlates that might be incorporated in computer music systems for affectively charged algorithmic composition and/or expressive music performance. In order to investigate the possible integration of isolated musical features to such a system, a discrete feature known to correlate some with emotional responses – rhythmic density – was selected from a literature review and incorporated into a prototype system. This system produces variation in rhythm density via a transformative process. A stimulus set created using this system was then subjected to a perceptual evaluation. Pairwise comparisons were used to scale differences between 48 stimuli. Listener responses were analysed with Multidimensional scaling (MDS). The 2-Dimensional solution was then rotated to place the stimuli with the largest range of variation across the horizontal plane. Stimuli with variation in rhythmic density were placed further from the source material than stimuli that were generated by random permutation. This, combined with the striking similarity between the MDS scaling and that of the 2-dimensional emotional model used by some affective algorithmic composition systems, suggests that isolated musical feature manipulation can now be used to parametrically control affectively charged automated composition in a larger system.
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unknown
DOI: 10.5281/zenodo.850723
Zenodo URL: https://zenodo.org/record/850723
2014.93
Examining the Analysis of Dynamical Sonic Ecosystems: In Light of a Criterion for Evaluating Theories
Musick, Michael MARL (Music and Audio Research Lab), New York University (NYU); New York, United States
Abstract
This paper presents two possible approaches used in analyzing electroacoustic music works as applied to a special type of interactive performance system: the dynamical sonic ecosystem, which can be considered ‘ecosystemic’. These theories of analysis are then examined in relation to Matthew Brown’s ‘six criterion for evaluating theories’ and their usefulness for analysis, in regards to their ability to qualify a work as ecosystemic. Although both approaches are shown to have merit in their ability to increase understanding of a particular work, only the technique that analyzes the process of composing interactions is found to be capable of the necessary requirements needed to work towards building a theory of ecosystemics, in the same way that there exists a theory of tonality.
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unknown
DOI: 10.5281/zenodo.850491
Zenodo URL: https://zenodo.org/record/850491
2014.94
Expanding the Vocalist's Role Through the Use of Live Electronics in Real-time Improvisation
Åse, Tone Institute of Music, Norwegian University of Science and Technology (NTNU); Trondheim, Norway
Abstract
This paper presents reflections on research where artistic practice has been a main focus. As an improvising singer, it has been my experience that the use of new interfaces for controlling sound processing can open up new roles and possibilities in improvised vocalist/technology interplay. I focus here on two main facets of such interplay: (1) the distance from natural voice sound created by sound processing; and (2) the organization of voice sound through sampling techniques. I point at how these (relatively) new musical possibilities open up for the roles that I call “soundmaker” and “soundsinger.” I will point out how these roles are relevant in my own practice, as well as how they can be combined with the more traditional performative roles of “the singer” and “the speaker.” Further, I discuss some of the challenges experienced in my work with live electronics.
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unknown
DOI: 10.5281/zenodo.850493
Zenodo URL: https://zenodo.org/record/850493
2014.95
Experimence: Considerations for Composing a Rock Song for Interactive Audience Participation
Hödl, Oliver Human-Computer Interaction Group, Vienna University of Technology (TU Wien); Vienna, Austria
Fitzpatrick, Geraldine Human-Computer Interaction Group, Vienna University of Technology (TU Wien); Vienna, Austria
Holland, Simon Music Computing Lab, Open University; Milton Keynes, United Kingdom
Abstract
In popular music genres, typical songs are pre-composed and leave little or no space for improvisation during a live performance. That applies for the performing musicians as well as for the spectators in terms of interactive audience participation. In this study we question these improvisational limits and try to identify strategies for involving the audience as an additional and unpredictable factor in a pre-composed rock song. To do so we composed “Experimence” guided by the standard practice of song writing. The song was premiered at a public live concert where the audience could collaboratively participate in real-time by playing with a balloon together throughout the song. Using a wizard of oz technique, the movements of the balloon influenced the live music played by the pianist. We reflect across this experience and present notable issues raised during the composition, rehearsals and the actual performance. We then classify these aspects as abstract variables of consideration for a composition meant to promote such audience participation. We propose this proof of concept as a starting point for further discussion, suggesting that a song such as Experimence can be a unique and individual piece of music every time it is played although largely pre-composed.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850495
Zenodo URL: https://zenodo.org/record/850495
2014.96
Exploring a Visual/Sonic Representational Continuum
Vickery, Lindsay Edith Cowan University; Perth, Australia
Abstract
This paper explores the relationships between sound and its visualisation, focussing upon the issues surrounding representation and interpretation of music through both performative and machine processes. The discussion proceeds in the context of five recent works by the author exploring the representation of sound and musical notation and their relationship to and with performance: unhörbares wird hörbar (the inaudible becomes audible) [2013], EVP [2012], Lyrebird: environment player [2014], Nature Forms I [2014] and sacrificial zones [2014]. Issues examined include: re-sonification of spectrograms, visualisation of spectral analysis data, control of spatialisation and audio processing using spectral analysis data, and reading issues related to scrolling screen score notation.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850497
Zenodo URL: https://zenodo.org/record/850497
2014.97
Extending Aura With Csound Opcodes
Yi, Steven Department of Music, National University of Ireland Maynooth; Maynooth, Ireland
Dannenberg, Roger B. Carnegie Mellon University; Pittsburgh, United States
Lazzarini, Victor Department of Music, National University of Ireland Maynooth; Maynooth, Ireland
Fitch, John Department of Computer Science, University of Bath; Bath, United Kingdom
Abstract
Languages for music audio processing typically offer a large assortment of unit generators. There is great duplication among different language implementations, as each language must implement many of the same (or nearly the same) unit generators. Csound has a large library of unit generators and could be a useful source of reusable unit generators for other languages or for direct use in applications. In this study, we consider how Csound unit generators can be exposed to direct access by other audio processing languages. Using Aura as an example, we modified Csound to allow efficient, dynamic allocation of individual unit generators without using the Csound compiler or writing Csound instruments. We then extended Aura using automatic code generation so that Csound unit generators can be accessed in the normal way from within Aura. In this scheme, Csound details are completely hidden from Aura users. We suggest that these techniques might eliminate most of the effort of building unit generator libraries and could help with the implementation of embedded audio systems where unit generators are needed but a full embedded Csound engine is not required.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850917
Zenodo URL: https://zenodo.org/record/850917
2014.98
Fine-tuned Control of Concatenative Synthesis With CataRT Using the Bach Library for Max
Einbond, Aaron HUSEAC, Harvard University; Cambridge, United States
Trapani, Christopher CMC, Columbia University; Manhattan, United States
Agostini, Andrea HES-SO University of Applied Sciences and Arts Western Switzerland; Geneva, Switzerland
Ghisi, Daniele HES-SO University of Applied Sciences and Arts Western Switzerland; Geneva, Switzerland
Schwarz, Diemo Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
The electronic musician’s toolkit is increasingly characterized by fluidity between software, techniques, and genres. By combining two of the most exciting recent packages for M AX , C ATA RT corpus-based concatenative synthesis (CBCS) and BACH : AUTOMATED COMPOSER ’ S HELPER , we propose a rich tool for real-time creation, storage, editing, re-synthesis, and transcription of concatenative sound. The modular structures of both packages can be advantageously recombined to exploit the best of their real-time and computer-assisted composition (CAC) capabilities. After loading a sample corpus in C ATA RT, each grain, or unit, played from C ATA RT is stored as a notehead in the bach.roll object along with its descriptor data and granular synthesis parameters including envelope and spatialization. The data is attached to the note itself (pitch, velocity, duration) or stored in user-defined slots than can be adjusted by hand or batch-edited using lambda-loops. Once stored, the contents of bach.roll can be dynamically edited and auditioned using C ATA RT for playback. The results can be output as a sequence for synthesis, or used for CAC score-generation through a process termed Corpus-Based Transcription: rhythms are output with bach.quantize and further edited in bach.roll before export as a M USIC XML file to a notation program to produce a performer-readable score. Together these techniques look toward a concatenative DAW with promising capabilities for composers, improvisers, installation artists, and performers.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850761
Zenodo URL: https://zenodo.org/record/850761
2014.99
Flocking: A Framework for Declarative Music-making on the Web
Clark, Colin Ontario College of Art and Design (OCAD); Ontario, Canada
Tindale, Adam Ontario College of Art and Design (OCAD); Ontario, Canada
Abstract
Flocking 1 is a framework for audio synthesis and music composition written in JavaScript. It takes a unique approach to solving several of the common architectural problems faced by computer music environments, emphasizing a declarative style that is closely aligned with the principles of the web. Flocking’s goal is to enable the growth of an ecosystem of tools that can easily parse and understand the logic and semantics of digital instruments by representing the basic building blocks of synthesis declaratively. This is particularly useful for supporting generative composition (where programs generate new instruments and scores algorithmically), graphical tools (for programmers and nonprogrammers alike to collaborate), and new modes of social programming that allow musicians to easily adapt, extend, and rework existing instruments without having to “fork” their code. Flocking provides a robust, optimized, and well-tested architecture that explicitly supports extensibility and longterm growth. Flocking runs in nearly any modern JavaScript environment, including desktop and mobile browsers (Chrome, Firefox, and Safari), as well as on embedded devices with Node.js.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850919
Zenodo URL: https://zenodo.org/record/850919
2014.100
From Automatic Sound Analysis of Gameplay Footage [Echos] to the Understanding of Player Experience [Ethos]: An Interdisciplinary Approach to Feedback-based Gameplay Metrics
Marczak, Raphaël School of Arts, University of Waikato; Hamilton, New Zealand
Hanna, Pierre LaBRI, University Bordeaux I; Bordeaux, France
Rouas, Jean-Luc LaBRI, University Bordeaux I; Bordeaux, France
van Vught, Jasper School of Arts, University of Waikato; Hamilton, New Zealand
Schott, Gareth School of Arts, University of Waikato; Hamilton, New Zealand
Abstract
In line with the ICMC|SMC|2014 conference theme “from digital echos to virtual ethos”, and the conference interdisciplinary main objective; the present paper is seeking to demonstrate that the sound feedback stream produced by videogames when activated by players (echos) can be automatically analyzed in order to study how sound can, not only, describe a gameplay performance, but also help to understand player experience and emotions (ethos). To do so, the present paper illustrates how sound processing algorithms can be applied in the game studies discipline in order to assess and understand better how players engage with videogames. The present paper proposes to adapt the Feedback-based Gameplay Metrics method, successfully applied to the analysis of gameplay footage video stream [17], to the sound stream, via the automatic detection of musical sequences and speech segment.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850499
Zenodo URL: https://zenodo.org/record/850499
2014.101
From Digital 'Echos' to Virtual 'Ethos': Ethical Aspects of Music Technology
Kosteletos, George Department of Philosophy, University of Athens; Athens, Greece
Georgaki, Anastasia Department of Music, University of Athens; Athens, Greece
Abstract
In the present paper we aim to examine Music Technology through the lens of the ethical issues typically raised in the field of Philosophy of Technology regarding technological practices other than music composition, performance, reproduction and distribution. With this analysis we will try not only to highlight several ethical facts about the practice of developing and using digital tools for music but also to stress on the fact that Music Technology can be a platform for vigorous philosophical meditation.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850501
Zenodo URL: https://zenodo.org/record/850501
2014.102
From Technological Investigation and Software Emulation to Music Analysis: An Integrated Approach to Barry Truax's Riverrun
Clarke, Michael CeReNeM, University of Huddersfield; Huddersfield, United Kingdom
Dufeu, Frédéric CeReNeM, University of Huddersfield; Huddersfield, United Kingdom
Manning, Peter Durham University; Durham, United Kingdom
Abstract
This paper presents an approach to studying Barry Truax’s Riverrun as it is being carried out within the TaCEM project (Technology and Creativity in Electroacoustic Music), a collaboration between the Universities of Huddersfield and Durham funded for 30 months (2012-2015) by the Arts and Humanities Research Council in the United Kingdom. This approach aims at realising an Interactive Aural Analysis with which the user can explore the creative and technological environment used by the composer to build his oeuvre, as well as navigate aurally through the results of the musicological study. It involves an important technological investigation of Truax’s GSX program for digital granular synthesis, leading to the implementation, in the Max environment, of emulation software allowing for the live recreation of each of Riverrun’s sequences, along with further tools dedicated to the musical analysis of the piece. This paper presents the technological investigation and its issues, the pieces of software for the Interactive Aural Analysis of the work, and musicological observations drawn from such an approach.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850503
Zenodo URL: https://zenodo.org/record/850503
2014.103
FugueGenerator - Collaborative Melody Composition Based on a Generative Approach for Conveying Emotion in Music
Klügel, Niklas Technische Universität München (TUM); Garching, Germany
Hagerer, Gerhard Technische Universität München (TUM); Garching, Germany
Groh, Georg Technische Universität München (TUM); Garching, Germany
Abstract
This paper exemplifies an approach for generative music software. Therefore new operational principles are used, i.e. drawing melody contours and changing their emotional expression by making use of valence and arousal. Known connections between music, emotions and algorithms out of existing literature are used to deliver a software experience that augments the skills of individuals to make music according to the emotions they want. A user-study lateron shows the soundness of the implementation in this regard. A comprehensive analysis of in-game statistics makes it possible to measure the music produced by testers so that connections between valence, arousal, melody properties and contours and emotions will be depicted. In addition, temporal sequences of reaction patterns between music making individuals during their creative interaction are made visible. A questionnaire filled out by the testers puts the results on a solid foundation and shows that the incorporated methods are appreciated by the users to apply emotions musically as well as for being creative in a free and joyful manner.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850763
Zenodo URL: https://zenodo.org/record/850763
2014.104
Gamma: A C++ Sound Synthesis Library Further Abstracting the Unit Generator
Putnam, Lance Department of Architecture, Design and Media Technology, Aalborg University; Aalborg, Denmark
Abstract
Gamma is a C++ library for sound synthesis that was created to address some of the limitations of existing sound synthesis libraries. The first limitation is that unit generators cannot easily be organized into separate sampling domains. This makes it difficult to use unit generators with different sample rates and in other domains, namely the frequency domain. The second limitation is that certain internal unit generator algorithms, such as interpolation, cannot be customized. This tends to lead to closed architectures consisting of multiple unit generators with only slight algorithmic differences. Gamma makes explicit two novel abstractions—assignable sampling domains and algorithm Strategies—to help overcome these limitations and extend the application range of its unit generators.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850870
Zenodo URL: https://zenodo.org/record/850870
2014.105
Gene Expression Synthesis
Allik, Alo http://tehis.net, Independent; Estonia
Abstract
Gene expression programming offers an alternative approach in the evolutionary computation paradigm evolving populations of candidate solutions as valid computer programs that can be used for a potentially wide range of problem solving tasks, including sound synthesis. This paper proposes Gene Expression Synthesis (GES) as a method to evolve sound synthesis functions as nested graphs of unit generators. These functions are encoded into linear chromosomes according to the principles of gene expression programming and evolved by subjecting the functions to genetic operations and evaluating fitness. The design of the fitness functions involves statistical methods and machine listening algorithms in an attempt to automate the supervision of the synthesis process. Synthesis parameters for the population of candidate functions are designed exploring artificial co-evolution, a parallel population of functions that compute parameter values for the synthesis functions share their fitness values, while being subjected to genetic operations including recombination separately.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850872
Zenodo URL: https://zenodo.org/record/850872
2014.106
GenoMeMeMusic: A Memetic-based Framework for Discovering the Musical Genome
Velardo, Valerio University of Huddersfield; Huddersfield, United Kingdom
Vallati, Mauro University of Huddersfield; Huddersfield, United Kingdom
Abstract
The paper introduces G3M, a framework that aims to outline the musical genome through a memetic analysis of large musical databases. The generated knowledge provides meaningful information about the evolution of musical structures, styles and compositional techniques over time and space. Researchers interested in music and sociocultural evolution can fruitfully use the proposed system to perform extensive inter-opus analysis of musical works as well as to understand the evolution occurring within the musical domain.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850921
Zenodo URL: https://zenodo.org/record/850921
2014.107
Griddy: A Drawing Based Music Composition System With Multi-layered Structure
Kim, Keunhyoung Luke Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Yeo, Woon Seung Ewha Womans University; Seoul, South Korea
Abstract
This paper suggests a novel approach to drawing interfaces for music composition, which provides multilayered interface with different levels of abstraction and constraints. By reviewing previous drawing based composition systems, a common problem is discovered: insufficient support for creative exploration due to limited perspectives on compositional processes. Addressing importance of multi-layered design of composition software, three layers and corresponding interfaces are designed, for overall flow, chord map, and stylistic features respectively. The prototype application is implemented with HTML5 canvas element and Gibberish.js, providing easy accessibility on web.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850545
Zenodo URL: https://zenodo.org/record/850545
2014.108
HMM-based Automatic Arrangement for Guitars With Transposition and Its Implementation
Hori, Gen Faculty of Business Administration, Asia University; Tokyo, Japan
Sagayama, Shigeki School of Interdisciplinary Mathematical Sciences, Meiji University; Tokyo, Japan
Abstract
Automatic generation of guitar tablatures for given songs has been one of research interests in music information processing. Furthermore, some of recent studies have attempted automatic arrangement of given songs before tablature generation for producing guitar scores for songs composed for other instruments. In our previous work, we have formulated “fingering decision” and “arrangement” in a unified framework based on hidden Markov model (HMM) whose hidden states are the left hand forms on the fingerboard and an observed sequence is a note sequence of a given song. The purpose of the present paper is to extend the HMM-based automatic arrangement to “arrangement with transposition” and introduce a web application that implements the arrangement with transposition. The optimal transposition for arrangement of a given song is obtained through a full search for all the possible keys where the resulting arrangements are evaluated based on the probabilities of the sequences of the left hand forms.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850832
Zenodo URL: https://zenodo.org/record/850832
2014.109
How Blue Is Mozart? Non Verbal Sensory Scales for Describing Music Qualities
Murari, Maddalena Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Da Pos, Osvaldo Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
De Poli, Giovanni Università di Padova; Padova, Italy
Sandri, Marta Università di Padova; Padova, Italy
Abstract
Studies on the perception of musical qualities (such as induced or perceived emotions, performance styles, or timbre nuances) make a large use of verbal descriptors. Although many authors noted that particular musical qualities can hardly be described by means of verbal labels, few studies have tried alternatives. This paper aims at exploring the use of non verbal sensory labels, in order to represent different perceived qualities in Western classical music. Musically trained and untrained listeners were required to listen to 6 musical excerpts in major key and to evaluate them from a sensorial and semantic point of view (Experiment 1). The same experiment (Experiment 2) was proposed to musically trained and untrained listeners who were required to listen to 6 musical excerpts all in minor key. The overall findings indicate that subjects’ rates on non verbal sensory scales are throughout consistent and the results support the hypothesis that sensory scales can convey some specific sensations that cannot be described verbally, offering interesting insights to deepen our knowledge on the relationship between music and other sensorial experiences.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850505
Zenodo URL: https://zenodo.org/record/850505
2014.110
Human Perception of the Soundscape in a Metropolis Through the Phenomenology of Neural Networks
Santucci, Enrica Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Ludovico, Luca Andrea Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Abstract
The aim of this work is providing a quantitative description of the evolution from a hi-fi to a lo-fi soundscape in a metropolis, according to the definition given by R. Murray Schafer. Our theoretical approach has a statistical mechanical foundation and is based on order/disorder transitions. We will show that a system formed by C citizens and by the sound sources related to the K neighborhoods of the metropolis is thermodynamically equivalent to the fully connected network of interacting citizens described by the Hamiltonian of the Hopfield model. The application of statistical-mechanics models to the soundscape will confer an original interpretation to the concepts of ferromagnetic and spin-glass phases: such phases will be associated to different models of society (ordered vs. frustrated system). Transitions will be regulated by the variation of the control parameter, here defined as the ratio between the number of sound sources and the number of citizens.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850725
Zenodo URL: https://zenodo.org/record/850725
2014.111
ICE - Towards Distributed Networked Computer Music Ensemble
Ritsch, Winfried Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
The deployment of distributed loudspeaker systems in the context of computermusic ensembles is explored in this paper, expanding the vision of a computermusic ensembles to a flexible dynamic musicians network. With the IEM Computermusic Ensemble (ICE) the idea of playing in a virtual concert hall over network, rendered to one ore more real or simulated concert-halls has been explored: Each musician in the network is using virtual 3Daudio space to render and therefore position his/her musical contribution in this virtual concert hall, which can be rendered to the local loudspeaker system, like an Ambisonics spatial audio system, a binaural decoder, useful for remote musicians and monitoring and/or a projection of this in other spaces as audio installation. The musicians communicate with each other via musical audio data using the same network. In contradiction to most computermusic ensembles, ICE forms a distributed networked computermusic ensemble, able to play parallel and time synchronous in several spaces. As an example the composition “All Under One Net” for ICE will be discussed and technical details, like the use of a audio message system, are explained.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850597
Zenodo URL: https://zenodo.org/record/850597
2014.112
ImmLib - a New Library for Immersive Spatial Composition
Negrão, Miguel Cerdeira Marreiros Sonic Arts Research Centre, Queen’s University Belfast; Belfast, United Kingdom
Abstract
ImmLib is a new software library for spatial composition with grid-based loudspeaker systems in the context of computer sound synthesis and audio processing which places emphasis on immersiveness and a global approach to space. It implements techniques for dealing with multiple decorrelated, but perceptually similar, sound streams spatialized at different locations in space with the aim of creating an expanded, broad or diffuse sound source with interesting musical spatial properties. The tool, implemented in SuperCollider, automates the process of creating decorrelated streams from a synthesis definition and provides mechanisms to create and control spatial patterns in a virtual surface by modulating synthesis parameters of the sound processes using different (but coherent) signals for each of the running instances. The main abstraction is the parameter field which defines ways to control the spatial patterns across space based on mathematical functions defined on a surface. We present here motivation for the library, the general algorithm and abstractions and a brief overview of the implementation, syntax and empirical evaluation.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850697
Zenodo URL: https://zenodo.org/record/850697
2014.113
Implementation and Evaluation of Real-time Interactive User Interface Design in Self-learning Singing Pitch Training Apps
Lin, Kin Wah Edward Singapore University of Technology and Design; Singapore, Singapore
Anderson, Hans Singapore University of Technology and Design; Singapore, Singapore
Hameem, M. Hamzeen M. Singapore University of Technology and Design; Singapore, Singapore
Lui, Simon Singapore University of Technology and Design; Singapore, Singapore
Abstract
We present a self-learning singing pitch training tool on the smart-phone to evaluate the efficacy of the real-time interaction mechanism for improving users’ intonation and timing, which are the most essential techniques in singing. It consists of (1) an intonation level classifier, (2) a scoring mechanism to help the users know how well they perform, and (3) an interactive pitch training mechanism. We stress the importance of our app’s practicality, such that it serves as a guideline for implementing and enhancing similar singing training apps. Experimental results show that the synthesized singing demonstration and the visual feedback design are helpful and natural to comprehend. Our performance evaluation method shows that the score of user intonation improved by an average of 94.81% after training with our tool.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850963
Zenodo URL: https://zenodo.org/record/850963
2014.114
Implementations of the Leap Motion in Sound Synthesis, Effects Modulation and Assistive Performance Tools
Hantrakul, Lamtharn Department of Music, Yale University; New Haven, United States
Kaczmarek, Konrad Department of Music, Yale University; New Haven, United States
Abstract
The Leap Motion opens new possibilities for mapping the various degrees of motion of the human hand with musical expression. The Leap Motion is a computer peripheral released in mid 2013 that uses IR cameras to track hand and finger location with unprecedented accuracy. In this paper, we explore implementations of the device in sound synthesis and effects control. The device is interfaced with Max/MSP to provide motion and finger-based control over multiple parameters in a software synthesizer. Next, we implement a 5-grain granular synthesizer where users trigger individual grains by depressing their fingers in mid-air. While triggering grains, users can simultaneously move their hands to dynamically modulate grain length and scrub the sample. The benefits and limitations are discussed in light of recent compositions and performances. The Leap Motion is also used to spatialize the synthesized sound produced from a 6-channel hemispherical speaker. Applications to music composition and music therapy are discussed.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850641
Zenodo URL: https://zenodo.org/record/850641
2014.115
Improving Accompanied Flamenco Singing Voice Transcription by Combining Vocal Detection and Predominant Melody Extraction
Kroher, Nadine Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
While recent approaches to automatic voice melody transcription of accompanied flamenco singing give promising results regarding pitch accuracy, mistakenly transcribed guitar sections represent a major limitation for the obtained overall precision. With the aim of reducing the amount of false positives in the voicing detection, we propose a fundamental frequency contour estimation method which extends the pitch-salience based predominant melody extraction [3] with a vocal detection classifier based on timbre and pitch contour characteristics. Pitch contour segments estimated by the predominant melody extraction algorithm containing a high percentage of frames classified as non-vocal are rejected. After estimating the tuning frequency, the remaining pitch contour is segmented into single note events in an iterative approach. The resulting symbolic representations are evaluated with respect to manually corrected transcriptions on a frame-by-frame level. For two small flamenco dataset covering a variety of singers and audio quality, we observe a significant reduction of the voicing false alarm rate and an improved voicing F-Measure as well as an increased overall transcription accuracy. We furthermore demonstrate the advantage of vocal detection model trained on genre-specific material. The presented case study is limited to the transcription of Flamenco singing, but the general framework can be extended to other styles with genre-specific instrumentation.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850765
Zenodo URL: https://zenodo.org/record/850765
2014.116
Influence of Expressive Coupling in Ensemble Performance on Musicians' Body Movement
Mota, Davi CEGeME - School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Loureiro, Maurício CEGeME - School of Music, Universidade Federal de Minas Gerais (UFMG); Belo Horizonte, Brazil
Laboissière, Rafael Psychology and Neurocognition Laboratory, Université Pierre-Mendès-France - Grenoble (UPMF); Grenoble, France
Abstract
This study aims at investigating if movements executed by musicians during musical performances are related to their expressive intentions. We tested the hypothesis by identifying information patterns on body movement data collected in performances of clarinet duos under different experimental conditions. First, we identified information patterns recurrent enough for the recognition of musicians who performed the excerpts. Then, we found evidence for a change in the “gestural signature” of the instrumentalist follower imposed by the leader, across the different performance conditions.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850599
Zenodo URL: https://zenodo.org/record/850599
2014.117
Infrared vs. Ultrasonic Finger Detection on a Virtual Piano Keyboard
De Pra, Yuri Department of Computer Science, Università di Verona; Verona, Italy
Fontana, Federico Department of Mathematics and Computer Science, Università di Udine; Udine, Italy
Tao, Linmi Department of Computer Science and Technology, Tsinghua University; Beijing, China
Abstract
An immaterial digital keyboard is presented, aiming at testing possibilities to substitute physical with augmented piano keys during the performance. The main effort has been made around the realization of an accurate meanwhile fast detection of the hands movement. To achieve this goal we have tested low-cost infrared as well as ultrasonic capture devices, whose current pros and cons are presented in either cases. Multimodal feedback has been realized by filming the hands’ action with the rear camera of a consumer’s tablet PC, and then projecting this action on its screen; furthermore this projection has been layered over the image of a piano keyboard reacting to the hands’ action. Especially in connection with a Leap Motion system in charge of doing the infrared-based detection, and other light hardware for the sonic and vibrotactile rendering of the feedback, the proposed prototype promises potential application as an inexpensive mobile music interface transforming a normal table in an augmented reality scenario, where a pianist can perform simple musical tasks by relying on reasonably accurate and realistic feedback even in absence of a hardware keyboard.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850643
Zenodo URL: https://zenodo.org/record/850643
2014.118
Instantaneous Detection and Classification of Impact Sound: Turning Simple Objects Into Powerful Musical Control Interfaces
Stefanakis, Nikolaos Institute of Computer Science, Foundation for Research and Technology - Hellas (FORTH); Heraklion, Greece
Mastorakis, Yannis Institute of Computer Science, Foundation for Research and Technology - Hellas (FORTH); Heraklion, Greece / Department of Computer Science, University of Crete; Heraklion, Greece
Mouchtari, Athanasios Institute of Computer Science, Foundation for Research and Technology - Hellas (FORTH); Heraklion, Greece / Department of Computer Science, University of Crete; Heraklion, Greece
Abstract
This paper demonstrates an approach for achieving instantaneous detection and classification of impact sounds that the user produces while interacting with simple daily objects. Using a single microphone, the system is trained to recognize the differences in the resonant behavior of a plastic bucket, a box made of paper and an empty bottle of beer, as these objects are struck at different locations. The method employs a first-nearest neighbour classifier which is based on simple spectral features extracted from a very short segment of the acoustic signal. Tests performed illustrate that classification rates above 90% may be achieved with a system response around 5 ms or even less. While still perfectible, the presented work illustrates the potential in creating a generic system which would enable the users to turn costless objects into powerful music controllers and percussive instruments into Hyper-instruments, by training the system to respond to their disposable instruments and audio equipment.
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not available
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unknown
DOI: 10.5281/zenodo.850806
Zenodo URL: https://zenodo.org/record/850806
2014.119
Intelligent Exploration of Sound Spaces Using Decision Trees and Evolutionary Approach
Kreković, Gordan Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Petrinović, Davor Faculty of Electrical Engineering and Computing, University of Zagreb; Zagreb, Croatia
Abstract
This paper describes Synthbee, an assistive tool for sound design which enables musicians to achieve desired sounds without managing parameters of a sound synthesizer manually. The system allows musicians to specify desired sound characteristics using attributes and explore the space of producible sounds by controlling the interactive evolutionary algorithm extended to take into account specified attributes. Using the interactive evolutionary approach, musicians can recombine and mutate patches towards a satisfactory result. While performing recombination of patches, the algorithm tries to maintain values of synthesis parameters which are relevant for achieving desired sound characteristics. Synthbee thereby enables efficient creation of novel sounds which possess characteristics described by input attributes. The method for finding and maintaining relevant synthesis parameters during an interactive exploration is our original algorithm which uniquely combines machine learning techniques with evolutionary computing. The results of the initial subjective evaluation of Synthbee showed that the users were generally satisfied with generated sounds, but also indicated some opportunities for improvement.
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unknown
DOI: 10.5281/zenodo.850836
Zenodo URL: https://zenodo.org/record/850836
2014.120
Interactive Performance Systems: Conceptual Interacting Strategies in Forming Electroacoustic Sound Identities
Kalodiki, Georgia Goldsmiths, University of London; London, United Kingdom
Abstract
This paper is a research study, concerning an effort to investigate the specific steps during the process of forming electroacoustic sound identities through the performer’s interaction with degrees of noisy spectrums through the use of philosophical concepts like fragmentation and abstraction. Before starting, I think is useful to clarify some aspects of the main concepts that I am willing to approach in order to create some useful tools for our discussion.When experiencing music for instrumental live and electronics with signal processing, I have the feeling that the actual part, that means the act of instrumental performing is there to ‘justify’, to remind us in a way the existence of the human element with sonic hints of virtuosic, idiomatic gestural patterns, like flute trills or pompous percussive action, showing rather a guilt attitude towards the presence and involvement of electronic means to the creative process.
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unknown
DOI: 10.5281/zenodo.850535
Zenodo URL: https://zenodo.org/record/850535
2014.121
Interval Scale as Group Generators
Tanaka, Tsubasa Tokyo University of the Arts; Tokyo, Japan
Furukawa, Kiyoshi Tokyo University of the Arts; Tokyo, Japan
Abstract
The purpose of this paper is to propose “interval scale,” a new concept defined as a set of ordered pitch-class intervals. Unlike an ordinary scale, this concept restricts usable intervals and doesn’t restrict pitch classes directly. This provides possibilities that interval scales can be used in atonal music that uses all pitch classes and can be used to express some differences in a similar way to ordinary scales, depending on the selection of the elements. In this paper, we first present two existing musical pieces that can be interpreted as being based on interval scales, and see the possible effectiveness of this concept to express some senses of tonality. Next, we show that an interval scale is a generating set of a mathematical group and prove the necessary and sufficient condition for an interval scale to generate all pitch classes as a condition of atonality. Furthermore, the relationship between tone row and interval scale is examined, and the necessary and sufficient condition for an interval scale to be preserved by several tonerow transformations is proved. These results will provide a basic understanding and some criteria of selecting interval scales for composers who create music based on this concept.
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unknown
DOI: 10.5281/zenodo.850767
Zenodo URL: https://zenodo.org/record/850767
2014.122
Introducing the Zirkonium MK2 System for Spatial Composition
Wagner, David Institute for Music and Acoustics, Zentrum für Kunst und Medien (ZKM); Karlsruhe, Germany
Brümmer, Ludger Institute for Music and Acoustics, Zentrum für Kunst und Medien (ZKM); Karlsruhe, Germany
Dipper, Götz Institute for Music and Acoustics, Zentrum für Kunst und Medien (ZKM); Karlsruhe, Germany
Otto, Jochen Arne Institute for Music and Acoustics, Zentrum für Kunst und Medien (ZKM); Karlsruhe, Germany
Abstract
The Institute for Music and Acoustics is a production and research facility of the ZKM | Center for Art and Media Karlsruhe. It is well known for the ”Klangdom”, a multi-loudspeaker facility for spatial sound diffusion with the aim to provide artists and composers with new possibilities. In this paper we present the overall revised and extended software solution for controlling the Klangdom, the Zirkonium MK2. Its origins in the previous version are briefly outlined and the advances are thoroughly described. Due to a very flexible client-server architecture, a hybrid spatial rendering engine and a very gestural trajectory editor it is already a useful toolkit for the institute’s guest composers.
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unknown
DOI: 10.5281/zenodo.850699
Zenodo URL: https://zenodo.org/record/850699
2014.123
i-score, an Interactive Sequencer for the Intermedia Arts
Baltazar, Pascal L’Arboretum, Independent; France
de la Hogue, Théo Centre National de Creation Musicale (GMEA); Albi, France
Desainte-Catherine, Myriam Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Abstract
The i-score intermedia sequencer allows to design complex interactive scenarios by coordinating heterogeneous and distributed media systems. Based on software frameworks issued by several long-term research iniatives, this application does not produce any media of its own, but rather controls other environments parameters, by creating snapshots and automations, and organizing them in time in a multi-linear way. In this article, we describe the main features of the software, in order to guide the workshop participants towards actual creation of interactive scenarios by controlling their favorite software environment.
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not available
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unknown
DOI: 10.5281/zenodo.851005
Zenodo URL: https://zenodo.org/record/851005
2014.124
Kara: A BCI Approach to Composition
Cádiz, Rodrigo F. Center for Research in Audio Technologies, Music Institute, Pontificia Universidad Católica de Chile; Santiago, Chile
de la Cuadra, Patricio Center for Research in Audio Technologies, Music Institute, Pontificia Universidad Católica de Chile; Santiago, Chile
Abstract
Kara is a greek word that could be translated as head. In the Kara series of pieces, the musicians wear braincomputer interfaces (BCI) in order to capture their EEG waves while performing. The information from these waves is sent to a computer, where it is processed in order to generate a real-time score, computer generated sounds and a visual display of the data. A closed-loop is formed between the musicians mental activity and the music they generate. As they perform the real-time score generated by their EEG waves, more mental activity is generated, which in turn generates the next portion of the score, and so on. This loop continues for the whole piece, although the score generation algorithms vary along different sections of the musical discourse. This article is presented for the piece+paper modality.
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unknown
DOI: 10.5281/zenodo.850547
Zenodo URL: https://zenodo.org/record/850547
2014.125
Kuatro: A Motion-based Framework for Interactive Music Installations
Johnson, David Departments of Computer Science and Music, College of Charleston; Charleston, United States
Manaris, Bill Departments of Computer Science and Music, College of Charleston; Charleston, United States
Vassilandonakis, Yiorgos Departments of Computer Science and Music, College of Charleston; Charleston, United States
Stoudenmier, Seth Departments of Computer Science and Music, College of Charleston; Charleston, United States
Abstract
Kuatro is a development framework for motion-based interactive virtual environments. Using a Model-ViewController (MVC) architecture and the Open Sound Control (OSC) protocol, the Kuatro offers composers, artists, and interaction designers an environment that makes it easy to develop installations utilizing motion sensors, such as the Kinect, Asus Xtion, Leap Motion, and smartphones. The framework allows tracking multiple users to help designers create collaborative (or competitive) interactive experiences. The main components of the framework are described, as well as the messaging protocol. Through OSC messaging, developers and artists are able to create any number visual and audio interfaces as well as add any number of motion sensors to the environment. The Kuatro framework is conceived as an extension of the jythonMusic audio-visual programming environment. Herein we present the Kuatro framework in the context of the interactive multimedia art installation, Time Jitters. We also discuss a follow-up music composition project, called Pythagorean Tetraktys.
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unknown
DOI: 10.5281/zenodo.850549
Zenodo URL: https://zenodo.org/record/850549
2014.126
Laminae: A Stochastic Modeling-based Autonomous Performance Rendering System That Elucidates Performer Characteristics
Okumura, Kenta Nagoya Institute of Technology; Nagoya, Japan
Sako, Shinji Nagoya Institute of Technology; Nagoya, Japan
Kitamura, Tadashi Nagoya Institute of Technology; Nagoya, Japan
Abstract
This paper proposes a system for performance rendering of keyboard instruments. The goal is fully autonomous rendition of a performance with musical smoothness without losing any of the characteristics of the actual performer. The system is based on a method that systematizes combinations of constraints and thereby elucidates the rendering process of the performer’s performance by defining stochastic models that associate artistic deviations observed in a performance with the contextual information notated in its musical score. The proposed system can be used to search for a sequence of optimum cases from the combination of all existing cases of the existing performance observed to render an unseen performance efficiently. Evaluations conducted indicate that musical features expected in existing performances are transcribed appropriately in the performances rendered by the system. The evaluations also demonstrate that the system is able to render performances with natural expressions stably, even for compositions with unconventional styles. Consequently, performances rendered via the proposed system have won first prize in the autonomous section of a performance rendering contest for computer systems.
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unknown
DOI: 10.5281/zenodo.850838
Zenodo URL: https://zenodo.org/record/850838
2014.127
Landmark Detection in Hindustani Music Melodies
Gulati, Sankalp Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Serrà, Joan Artificial Intelligence Research Institute (IIIA-CSIC); Barcelona, Spain
Ganguli, Kaustuv Kanti DAP Lab, Indian Institute of Technology Bombay (IITB); Mumbai, India
Serra, Xavier Music Technology Group, Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Musical melodies contain hierarchically organized events, where some events are more salient than others, acting as melodic landmarks. In Hindustani music melodies, an important landmark is the occurrence of a nyās. Occurrence of nyās is crucial to build and sustain the format of a rāg and mark the boundaries of melodic motifs. Detection of nyās segments is relevant to tasks such as melody segmentation, motif discovery and rāg recognition. However, detection of nyās segments is challenging as these segments do not follow explicit set of rules in terms of segment length, contour characteristics, and melodic context. In this paper we propose a method for the automatic detection of nyās segments in Hindustani music melodies. It consists of two main steps: a segmentation step that incorporates domain knowledge in order to facilitate the placement of nyās boundaries, and a segment classification step that is based on a series of musically motivated pitch contour features. The proposed method obtains significant accuracies for a heterogeneous data set of 20 audio music recordings containing 1257 nyās svar occurrences and total duration of 1.5 hours. Further, we show that the proposed segmentation strategy significantly improves over a classical piece-wise linear segmentation approach.
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unknown
DOI: 10.5281/zenodo.850769
Zenodo URL: https://zenodo.org/record/850769
2014.128
LC: A New Computer Music Programming Language With Three Core Features
Nishino, Hiroki NUS Graduate School for Integrative Sciences & Engineering, National University of Singapore; Singapore, Singapore
Osaka, Naotoshi Department of Information Systems & Multimedia Design, Tokyo Denki University; Tokyo, Japan
Nakatsu, Ryohei Interactive and Digital Media Institute, National University of Singapore; Singapore, Singapore
Abstract
This paper gives a brief overview of the three core features of LC, a new computer music programming language we prototyped: (1) prototype-based programming at both levels of compositional algorithms and sound synthesis, (2) the mostly-strongly-timed programming concept and other features with respect to time, and (3) the integration of objects and functions that can directly represent microsounds and the related manipulations for microsound synthesis. As these features correspond to issues in computer music language design raised by recent creative practices, such a language design can benefit both the research on computer music language design and the creative practices of our time, as a design exemplar.
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unknown
DOI: 10.5281/zenodo.850923
Zenodo URL: https://zenodo.org/record/850923
2014.129
Leap Motion as Expressive Gestural Interface
Ritter, Martin The University of British Columbia (UBC); Vancouver, Canada
Aska, Alyssa University of Calgary; Calgary, Canada
Abstract
Motion-capture is a popular tool used in musically expressive performance systems. Several motion-tracking systems have been used in laptop orchestras, alongside acoustic instruments, and for other musically related purposes such as score following. Some examples of such systems include camera tracking, Kinect for Xbox, and computer vision algorithms. However, these systems lack the ability to track at high resolutions and primarily track larger body motions. The Leap Motion, released in 2013, allows for high resolution tracking of very fine and specific finger and hand gestures, thus presenting an alternative option for composers, performers, and programmers seeking tracking of finer, more specialized movements. Current third party externals for the device are noncustomizable; MRLeap is an external, programmed by one of the authors of this paper, that allows for diverse and customizable interfacing between the Leap Motion and Max/MSP, enabling a user of the software to select and apply data streams to any musical, visual, or other parameters. This customization, coupled with the specific type of motion-tracking capabilities of the Leap, make the object an ideal environment for designers of gestural controllers or performance systems.
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unknown
DOI: 10.5281/zenodo.850645
Zenodo URL: https://zenodo.org/record/850645
2014.130
Learning Musical Contour on a Tabletop
Franceschini, Andrea The Open University; Milton Keynes, United Kingdom
Laney, Robin Charles The Open University; Milton Keynes, United Kingdom
Dobbyn, Chris The Open University; Milton Keynes, United Kingdom
Abstract
Many successful tabletop applications for music making have been developed, and the technology has been investigated from different perspectives. Yet, to date, despite optimistic claims regarding their potential as learning tools, their role in helping people to explore, acquire, and reason about musical concepts has been sparsely researched. We have developed an exploratory study around a simple tabletop application that allows people to make music using a visual representation of melodic contour. Our aim is to understand whether and how such system might help people to reason about music in terms of contour while at the same time affording an enjoyable music making experience to musically untrained people. Our findings suggest that the system has potential as a learning tool, especially for beginners, but tutoring is still necessary to acquire, use, and express concepts precisely.
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unknown
DOI: 10.5281/zenodo.850983
Zenodo URL: https://zenodo.org/record/850983
2014.131
Listening Otherwise: Playing With Sound Vibration
Criton, Pascale Lutheries - Acoustique - Musique (LAM), Institut Jean Le Rond d'Alembert; Paris, France
Abstract
What does « listening otherwise » mean without ears? How to access and put into practice the vibratory domain, for persons who are either handicapped or not? The devices for “listening through touch” transmit sound signals via materials thanks to a custom-designed computer program and adapted interfaces. Henceforth, one can hear sounds through the body. Listening by touch modifies sound and space representations and thus questions perceptual standards of sound signals transmission by air. How to put the practical and technical conditions which favours a sensorial elaboration and provides access to creative practices accessible to all sensory dis/abilities? I will present several aspects of an artistic and pedagogic project which has been realized at the National Institute of Deaf Youth (in Paris).
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unknown
DOI: 10.5281/zenodo.851001
Zenodo URL: https://zenodo.org/record/851001
2014.132
Little Drummer Bot: Building, Testing, and Interfacing With a New Expressive Mechatronic Drum System
Murphy, Jim NZSM, School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Carnegie, Dale A. School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Kapur, Ajay NZSM, MTIID, School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Abstract
While a large number of mechatronic and robotic musical instruments feature actuated drum strikers, the majority of these percussion instruments are mechanically and electronically quite simple. This article presents Nudge, a new mechatronic drum beater with more degrees of freedom than is typical of most robotic percussion instruments. Nudge can rotate to a variety of positions above one or more percussive objects with the use of a closed-loop servomotor. Additionally, the height from which the drumstick hits the drum can be adjusted on the fly. Though designed to be inexpensive and easy to build, Nudge is intended to afford composers, installation artists, and other users more compositional flexibility than with many previous mechatronic drum systems. A systems overview, evaluation, and discussion of usage applications are presented along with a short history of related work in robotic percussion systems.
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unknown
DOI: 10.5281/zenodo.850647
Zenodo URL: https://zenodo.org/record/850647
2014.133
Lose Control, Gain Influence - Concepts for Metacontrol
de Campo, Alberto Berlin University of the Arts (UdK); Berlin, Germany
Abstract
The ideas explored here are based on questioning some common assumptions in the usual conceptual models of hybrid (NIME-style) instrument design, and thinking and playing through the implications of these alternate strategies in theory and implementation. They include: varying the mappings between controller input and changing them on the fly in performance, e.g. by gradually entangling or disentangling process parameters; recording instrument parameter state presets and control data (gesture) loops, and reusing them as flexible performance material; and creating networks of cross-influence between gestural input from multiple human players, other gestural sources, and multiple sound generating processes, which can be modified as part of the performance. In effect, this can be described as ’Lose Control, Gain Influence’ (LCGI): gracefully relinquishing full control of the processes involved, in order to gain higher-order forms influence on their behavior. These heuristics may lead both to finding non-obvious but interesting mapping strategies which can be built into more traditionally well-controlled instruments, and to new concepts for playing single-person instruments or multiplayer instrument ensembles based on networks of influence. Many of these ideas can be played with using software libraries written in SuperCollider.
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unknown
DOI: 10.5281/zenodo.850507
Zenodo URL: https://zenodo.org/record/850507
2014.134
Loudness Normalization: Paradigm Shift or Placebo for the Use of Hyper-Compression in Pop Music?
Ronan, Malachy University of Limerick; Limerick, Ireland
Sazdov, Robert University of Limerick; Limerick, Ireland
Ward, Nicholas University of Limerick; Limerick, Ireland
Abstract
Loudness normalisation has been heralded as a tonic for the loudness wars. In this paper we propose that a side effect of its implementation may be a greater awareness of sound quality. This side effect is explored through an analysis of the manner in which music is listened to under this new paradigm. It is concluded that the conditions necessary for sound quality judgments have been provided but that the existing preference for hypercompression may affect the de-escalation of its use in the pop music industry. The aesthetic concerns of hypercompression are examined in order to determine the sonic trade-offs or perceived benefits inherent in the application of hyper-compression. Factors considered include: (i) loss of excitement or emotion, (ii) audition bias in listening environments, (iii) hyper-compression as an aesthetic preference, (iv) the increased cognitive load of hyper-compression, and (v) the ability of loudness variation to define musical structures. The findings suggest that while loudness normalisation may help de-escalate the loudness wars, listener preference for hyper-compressed music may be more complex than simply a competitive advantage relating to loudness bias.
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unknown
DOI: 10.5281/zenodo.850727
Zenodo URL: https://zenodo.org/record/850727
2014.135
Machine Improvisation With Formal Specifications
Donzé, Alexandre EECS Department, University of California, Berkeley; Berkeley, United States
Valle, Rafael EECS Department, University of California, Berkeley; Berkeley, United States / Music Department and CNMAT, University of California, Berkeley; Berkeley, United States
Akkaya, Ilge EECS Department, University of California, Berkeley; Berkeley, United States
Libkind, Sophie Swarthmore College; Swarthmore, United States
Seshia, Sanjit A. EECS Department, University of California, Berkeley; Berkeley, United States
Wessel, David EECS Department, University of California, Berkeley; Berkeley, United States / Music Department and CNMAT, University of California, Berkeley; Berkeley, United States
Abstract
We define the problem of machine improvisation of music with formal specifications. In this problem, one seeks to create a random improvisation of a given reference melody that however satisfies a “specification” encoding constraints that the generated melody must satisfy. We consider the scenario of generating a monophonic Jazz melody (solo) on a given song harmonization. The music is encoded symbolically, with the improviser generating a sequence of note symbols comprising pairs of pitches (frequencies) and discrete durations. Our approach can be decomposed roughly into two phases: a generalization phase, that learns from a training sequence (e.g., obtained from a human) an automaton generating similar sequences, and a supervision phase that enforces a specification on the generated sequence, imposing constraints on the music in both the pitch and rhythmic domains. The supervision uses a measure adapted from Normalized Compression Distances (NCD) to estimate the divergence between generated melodies and the training melody and employs strategies to bound this divergence. An empirical evaluation is presented on a sample set of Jazz music.
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unknown
DOI: 10.5281/zenodo.850840
Zenodo URL: https://zenodo.org/record/850840
2014.136
Making People Move: Dynamic Musical Notations
Hoadley, Richard Anglia Ruskin University; Cambridge, United Kingdom
Abstract
In Treatise Handbook, Cornelius Cardew noted that “[musical] notation is a way of making people move” [1]. This paper describes and demonstrates new methods for the dynamic generation and display of augmented musical notation. The Fluxus Tree and Quantum Canticorum are the most recent in a sequence of musical compositions by the author in which dance and music interact using body-tracking technologies and bespoke sensing devices. Movement is converted into data which trigger and modulate expressive algorithms. Uniquely, these generate in real-time audio material as well as detailed common practice music notation to be performed live. Other techniques allow for the conversion from (and potentially to) graphic images and text. This paper demonstrates the techniques behind these inventions and explains how such techniques may be used to enhance the musical experience of performers and audiences. Quantum Canticorum is based on a sequence originally commissioned for Quantum 2 , an Arts Council UK funded project led by Jane Turner of the Turning Worlds dance company.
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unknown
DOI: 10.5281/zenodo.850999
Zenodo URL: https://zenodo.org/record/850999
2014.137
Mapping Motion to Timbre: Orientation, FM Synthesis and Spectral Filtering
Neuman, Israel Department of Computer Science, The University of Iowa; Iowa City, United States
Okpala, Charles Department of Computer Science, The University of Iowa; Iowa City, United States
Bonezzi, Cesar Department of Computer Science, The University of Iowa; Iowa City, United States
Abstract
Motion is a time-based event situated in threedimensional space. In the performance of most musical instruments, the musician associates physical motion with audible results. In some instruments, physical motion is used to change the timbre of the instrument. Digital techniques of analysis and re-synthesis have paved the way for the understanding of timbre as a distribution of energy among spectral frequencies in a three-dimensional space bounded by axes representing time, frequency and amplitude. In this paper, we present a musical performance system that explores the correlation between motion and sound, more specifically, timbre. A mobile device and its motion sensors function as a control element in the performance system that creates new timbres in real time.
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unknown
DOI: 10.5281/zenodo.850649
Zenodo URL: https://zenodo.org/record/850649
2014.138
Mathews' Diagram and Euclid's Line - Fifty Years Ago
Chowning, John CCRMA, Stanford University; Stanford, United States
Abstract
Making the science and technology of computer music comprehensible to musicians and composers who had little or no background therein was a part of Max Mathews’ genius. In this presentation I will show how a simple diagram led to the essential understanding of Claude Shannon’s sampling theorem, which in turn opened up a conceptual path to composing music for loudspeakers that had nothing to do with wires, cables and electronic devices, but led to learning how to program a computer—to write code. The change from device-determined output (analog) to program-determined output (digital) was a major change in paradigm that led to my realization of an integral sound spatialization system that would have been impossible for me to achieve in any other medium. Along the way, the discovery of FM Synthesis provided not only a means of creating diverse spectra but coupled with a ratio from Euclid’s Elements produced an unusual and productive connection between spectral space and pitch space and a path that leads ...?
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unknown
DOI: 10.5281/zenodo.850443
Zenodo URL: https://zenodo.org/record/850443
2014.139
Mechatronic Keyboard Music: Design, Evaluation, and Use of a New Mechatronic Harmonium
Murphy, Jim NZSM, School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Kapur, Ajay NZSM, School of Engineering and Computer Science, Victoria University of Wellington, CalArts; Wellington, New Zealand
Carnegie, Dale A. School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Abstract
This paper describes the design, building, evaluation, and use of Kritaanjli, a new mechatronic harmonium. The harmonium, an instrument popular in Indian folk and devotional music, is augmented herein in a manner that does not permanently affect the instrument. Capable of playing 44 simultaneous notes and variable-intensity bellows pumping events, Kritaanjli is able to play harmonicallyand dynamically-complicated compositions. This paper presents Kritaanjli from a systems perspective, providing an overview of the design challenges faced in the implementation of each of the instrument’s subsystems, as well as the means by which the subsystems are interfaced with one another and with a composer. Implementation detail is provided, as well as a presentation of the systems’ performance characteristics.
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unknown
DOI: 10.5281/zenodo.850651
Zenodo URL: https://zenodo.org/record/850651
2014.140
Merged-output Hidden Markov Model for Score Following of MIDI Performance With Ornaments, Desynchronized Voices, Repeats and Skips
Nakamura, Eita National Institute of Informatics; Tokyo, Japan
Saito, Yasuyuki Kisarazu National College of Technology; Chiba, Japan
Ono, Nobutaka National Institute of Informatics; Tokyo, Japan
Sagayama, Shigeki Meiji University; Tokyo, Japan
Abstract
A score-following algorithm for polyphonic MIDI performances is presented that can handle performance mistakes, ornaments, desynchronized voices, arbitrary repeats and skips. The algorithm is derived from a stochastic performance model based on hidden Markov model (HMM), and we review the recent development of model construction. In this paper, the model is further extended to capture the multi-voice structure, which is necessary to handle note reorderings by desynchronized voices and widely stretched ornaments in polyphony. For this, we propose mergedoutput HMM, which describes performed notes as merged outputs from multiple HMMs, each corresponding to a voice part. It is confirmed that the model yields a score-following algorithm which is effective under frequent note reorderings across voices and complicated ornaments.
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unknown
DOI: 10.5281/zenodo.850810
Zenodo URL: https://zenodo.org/record/850810
2014.141
Method to Detect GTTM Local Grouping Boundaries Based on Clustering and Statistical Learning
Kanamori, Kouhei University of Tsukuba; Tsukuba, Japan
Hamanaka, Masatoshi Kyoto University; Kyoto, Japan
Hoshino, Junichi University of Tsukuba; Tsukuba, Japan
Abstract
In this paper, we describe σGTTMII, a method that detects local grouping boundaries of the generative theory of tonal music (GTTM) based on clustering and statistical learning. It is difficult to implement GTTM on a computer because rules of GTTM often conflict with each other and cannot detect music structure as same manner. Previous methods have successfully implemented GTTM on a computer by introducing adjustable parameters or acquiring the priority of the rules by statistical learning. However, the values of the parameters and the priority of the rules are different depending on a piece of music. Considering these problems, we focused on the priority of the rules and we hypothesized that there are some tendency of rules which have more strong influence than other rules by the case of music. To ensure this hypothesis, we tried to classify each piece of music and tried to find the tendency of rules. Through the experiment, we found some tendency of rules and then we acquired some detectors which can analyze each piece of music more appropriately by reiterating clustering music and statistical learning.
Keywords
not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850814
Zenodo URL: https://zenodo.org/record/850814
2014.142
miniAudicle for iPad: Touchscreen-based Music Software Programming
Salazar, Spencer Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Wang, Ge Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
We present a new software application for ChucK programming and performance on mobile touchscreen devices, miniAudicle for iPad. This application seeks to accommodate keyboard-based music software development as well as explore new music programming possibilities enabled by touch interfaces. To this end, it provides a textual code Editor mode optimized for touchscreen typing, a live-codingoriented Player mode, and collaborative network performance via a Connect mode. The combination of these features provides a foundation for the exploration of musical programming on mobile touchscreen devices.
Keywords
not available
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unknown
DOI: 10.5281/zenodo.850653
Zenodo URL: https://zenodo.org/record/850653
2014.143
ML.* Machine Learning Library as a Musical Partner in the Computer-acoustic Composition Flight
Smith, Benjamin Day Indiana University Bloomington; Bloomington, United States
Deal, W. Scott Department of Music and Arts Technology, Purdue University Indianapolis; Indianapolis, United States
Abstract
This paper presents an application and extension of the ml.* library, implementing machine learning (ML) models to facilitate “creative” interactions between musician and machine. The objective behind the work is to effectuate a musical “virtual partner” capable of creation in a range of musical scenarios that encompass composition, improvisation, studio, and live concert performance. An overview of the piece, Flights, used to test the musical range of the application is given, followed by a description of the development rationale for the project. Its contribution to the aesthetic quality of the human musical process is discussed.
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unknown
DOI: 10.5281/zenodo.850842
Zenodo URL: https://zenodo.org/record/850842
2014.144
Mobile Instruments Made Easy: Creating Musical Mobile Apps With LIBPD and iOS, No Experience Necessary
Holmes, Danny Center for Computation and Technology, Louisiana State University (LSU); Baton Rouge, United States
Abstract
The quirks of programming native iOS applications can be daunting, especially to someone not already familiar with other text based programming languages. Fortunately, recent developments in Apple’s Xcode IDE, along with the open-source Pure Data wrapper, LIBPD, enable the process of creating an iOS native, standalone, musical mobile app to be quite accessible. Basic implementation of LIBPD for iOS can be reduced to a series of 10 simple and accessible steps requiring no actual knowledge of objective-c or the LIBPD library itself, and requires no previous coding experience, text-based or otherwise. In addition, the dragand-drop feature of Xcode’s Storyboards allows the design and programming of a native user interface to also be reduced to simple and accessible step-by-step instructions. This is not just limited to buttons and sliders, but also includes the drag-and-drop creation of typical touch screen gestures. Presently, this process will be outlined and explained, and its current and potential uses described.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850993
Zenodo URL: https://zenodo.org/record/850993
2014.145
Mobile Phones as Ubiquitous Instruments: Towards Standardizing Performance Data on the Network
Bowen, Nathan Moorpark College; Moorpark, United States
Reeder, David Mobile Sound; New York, United States
Abstract
We propose a category of mobile phone musical instrument called ‘ubiquitous instrument’. We present a conceptual framework that identifies ubiquitous instruments as a cultural site for popular and professional performance practice. Elements of this framework depend upon community involvement to standardize instrument profiles and inter-instrument communication shared across the network. We suggest OSC as the foundation for this network standard and propose definitions for the range and use of ‘musical objects’. We present 4Quarters, a collaborative music performance system driven by mobile phones, which approximates the ideal of ubiquitous instruments and demonstrates the use of musical objects.
Keywords
not available
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not available
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unknown
DOI: 10.5281/zenodo.850601
Zenodo URL: https://zenodo.org/record/850601
2014.146
Modality
Baalman, Marije nescivi, STEIM; Amsterdam, Netherlands
Bovermann, Till Berlin University of the Arts (UdK); Berlin, Germany
de Campo, Alberto Berlin University of the Arts (UdK); Berlin, Germany
Negrão, Miguel Cerdeira Marreiros Sonic Arts Research Centre, Queen's University Belfast; Belfast, United Kingdom
Abstract
The Modality Project explores the idea of highly modal performance instruments i.e., setups where a small set of controllers can be used to play a wide variety of sound processes by changing control constellations on the fly. The Modality Toolkit is a SuperCollider library which simplifies the creation of such instruments. To this end, a common code interface, MKtl, is used to connect controllers from various sources and protocols. Currently, HID and MIDI are supported; GUI-based interfaces can be created on the fly from interface descriptions. Detailed use cases demonstrate the concepts of working with modality practically in code. This paper gives an overview on the concept of modality as seen by a group of sound artists and researchers, and describes one interdisciplinary approach to creating a toolkit written for and by electronic musicians.
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unknown
DOI: 10.5281/zenodo.850771
Zenodo URL: https://zenodo.org/record/850771
2014.147
Modelling the Live-electronics in Electroacoustic Music Using Particle Systems
Perrotta, André V. CITAR, School of Arts, Catholic University of Portugal; Porto, Portugal
Menezes, Flo Studio PANaroma, São Paulo State University (UNESP); São Paulo, Brazil
Martins, Luis Gustavo CITAR, School of Arts, Catholic University of Portugal; Porto, Portugal
Abstract
Developing the live-electronics for a contemporary electroacoustic piece is a complex process that normally involves the transfer of artistic and aesthetic concepts between the composer and the musical assistant. Translating in technical terms the musical, artistic and aesthetic concepts by means of algorithms and mathematical parameters is seldom an easy and straightforward task. The use of a particle system to describe the dynamics and characteristics of compositional parameters can reveal an effective way for achieving a significant relationship between compositional aspects and their technical implementation. This paper describes a method for creating and modelling a particle system based on compositional parameters and how to map those parameters into digital audio processes. An implementation of this method is described, as well as the use of such a method for the development of the work O Farfalhar das Folhas (The rustling of leaves) (2010), for one flutist, one clarinetist, violin, violoncello, piano and live-electronics, by Flo Menezes.
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unknown
DOI: 10.5281/zenodo.850551
Zenodo URL: https://zenodo.org/record/850551
2014.148
Model-view-controller Separation in Max Using Jamoma
Lossius, Trond Bergen Center for Electronic Arts (BEK); Bergen, Norway
de la Hogue, Théo Centre National de Creation Musicale (GMEA); Albi, France
Baltazar, Pascal L’Arboretum, Independent; France
Place, Timothy 74objects LLC; Kansas City, United States
Wolek, Nathan Stetson University; DeLand, United States
Rabin, Julien Centre National de Creation Musicale (GMEA); Albi, France
Abstract
The Model-View-Controller (MVC) software architecture pattern separates these three program components, and is well-suited for interactive applications where flexible human-computer interfaces are required. Separating data presentation from the underlying process enables multiple views of the same model, customised views, synchronisation between views, as well as views that can be dynamically loaded, bound to a model, and then disposed. Jamoma 0.6 enables MVC separation in Cycling’74 Max through custom externals and patching guidelines for developers. Models and views can then be nested for a hierarchal structuring of services. A local preset system is available in all models, along with namespace and services that can be inspected and queried application-wide. This system can be used to manage cues with modular, stringent and transparent handling of priorities. It can also be expanded for inter-application exchange, enabling the distribution of models and views over a network using OSC and Minuit. While this paper demonstrates key principles via simple patchers, a more elaborate demonstration of MVC separation in Max is provided in [1].
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unknown
DOI: 10.5281/zenodo.850925
Zenodo URL: https://zenodo.org/record/850925
2014.149
Modes of Sonic Interaction in Circus: Three Proofs of Concept
Elblaus, Ludvig KTH Royal Institute of Technology; Stockholm, Sweden
Goina, Maurizio KTH Royal Institute of Technology; Stockholm, Sweden
Robitaille, Marie-Andrée Stockholm University of the Arts; Stockholm, Sweden
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
The art of circus is a vibrant and competitive culture that embraces new tools and technology. In this paper, a series of exploratory design processes resulting in proofs of concepts are presented, showing strategies for effective use of three different modes of sonic interaction in contemporary circus. Each design process is based on participatory studio work, involving professional circus artists. All of the proofs of concepts have been evaluated, both with studio studies and public circus performances, taking the work beyond theoretical laboratory projects and properly engaging the practice and culture of contemporary circus. The first exploration uses a contortionist’s extreme bodily manipulation as inspiration for sonic manipulations in an accompanying piece of music. The second exploration uses electric amplification of acoustic sounds as a transformative enhancement of existing elements of circus performance. Finally, a sensor based system of real-time sonification of body gestures is explored and ideas from the sonification of dance are translated into the realm of circus.
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unknown
DOI: 10.5281/zenodo.850965
Zenodo URL: https://zenodo.org/record/850965
2014.150
Modular Physical Modeling Synthesis Environments on GPU
Bilbao, Stefan Acoustics and Audio Group, The University of Edinburgh; Edinburgh, United Kingdom
Torin, Alberto Acoustics and Audio Group, The University of Edinburgh; Edinburgh, United Kingdom
Graham, Paul Edinburgh Parallel Computing Centre, The University of Edinburgh; Edinburgh, United Kingdom
Perry, James Edinburgh Parallel Computing Centre, The University of Edinburgh; Edinburgh, United Kingdom
Delap, Gordon Department of Music, National University of Ireland Maynooth; Maynooth, Ireland
Abstract
Physical modeling synthesis is a powerful means of access to a wide variety of synthetic sounds of an acoustic character—one longstanding design principle underlying such methods has been, and continues to be modularity, or the decomposition of a complex instrument into simpler building blocks. In this paper, various modular physical modeling design environments, based on the use of time stepping methods such as finite difference time domain methods are described, with an emphasis on the underlying computational behaviour of such methods, both in the run-time loop and in precomputation. As such methods are computationally intensive, additional emphasis is placed on issues surrounding parallelisation, and implementation in highly parallel hardware such as graphics processing units. This paper is paired with a recently completed multichannel piece, and the composer’s perspective on working with such environments is also addressed.
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unknown
DOI: 10.5281/zenodo.850874
Zenodo URL: https://zenodo.org/record/850874
2014.151
Modulus p Rhythmic Tiling Canons and Some Implementations in OpenMusic Visual Programming Language
Caure, Hélianthe Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Agon, Carlos Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Andreatta, Moreno Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
The concept of rhythmic canons, as it has been introduced by mathematician Dan Vuza in the 1990s, is the art of filling the time axis with some finite rhythmic patterns and their translations, without onsets superposition. The musical notion have been linked with some mathematical results, and since then, its mathematical study has always followed a will of picturing every new results in the visual programming language OpenMusic, which enables mathematicians and composers to work together. In this paper we present some new results in an enriched version of rhythmic tiling canons, where some controlled superposition are allowed. This enhanced version of rhythmic tiling canons is presented at the beginning of this article, as well as main constructive results, because it is fairly recent. Then the paper focuses on the presentation of some generative transformations, building canons with the same superposition. The latter is at the heart of the study of canons allowing superposition, because they are the key of linking them back to seminal canons. In order to help composers experiment with these new canons, every constructive method has been implemented in OpenMusic as part of the MathTools environment.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850773
Zenodo URL: https://zenodo.org/record/850773
2014.152
Mostly-Strongly-Timed Programming in LC
Nishino, Hiroki NUS Graduate School for Integrative Sciences & Engineering, National University of Singapore; Singapore, Singapore
Nakatsu, Ryohei Interactive and Digital Media Institute, National University of Singapore; Singapore, Singapore
Abstract
Due to its synchronous behaviour, a strongly-timed program can suffer from the temporary suspension of realtime DSP in the presence of a time-consuming task. In this paper, we propose mostly-strongly-timed programming, which extends strongly-timed programming with the explicit switch between synchronous context and asynchronous context. If a thread is in asynchronous context, the underlying scheduler is allowed to preempt it without the explicit advance of logical time. Timeconsuming tasks can be executed asynchronously, without causing the temporary suspension of real-time DSP. We also discuss how the concept is integrated in LC, a new computer music programming language we prototyped, together with the discussion on implementation issues.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850927
Zenodo URL: https://zenodo.org/record/850927
2014.153
Movable Party: A Bicycle-powered System for Interactive Musical Performance
Kemper, Steven Mason Gross School of the Arts, Department of Music, Rutgers, The State University of New Jersey; New Brunswick, United States
Hsu, Wendy F. Umi City of Los Angeles Department of Cultural Affairs, ACLS Public Fellow; Los Angeles, United States
Sargent, Carey Scholarship Technology, Occidental College; Los Angeles, United States
Taylor, Josef Independent research, Independent; United States
Wei, Linda Independent research, Independent; United States
Abstract
Movable Party is a mobile, real-time interactive music system where audience-participants pedal stationary bicycles to generate power and perform interactive music. Inspired by nakashi Taiwanese street performance culture, Movable Party creates a bustling public and streetside vibrancy in the decentralized metropolis of Los Angeles. The system consists of three stationary bicycles, each equipped with rear wheel hub motors that generate enough energy to power a medium-sized public address system. The bicycles are also equipped with sensors to track rear wheel speed as well as rider position, transforming them into interactive musical instruments in two different modes: Interactive DJ and Step Sequencer. The Interactive DJ mode enables a laptop performer to create and mix music with data from the three bicycles. The Step Sequencer mode enables rider-participants to directly control a three-voice, eight-step sequencer. Sonic mappings are focused on representation of rear wheel speed, which translates directly to power generation.
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not available
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unknown
DOI: 10.5281/zenodo.850603
Zenodo URL: https://zenodo.org/record/850603
2014.154
MoveOSC - Smart Watches in Mobile Music Performance
Migicovsky, Alex University of Michigan; Ann Arbor, United States
Scheinerman, Jonah University of Michigan; Ann Arbor, United States
Essl, Georg University of Michigan; Ann Arbor, United States
Abstract
Smart watches with motion sensors offer the potential of bringing hand-gesture based music performance to a large audience by removing the need for custom hardware. It further removes artifacts from the hand, as would be present when a smart phone or a motion-controller such as the Wiimote are used. We discuss the potential and technical limitations of a current generation commodity smart watch (Pebble) and describe contribution to music software on mobile devices. By using Open Sound Control (OSC) as well as ZeroConf/Bonjour networking an accessible setup for musical control by smart watches is provided. Furthermore the integration into the mobile music environment urMus allows flexible use in a broad range of more sophisticated performances.
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not available
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unknown
DOI: 10.5281/zenodo.850655
Zenodo URL: https://zenodo.org/record/850655
2014.155
Multi-touch Interface for Acousmatic Music Spatialization
Le Vaillant, Gwendal Ense3, Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Giot, Rudi RESEARCH LABORATORY IN THE FIELDS OF ARTS AND SCIENCE (LARAS), Institut Supérieur Industriel de Bruxelles (ISIB); Brussels, Belgium
Abstract
The Multi-touch Interface for Acousmatic Music Spatialization (MIAM Spat) project deals with a new way of performing live music spatialization. Spatialization artists currently use hardware mixing consoles to produce threedimensional sound effects, within concert halls that contain up to fifty speakers [1]. The current main spatialization technique consists in associating a fader of the mixing console to a single speaker. Then, the performer plays with the output level of each speaker. They actually encounter issues with complex spatialization transitions, as ten fingers cannot simultaneously control many faders. The main idea is to introduce multi-point touch screens to replace hardware mixing consoles. The MIAM Spat software draws surfaces on a touch screen, and each surface represents a specific soundscape. A spatialization performance then becomes an interaction between these surfaces and the player’s fingers. The software described in this paper shows encouraging results, and is still evolving depending on artists’ wishes. New possibilities and representations are offered, and MIAM Spat can be easily integrated to big spatialization sound systems.
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unknown
DOI: 10.5281/zenodo.850657
Zenodo URL: https://zenodo.org/record/850657
2014.156
Musical Audio Denoising Assuming Symmetric a-stable Noise
Bassiou, Nikoletta Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Kotropoulos, Constantine Department of Informatics, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
The representation of α-stable distributions as scale mixture of normals is exploited to model the noise in musical audio recordings. Markov Chain Monte Carlo inference is used to estimate the clean signal model and the α-stable noise model parameters in a sparse linear regression framework with structured priors. The musical audio recordings were processed both as a whole and in segments by using a sine-bell window for analysis and overlap-and-add reconstruction. Experiments on noisy Greek folk music excerpts demonstrate better denoising under the α-stable noise assumption than the Gaussian white noise one, when processing is performed in segments rather than in full recordings.
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unknown
DOI: 10.5281/zenodo.850876
Zenodo URL: https://zenodo.org/record/850876
2014.157
Musical Audio Synthesis Using Autoencoding Neural Nets
Sarroff, Andy M. Computer Science, Dartmouth College; Hanover, United States
Casey, Michael Computer Science, Dartmouth College; Hanover, United States
Abstract
With an optimal network topology and tuning of hyperparameters, artificial neural networks (ANNs) may be trained to learn a mapping from low level audio features to one or more higher-level representations. Such artificial neural networks are commonly used in classification and regression settings to perform arbitrary tasks. In this work we suggest repurposing autoencoding neural networks as musical audio synthesizers. We offer an interactive musical audio synthesis system that uses feedforward artificial neural networks for musical audio synthesis, rather than discriminative or regression tasks. In our system an ANN is trained on frames of low-level features. A high level representation of the musical audio is learned though an autoencoding neural net. Our real-time synthesis system allows one to interact directly with the parameters of the model and generate musical audio in real time. This work therefore proposes the exploitation of neural networks for creative musical applications.
Keywords
not available
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not available
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unknown
DOI: 10.5281/zenodo.850878
Zenodo URL: https://zenodo.org/record/850878
2014.158
Musical Perspectives on Composition, Sonification and Performance
De Götzen, Amalia Sound and Music Computing, Aalborg University Copenhagen; Copenhagen, Denmark
Bernardini, Nicola Conservatorio “S.Cecilia”; Roma, Italy
Vidolin, Alvise Centro di Sonologia Computazionale, Università di Padova; Padova, Italy
Abstract
This paper is an attempt to analyse the relation between sonification and music through a short enumeration of case studies. Four pieces have been used to clarify this relation and to understand how the different functions and purposes of music and sonification can be preserved while combining both functions together.
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unknown
DOI: 10.5281/zenodo.850553
Zenodo URL: https://zenodo.org/record/850553
2014.159
Musical Timbre and Emotion: The Identification of Salient Timbral Features in Sustained Musical Instrument Tones Equalized in Attack Time and Spectral Centroid
Wu, Bin Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Horner, Andrew Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Lee, Chung The Information Systems Technology and Design Pillar, Singapore University of Technology and Design; Singapore, Singapore
Abstract
Timbre and emotion are two of the most important aspects of musical sounds. Both are complex and multidimensional, and strongly interrelated. Previous research has identified many different timbral attributes, and shown that spectral centroid and attack time are the two most important dimensions of timbre. However, a consensus has not emerged about other dimensions. This study will attempt to identify the most perceptually relevant timbral attributes after spectral centroid and attack time. To do this, we will consider various sustained musical instrument tones where spectral centroid and attack time have been equalized. While most previous timbre studies have used discrimination and dissimilarity tests to understand timbre, researchers have begun using emotion tests recently. Previous studies have shown that attack and spectral centroid play an essential role in emotion perception, and they can be so strong that listeners do not notice other spectral features very much. Therefore, in this paper, to isolate the third most important timbre feature, we designed a subjective listening test using emotion responses for tones equalized in attack, decay, and spectral centroid. The results showed that the even/odd harmonic ratio is the most salient timbral feature after attack time and spectral centroid.
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not available
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unknown
DOI: 10.5281/zenodo.850729
Zenodo URL: https://zenodo.org/record/850729
2014.160
Music Systemisers and Music Empathisers - Do They Rate Expressiveness of Computer Generated Performances the Same?
Schubert, Emery The University of New South Wales (UNSW); Sydney, Australia
De Poli, Giovanni Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Abstract
This paper investigates three individual differences with respect to ratings of the same piece of classical piano music that has undergone different expressive performance treatments. The individual difference variables investigated were music systemising (those interested in the structural and organizational aspects of music), music empathizing (those interested in the emotional/human aspects of music) and musical experience (years of playing). Five pieces, based on stimuli used in RenconGATM were rated according to expressiveness and execution, each being related to musical expression, but the former suggesting an empathizing processing style and the latter a systemizing processing style. Ratings made by 45 participants did not show any clear differences that could be attributed to a cognitive style. One explanation for this finding was that cognitive music styles are more likely to influence justifications of ratings, rather than ratings magnitude. High music systemisers reported having higher concentration than other participants.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850509
Zenodo URL: https://zenodo.org/record/850509
2014.161
Music Technology's Influence on Flute Pedagogy: A Survey of Their Interaction
Siwiak, Diana New Zealand School of Music (NZSM); Wellington, New Zealand
Kapur, Ajay New Zealand School of Music (NZSM); Wellington, New Zealand / School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Carnegie, Dale A. School of Engineering and Computer Science, Victoria University of Wellington; Wellington, New Zealand
Abstract
Technology improvements trigger innovations in modern culture, and these concepts evolve into more advanced versions of the original. This deepens our understanding and strengthens bonds connecting past and future. Advances in technology-integrated musical instruments date to the early 20th Century, where the scope of our research in augmented flutes and flute-like controllers begins. We explore the flutist’s practice room by examining its past through a historical literature review. We then investigate how advances in technology impact flute pedagogy. We seek to understand flute designs and the evolution of pedagogical techniques, while proposing a way to fill in the gaps in this research field.
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not available
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unknown
DOI: 10.5281/zenodo.850985
Zenodo URL: https://zenodo.org/record/850985
2014.162
Musings on the Status of Electronic Music Today
Lippe, Cort Hiller Computer Music Studios, University of Buffalo; Buffalo, United States
Abstract
If contemporary electronic music is on par with acoustic music, why is there an imbalance between the two domains? This paper explores the question by examining ideas of early electronic music visionaries, and their relationship to what later has been termed Modernism, and scrutinizes the differences and commonalities between electronic and acoustic music, sound design and composition, scientism and humanism, and popular and contemporary music. Since divergences between acoustic and electronic music culture within the domain of contemporary music appear to be significant, speculation on strategies for achieving congruence between acoustic and electronic music in the future are proposed.
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not available
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unknown
DOI: 10.5281/zenodo.850453
Zenodo URL: https://zenodo.org/record/850453
2014.163
Mutor: Drone Chorus of Metrically Muted Motors
Zareei, Mo H. Victoria University of Wellington; Wellington, New Zealand
Carnegie, Dale A. Victoria University of Wellington; Wellington, New Zealand
Kapur, Ajay California Institute of the Arts (CalArts); Santa Clarita, United States
McKinnon, Dugal New Zealand School of Music (NZSM); Wellington, New Zealand
Abstract
The use of mechatronics and robotics in works of sound art and music has grown over the past decade. Among the significant body of work done in these fields, this paper narrows down its focus on those that employ mechatronics and robotics in order to explore and investigate new sonic possibilities associated with these technologies. Followed by a discussion on characteristics of such works of mechatronic sound art, this paper presents Mutor: a new mechatronic sound-object that utilizes the sonic artifacts of mechatronic systems––specifically, the noise of a DC motor––as its primary source of sound, and modulates it rhythmically and timbrally.
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unknown
DOI: 10.5281/zenodo.850659
Zenodo URL: https://zenodo.org/record/850659
2014.164
muTunes: A Study of Musicality Perception in an Evolutionary Context
Sidorov, Kirill Cardiff University; Cardiff, United Kingdom
Hawkins, Robin Cardiff University; Cardiff, United Kingdom
Jones, Andrew Cardiff University; Cardiff, United Kingdom
Marshall, David Cardiff University; Cardiff, United Kingdom
Abstract
We have conducted an experiment with the intent to determine and quantify what properties of monophonic melodies humans perceive as appealing. This was done in an evolutionary setting: a population of melodies was subjected to Darwinian selection with popular human vote serving as the basis for the fitness function. We describe the experimental procedure, measures to avoid or minimise possible experimental biases, and address the problem of extracting maximum fitness information from sparse measurements. We have rigorously analysed the course of the resulting evolutionary process and have identified several important trends. In particular, we have observed a decline in complexity of melodies over time, increase in diatonicity, consonance, and rhythmic variety, well-defined principal directions of evolution, and even rudimentary evidence of speciation and genre-forming. We discuss the relevance of these effects to the question of what is perceived as a pleasant melody. Such analysis has not been done before and hence the novel contribution of this paper is the study of the psychological biases and preferences when popular vote is used as the fitness function in an evolutionary process.
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not available
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unknown
DOI: 10.5281/zenodo.850731
Zenodo URL: https://zenodo.org/record/850731
2014.165
New Tools for Aspect-oriented Programming in Music and Media Programming Environments
MacCallum, John Center for New Music and Audio Technologies, Department of Music, University of California, Berkeley; Berkeley, United States
Freed, Adrian Center for New Music and Audio Technologies, Department of Music, University of California, Berkeley; Berkeley, United States
Wessel, David Center for New Music and Audio Technologies, Department of Music, University of California, Berkeley; Berkeley, United States
Abstract
Media/arts programming is often experimental and exploratory in nature and requires a flexible development environment to enable continually changing requirements and to facilitate iterative design in which the development of software impacts the design of a work of art which in turn produces new requirements for the software. We discuss agile development as it relates to media/arts programming and present aspect-oriented programming and its implementation in Max/MSP using Open Sound Control and the odot library as tool for mobilizing the benefits of agile development.
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unknown
DOI: 10.5281/zenodo.850929
Zenodo URL: https://zenodo.org/record/850929
2014.166
NEYMA, Interactive Soundscape Composition Based on a Low Budget Motion Capture System
Alessandretti, Stefano Independent research, Independent; Italy
Sparano, Giovanni Independent research, Independent; Italy
Abstract
Mocap (motion capture) techniques applied to music are now very widespread. More than two decades after the earliest experiments [1], there are many scientists and musicians working in this field, as shown by the large number of papers and the technological equipment used in many research centres around the world. Despite this popularity, however, there is little evidence of musical productions using the mocap technique, with the exception of a few that have been able to rely upon very high budgets and very complex equipment. The following article aims to describe the implementation of “Neyma, for 2 performers, motion capture and live electronics (2012),” [2] an interactive multimedia performance that used a low budget mocap system, performed as part of the 56 th Biennale Musica di Venezia.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850555
Zenodo URL: https://zenodo.org/record/850555
2014.167
N-gon Waves - Audio Applications of the Geometry of Regular Polygons in the Time Domain
Chapman, Dominik Department of Computing, Goldsmiths, University of London; London, United Kingdom / Department of Music, Goldsmiths, University of London; London, United Kingdom
Grierson, Mick Department of Computing, Goldsmiths, University of London; London, United Kingdom
Abstract
This paper presents an approach to the generation of periodic signals through the application of Euclidean geometry in the time domain. In particular, the content of this paper is focused on waveforms derived from regular polygons. It is an attempt to show how the geometrical relations and proportions of regular polygons and star polygons with respect to their Schläfli symbol can be made audible, and how these relations can be used in an acoustical or a musical context. A basic description is given of how to construct such geometrical waveforms and musical scales using the underlying geometry. In addition, this paper draws inspiration for its approach to synthesis and composition from experimental approaches to drawn graphical / ornamental sound. These include methods that came to prominence in Russia and Germany in the first part of the 20 th century, such as those which used film and paper as primary media, and those that developed during the post-war period, including Oramics, and others. Most importantly, this paper describes a framework and examples that demonstrate processes whereby the geometry of regular polygons can be used to generate specific acoustic phenomena in frequency, timbre, phase, and metre.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850967
Zenodo URL: https://zenodo.org/record/850967
2014.168
NICO: An Open-source Interface, Bridging the Gap Between Musician and Tesla Coil
Johnston, Blake Victoria University of Wellington; Wellington, New Zealand
Bailey, Josh Vandervecken Cybernetics; Wellington, New Zealand
McKinnon, Dugal Victoria University of Wellington; Wellington, New Zealand
Abstract
This paper describes the design and implementation of a new interface, Nico, which allows new and existing musical devices to control Tesla Coils. The interface uses an Arduino microcontroller to convert OSC and MIDI control data to TTL pulses that command the behavior of a Tesla Coil. This paper will give some background on the Tesla Coil, outline the design and capabilities of the interface, and will discuss the performance possibilities that Nico creates.
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not available
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Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850661
Zenodo URL: https://zenodo.org/record/850661
2014.169
NLN-live, an Application for Live Non-linear and Interactive Instrumental Music
van Nispen Tot Pannerden, Than School of Music and Technology, HKU University of the Arts Utrecht; Utrecht, Netherlands
Abstract
NLN-live is a dynamic score system for nonlinear and interactive instrumental music performances, based on music technologies used in video games. The goal of NLN-live is to facilitate dynamically controlled collaborative performances that make live interactive video games music possible. The principle of NLN-live is simple: every musician of an ensemble repeatedly plays two fragments of music that are presented on a screen, say X and Y, with the musical content for X and Y being variable and changing, for example, in relation to the interaction with a video game. The continuously varying music fragments are controlled remotely by the NLN-live application, while the speed of these changes is controlled by the conductor. NLN-live has successfully been used with single musicians, ensembles, as well as a symphonic orchestra.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850663
Zenodo URL: https://zenodo.org/record/850663
2014.170
o.io: A Unified Communications Framework for Music, Intermedia and Cloud Interaction
Freed, Adrian CNMAT, University of California, Berkeley; Berkeley, United States
DeFilippo, David CNMAT, University of California, Berkeley; Berkeley, United States
Gottfried, Rama CNMAT, University of California, Berkeley; Berkeley, United States
MacCallum, John CNMAT, University of California, Berkeley; Berkeley, United States
Lubow, Jeff CNMAT, University of California, Berkeley; Berkeley, United States
Razo, Derek CNMAT, University of California, Berkeley; Berkeley, United States
Wessel, David CNMAT, University of California, Berkeley; Berkeley, United States
Abstract
We present work on the “o.io” system, a suite of tools for hiding vendor-specific and protocolspecific details of controllers and actuators and for replacing diffuse documentation and heterogeneous ontologies with harmonized, situational schema carried along in real-time with gesture and actuator control values as Open Sound Control (OSC) bundles. We introduce useful general design patterns and object-oriented tools that support them. We conclude with details of support of two particular devices that illustrate the potential of “o.io”, the QuNeo and Bluetooth LE heart rate monitors.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850931
Zenodo URL: https://zenodo.org/record/850931
2014.171
On the Playing of Monodic Pitch in Digital Music Instrument
Goudard, Vincent UMR 7190 - équipe LAM, Institut Jean Le Rond d’Alembert, University Paris VI; Paris, France
Genevois, Hugues UMR 7190 - équipe LAM, Institut Jean Le Rond d’Alembert, University Paris VI; Paris, France
Feugère, Lionel University Paris VI; Paris, France / Laboratoire d'Informatique pour la Mécanique et les Sciences de l'Ingénieur (LIMSI), Université Paris-Sud XI; Orsay Cedex, France
Abstract
This paper addresses the issue of controlling monodic pitch in digital musical instruments (DMIs), with a focus on instruments for which the pitch needs to be played with accuracy. Indeed, in many cultures, music is based on discrete sets of ordered notes called scales, so the need to control pitch has a predominant role in acoustical instruments as well as in most of the DMIs. But the freedom of parameter mapping allowed by computers, as well as the wide range of interfaces, opens a large variety of strategies to control pitch in the DMIs. Without pretending to be exhaustive, our paper aims to draw up a general overview of this subject. It includes: 1) a review of interfaces to produce discrete and/or continuous pitch 2) a review of DMI maker strategies to help the performer for controlling easily and accurately the pitch 3) some developments from the authors concerning interfaces and mapping strategies for continuous pitch control 4) some comparisons with acoustical instruments. At last, a Max/MSP patch –publically available– is provided to support the discussion by allowing the reader to test some of the pitch control strategies reviewed in this paper.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850880
Zenodo URL: https://zenodo.org/record/850880
2014.172
OPERAcraft: Blurring the Lines Between Real and Virtual
Bukvic, Ivica Ico Institute for Creativity, Arts, and Technology, School of Performing Arts, Virginia Tech; Blacksburg, United States
Cahoon, Cody Computer Science, Virginia Tech; Blacksburg, United States
Wyatt, Ariana School of Performing Arts, Virginia Tech; Blacksburg, United States
Cowden, Tracy School of Performing Arts, Virginia Tech; Blacksburg, United States
Dredger, Katie College of Education, James Madison University; Harrisonburg, United States
Abstract
In the following paper we present an innovative approach to coupling gaming, telematics, machinima, and opera to produce a hybrid performance art form and an arts+technology education platform. To achieve this, we leverage a custom Minecraft video game and sandbox mod and pd-l2ork real-time digital signal processing environment. The result is a malleable telematic-ready platform capable of supporting a broad array of artistic forms beyond its original intent, including theatre, cinema, as well as machinima and other experimental genres.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850511
Zenodo URL: https://zenodo.org/record/850511
2014.173
Optimal Acoustic Reverberation Evaluation of Byzantine Chanting in Churches
Mourjopoulos, Ioannis N. (John) University of Patras; Patras, Greece
Papadakos, Charalampos University of Patras; Patras, Greece
Kamaris, Gavriil University of Patras; Patras, Greece
Chryssochoidis, Georgios University of Athens; Athens, Greece
Kouroupetroglou, Georgios University of Athens; Athens, Greece
Abstract
Byzantine chants constitute a form of monophonic vocal music characterized by lengthy phrases and by musical scales with intervals smaller than the western music semitones. Byzantine churches have extremely long Reverberation Time and their acoustics is dominated by the contributions of the diffuse sound field. Thus, the sound character of Byzantine chanting is closely linked to the acoustic reverberation. In this work we examine the perceived preference for the various features of reverberation imposed on excerpts of Byzantine psalms. This is achieved by simulations of typical churches with varying internal volume, reverberation time and source / receiver distance, utilizing chants from the DAMASKINOS corpus. The simulation (auralization) results were evaluated via statistical preference method using a group of 15 listeners. The results of such controlled experiments illustrate the listener preferences and acceptability of various parameters or combinations of parameters related to reverberation, e.g. of the Reverberation Time value in relation to church dimensions and listener position inside the church.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850733
Zenodo URL: https://zenodo.org/record/850733
2014.174
Orchestrating Wall Reflections in Space by Icosahedral Loudspeaker: Findings From First Artistic Research Exploration
Sharma, Gerriet Krishna Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Zotter, Franz Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Frank, Matthias Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
Can we orchestrate the acoustic reflections in a room within an electroacoustic composition? Doing so appears promising by using the twenty-channel IEM icosahedral loudspeaker (ICO) and its beamforming algorithms. Based on two musical pieces, we present initial results from an investigation about the perceived auditory objects. By means of explorative listening experiments, we bring evidence that the ICO orchestrates wall reflections. Moreover we can roughly explain the responses by a wall reflection model with echo thresholds or by a binaural lateralization model.
Keywords
not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850701
Zenodo URL: https://zenodo.org/record/850701
2014.175
Organic Oscillator: Experiments Using Natural Oscillation Sources From Audiences
Fan, Yuan-Yi Media Arts and Technology, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Abstract
Our idea of Organic Oscillator is a combination of the mechanism of a table lookup oscillator and natural oscillation sources from audiences. Based on this idea, we conduct a series of audio and visual experiments, starting from using a single natural oscillation source in the human body to multiple ones from the audiences. Shifting from a singleparticipant paradigm to a group-participants paradigm, we summarize our development of audience sensing apparatuses and identify the need of an abstract audience representation to extend composition possibilities and interactive system design. Informed by our experiments, the absence of the abstract audience representation leads to a gap that limits us to express data relationships among multiple natural oscillation sources from the audiences. To advance our research, we present a novel symbolic audience model that abstracts audience members as objects and their responses as processes in a systematic perspective. We envision works created using this model may allow us to explore new forms built using this model’s new conceptual strategies of inter-participant relationship, synchronization, and collective expression.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850665
Zenodo URL: https://zenodo.org/record/850665
2014.176
P300 Harmonies: A Brain-computer Musical Interface
Vamvakousis, Zacharias Pompeu Fabra University (UPF); Barcelona, Spain
Ramirez, Rafael Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
We present P300 harmonies: a P300-based Brain-Computer Musical Interface. Using a commercial low-cost EEG device, the user can voluntarily change the harmony of an arpeggio by focusing and mentally counting the occurrences of each note. The arpeggio consists of 6 notes separated by an interval of 175ms. The notes of the arpeggio are controlled through 6 switches, where each switch has two possible states: up and down. When a switch is in the up-state the note produced by this switch is one tone or semitone -depending on the switchhigher than when in the downstate. By focusing on each of the notes of the arpeggio, the user may change -after 12 repetitionsthe state of the corresponding switch. The notes of the arpeggio appear in a random order. The state of each switch is shown on a screen. Each switch flashes when the corresponding note is heard. The user can either focus exclusively on the auditory presentation or make use of the visual presentation as well. The interface was presented in a live performance, where the user was able to successfully change the state of all switches with 100% accuracy. An additional preliminary evaluation was performed with 3 more users, in which the selection accuracy was 83.33%.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850667
Zenodo URL: https://zenodo.org/record/850667
2014.177
Parameter Estimation of Virtual Musical Instrument Synthesizers
Itoyama, Katsutoshi Kyoto University; Kyoto, Japan
Okuno, Hiroshi G. Kyoto University; Kyoto, Japan
Abstract
A method has been developed for estimating the parameters of virtual musical instrument synthesizers to obtain isolated instrument sounds without distortion and noise. First, a number of instrument sounds are generated from randomly generated parameters of a synthesizer. Lowlevel acoustic features and their delta features are extracted for each time frame and accumulated into statistics. Multiple linear regression is used to model the relationship between the acoustic features and instrument parameters. Experimental evaluations showed that the proposed method estimated parameters with a best case error of 0.004 and signal-to-distortion ratio of 17.35 dB, and reduced noise to smaller distortions in several cases.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850882
Zenodo URL: https://zenodo.org/record/850882
2014.178
Perception of Interactive Vibrotactilecues on the Acoustic Grand and Upright Piano
Fontana, Federico Department of Mathematics and Computer Science, Università di Udine; Udine, Italy
Avanzini, Federico Department of Information Engineering, Università di Padova; Padova, Italy
Järveläinen, Hanna Institute for Computer Music and Sound Technology, Zürcher Hochschule der Künste; Zurich, Switzerland
Papetti, Stefano Institute for Computer Music and Sound Technology, Zürcher Hochschule der Künste; Zurich, Switzerland
Zanini, Francesco Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Zanini, Valerio Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Abstract
An experiment has been conducted, measuring pianists’ sensitivity to piano key vibrations at the fingers while playing an upright or a grand Yamaha Disklavier piano. At each trial, which consisted in playing loud and long A notes across the whole keyboard, vibrations were either present or absent through setting the Disklavier pianos to normal or quiet mode. Sound feedback was always provided by a MIDI controlled piano synthesizer via isolating ear/headphones, which masked the acoustic sound in normal mode. In partial disagreement with the existing literature, our results suggest that significant vibrotactile cues are produced in the lower range of the piano keyboard, with perceptual cut-off around the middle octave. Possible psychophysical mechanisms supporting the existence of such cues are additionally discussed.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850735
Zenodo URL: https://zenodo.org/record/850735
2014.179
PheroMusic: Navigating a Flexible Space of Active Music Experiences
Nymoen, Kristian Department of Informatics, University of Oslo; Oslo, Norway
Chandra, Arjun Department of Informatics, University of Oslo; Oslo, Norway
Glette, Kyrre Department of Informatics, University of Oslo; Oslo, Norway
Tørresen, Jim Department of Informatics, University of Oslo; Oslo, Norway
Jensenius, Alexander Refsum Department of Musicology, University of Oslo; Oslo, Norway
Voldsund, Arve Kodebyraaet; Giske, Norway
Abstract
We consider the issue of how a flexible musical space can be manipulated by users of an active music system. The musical space is navigated within by selecting transitions between different sections of the space. We take inspiration from pheromone trails in ant colonies to propose and investigate an approach that allows an artificial agent to navigate such musical spaces in accordance with the preferences of the user, and a set of boundaries specified by the designer of the musical space.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850969
Zenodo URL: https://zenodo.org/record/850969
2014.180
Physical and Perceptual Characterization of a Tactile Display for a Live-electronics Notification System
Frid, Emma CSC Department of Speech, Music and Hearing, KTH Royal Institute of Technology; Stockholm, Sweden
Giordano, Marcello Input Devices and Music Interaction Lab, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Schumacher, Marlon M. Input Devices and Music Interaction Lab, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Wanderley, Marcelo M. Input Devices and Music Interaction Lab, Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), McGill University; Montreal, Canada
Abstract
In this paper we present a study we conducted to assess physical and perceptual properties of a tactile display for a tactile notification system within the CIRMMT Live Electronics Framework (CLEF), a Max-based 1 modular environment for composition and performance of live electronic music. Our tactile display is composed of two rotating eccentric mass actuators driven by a PWM signal generated from an Arduino microcontroller. We conducted physical measurements using an accelerometer and two user-based studies in order to evaluate: intensity and spectral peak frequency as function of duty cycle, as well as perceptual vibrotactile absolute and differential threshold. Results, obtained through the use of a logit regression model, provide us with precise design guidelines. These guidelines will enable us to ensure robust perceptual discrimination between vibrotactile stimuli at different intensities. Among with other characterizations presented in this study, these guidelines will allow us to better design tactile cues for our notification system for live-electronics performance.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850737
Zenodo URL: https://zenodo.org/record/850737
2014.181
Planning Human-computer Improvisation
Nika, Jérôme UMR STMS 9912 CNRS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France / Sorbonne Universités UPMC; Paris, France
Echeveste, José UMR STMS 9912 CNRS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France / Sorbonne Universités UPMC; Paris, France / MuTAnt team, INRIA Rocquencourt; Rocquencourt, France
Chemillier, Marc Cams, École des hautes études en sciences sociales (EHESS); Paris, France
Giavitto, Jean-Louis UMR STMS 9912 CNRS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France / MuTAnt team, INRIA Rocquencourt; Rocquencourt, France
Abstract
Improvisation intrinsically carries a dialectic between spontaneity/reactivity and long-term planning/organization. This paper transposes this dialectic to interactive human-computer improvisation where the computer has to interleave various generative processes. They require different levels of prior knowledge, and follow a coarser improvisation plan driven by real-time interactions with the musicians. We propose a time-aware extensible architecture allowing the temporal coordination of different improvisation strategies. It integrates various generative strategies capitalizing on the system Improtek into the high-level structure provided by the language associated to the score follower Antescofo. The resulting framework manages the musical events, the triggering of generative processes at different time scales and the declarative specification of improvisation plans driven by the occurrence of complex events.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850844
Zenodo URL: https://zenodo.org/record/850844
2014.182
POLISphone: Creating and Performing With a Flexible Soundmap
Lopes, Filipe Cunha Monteiro Faculdade de Engenharia, Universidade do Porto; Porto, Portugal
Rodriguez, Paulo Departamento de Comunicação e Arte, Universidade de Aveiro; Aveiro, Portugal
Abstract
POLISphone is a software for music performance, inspired on the popular idea of “soundmap”. Unlike most soundmaps, its main aim is to provide a way to easily create original soundmaps and perform with it. It also targets to be a versatile interface, both visual and sound wise, and to induce a sense of instrumentality. In this paper, the authors describe its implementation and, in addition, considerations are made regarding its use and performativity potential, based on fieldwork.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850971
Zenodo URL: https://zenodo.org/record/850971
2014.183
Polytempo Network: A System for Technology-assisted Conducting
Kocher, Philippe Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
This paper describes the current development of a system designed for the synchronization of musicians in polytempic music. In order to convey the tempo, an animation is used that resembles the gestures of a conductor, which is believed to be particularly comprehensible for musicians. This system offers an alternative to the use of a click track which is still the most common means for the purpose of synchronization. The possibility to combine several devices in a network allows for the synchronization of several players in ensemble music. It is hoped that this system promotes the creation and performance of music that exhibit ambitious tempo polyphony as well as spatial distribution of the musicians.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850605
Zenodo URL: https://zenodo.org/record/850605
2014.184
pOM: Linking Pen Gestures to Computer-aided Composition Processes
Garcia, Jérémie LRI, CNRS, Université Paris-Sud XI; Orsay, France
Leroux, Philippe Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), Schulich School of Music, McGill University; Montreal, Canada
Bresson, Jean STMS Lab, CNRS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Illuminated manuscripts of medieval music contain rich decorations in addition to handwritten neumatic notation. Our project with composer Philippe Leroux investigates the use of such handwritten symbols during the composition of his piece Quid sit musicus. We introduce pOM, an interactive paper application and a library for the OpenMusic computer-aided composition environment which links pen gestures over an old manuscript to compositional processes. The paper interface analyzes the stroke while writing and transmits several features to reactive programs in OpenMusic. pOM allows the composer to define his own functions and get direct musical feedback from pen interactions.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850557
Zenodo URL: https://zenodo.org/record/850557
2014.185
Power-scaled Spectral Flux and Peak-valley Group-delay Methods for Robust Musical Onset Detection
Su, Li CITI, Academia Sinica; Taipei, Taiwan
Yang, Yi-Hsuan CITI, Academia Sinica; Taipei, Taiwan
Abstract
A robust onset detection method has to deal with wide dynamic ranges and diverse transient behaviors prevalent in real-world music signals. This paper presents contributions to robust onset detection by proposing two novel onset detection methods. The first one, termed power-scaled spectral flux (PSSF), applies power scaling to the spectral flux to better balance the wide dynamic range in the spectrogram. The second method, called peak-valley groupdelay (PVGD), enhances the robustness to noise terms by detecting peak-valley pairs from the summed group-delay function to capture the attack-decay envelope. The proposed methods are evaluated on a piano dataset and a diverse dataset of 12 different Western and Turkish instruments. To tackle the problem from a fundamental signal processing perspective, in this study we do not consider advanced methods such as late fusion, multi-band processing, and neural networks. Experimental result shows that the proposed methods yield competitive accuracy for the two datasets, improving the F-score for the former dataset from 0.956 to 0.963, and the F-score for the latter dataset from 0.712 to 0.754, comparing to existing methods.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850816
Zenodo URL: https://zenodo.org/record/850816
2014.186
Principles of Visual Design for Computer Music
Wang, Ge Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
This paper presents observations pertaining to elements of expressive visual design for computer music, focusing in particular on real-time integration of graphics and audio. Specific projects are presented as examples and case studies supporting a set of design principles. They range from “user-oriented” to “aesthetic” and additional observations. Examples are categorized into audio visualization, game-like interfaces, and mobile instruments.
Keywords
not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850559
Zenodo URL: https://zenodo.org/record/850559
2014.187
Probabilistic Harmonization With Fixed Intermediate Chord Constraints
Kaliakatsos-Papakostas, Maximos School of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Cambouropoulos, Emilios School of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
During the last decades, several methodologies have been proposed for the harmonization of a given melody with algorithmic means. Among the most successful are methodologies that incorporate probabilistic mechanisms and statistical learning, since they have the ability to generate harmonies that statistically adhere to the harmonic characteristics of the idiom that the training pieces belong to. The current paper discusses the utilization of a well–studied probabilistic methodology, the hidden Markov model (HMM), in combination with additional constraints that incorporate intermediate fixed–chord constraints. This work is motivated by the fact that some parts of a phrase (like the cadence) or a piece (e.g. points of modulation, peaks of tension, intermediate cadences etc.) are characteristic about the phrase’s or piece’s idiomatic identity. The presented methodology allows to define and isolate such important parts/functions and include them as constraints in a probabilistic harmonization methodology. To this end, the constrained HMM (CHMM) is developed, harnessed with the novel general chord type (GCT) representation, while the study focuses on examples that highlight the diversity that constraints introduce in harmonizations.
Keywords
not available
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not available
Easychair keyphrases
not available
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unknown
DOI: 10.5281/zenodo.850775
Zenodo URL: https://zenodo.org/record/850775
2014.188
Programmation and Control of Faust Sound Processing in OpenMusic
Bouche, Dimitri STMS lab, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Bresson, Jean STMS lab, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Letz, Stéphane GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
We introduce OM-Faust, an OpenMusic library including objects and functions to write, compile and control Faust programs. Faust is a domain-specific functional programming language designed for DSP. The integration of Faust in OpenMusic enables composers to program and compile their own audio effects and synthesizers, controllable both in real-time or deferred time contexts. This implementation suggests a more general discussion regarding the relationship between real-time and off-line processing in computer-aided composition.
Keywords
not available
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not available
Easychair keyphrases
not available
Paper type
unknown
DOI: 10.5281/zenodo.850933
Zenodo URL: https://zenodo.org/record/850933
2014.189
Query-by-multiple-examples: Content-based Search in Computer-assisted Sound-based Musical Composition
Tavares, Tiago Fernandes Interdisciplinary Nucleus of Sound Communication, Music Department – Institute of Arts, University of Campinas (UNICAMP); Campinas, Brazil
Manzolli, Jônatas Interdisciplinary Nucleus of Sound Communication, Music Department – Institute of Arts, University of Campinas (UNICAMP); Campinas, Brazil
Abstract
We propose a search method, namely Query-by-MultipleExamples, that is able to search, within an audio sample database, for a particular sonic characteristic. The characteristic is learned on-the-fly by means of multiple examples provided by a human user, thus avoiding ambiguities due to manual labelling. We evaluate four variations of the proposed method using ground truth provided by three musicians. It is shown that, for queries based on sonic characteristics, the query modelling process yields more correct results than if several single-example queries were executed in parallel using the same input data.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850561
Zenodo URL: https://zenodo.org/record/850561
2014.190
Realism, Art, Technology and Audiovisual Immersion Into the Environment of the Ionian Islands
Loufopoulos, Apostolos Ionian University; Corfu, Greece
Heliades, George Technological Institute of Ionian Islands; Argostoli, Greece
Emmanouil, Minas Technological Institute of Ionian Islands; Argostoli, Greece
Maragkos, Theofanis Technological Institute of Ionian Islands; Argostoli, Greece
Abstract
This paper refers to the audiovisual recording, transformation and projection of natural spaces, describing the technology and methods for capturing panoramic sound and image, and the technologies and processes involved in projecting the recorded material through the mobile immersion environment A.R.T.E. (Artificial Restoration of Transmuted Environments) 1 . The project ‘opticacoustic ecology’, coordinated between 2012-2014 by the TEI of Ionian islands, Greece, involved the seasonal recording of natural outdoors environments, aiming at the documentation and study of the natural heritage of the Ionian Sea, and the utilization of current digital technology for synchronized audiovisual capture and projection, which enhances our experience of the natural environment. During such a process, a number of decisions need to be made regarding proper planning, choice of field recording equipment, techniques applied and a series of problems to be solved. At a later stage, projecting the material through a mobile immersion platform such as A.R.T.E. engages combined knowledge in the fields of mechanical structuring, creative design, audio/visual processing and projection through specialized software and hardware. Through the practical experience gained by the above, a number of conclusions can be drawn regarding the advantages of the achieved enhanced experience through audiovisual immersion, technical issues, difficulties and potential applications and developments for future reference.
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Paper type
unknown
DOI: 10.5281/zenodo.850513
Zenodo URL: https://zenodo.org/record/850513
2014.191
Real-time Breeding Composition System by Means of Genetic Programming and Breeding Procedure
Ando, Daichi Faculty of System Design, Tokyo Metropolitan University; Tokyo, Japan
Abstract
The use of laptop computers to produce real-time music and multimedia performances has increased significantly in recent years. In this paper, I propose a new method of generating club-style loop music in real time by means of interactive evolutionary computation (IEC). The method includes two features. The first is the concept of “breeding” without any consciousness of generation. The second is a multiple-ontogeny mechanism that generates several phenotypes from one genotype, incorporating ideas of coevolution and multi-objective optimization. The proposed method overcomes certain limitations of IEC, namely the burden of interactive evaluation and the narrow search domain resulting from handling few individuals. A performance system that generates club-style loop music from the photo album in mobile devices is implemented by means of the proposed method. This system is then tested, and the success of performances with the implemented system indicates that the proposed methods work effectively.
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850563
Zenodo URL: https://zenodo.org/record/850563
2014.192
Real-time Composition of Sound Environments
Spiropoulos, Georgia Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In this paper I will present some aesthetic and technical aspects of my work related to real-time composition of sound environments (soundscapes and vocalscapes) through two recent works: “Geografia Sonora”, a sound and video installation on the theme of the Mediterranean sea, a navigation in an archipelago of “sound islands” of singing/speaking voices, sound signals, natural and mechanical sounds; “Vocalscapes on Walt Whitman”, an electroacoustic composition exploring the idea of “poetry as vocalscape” and as “geography” of voices and performances based in the recordings of fifteen talkers. The works have been composed and spatialized in real time by a “sound navigation map”, a virtual score within Max/MSP, the Spatialisateur and Antescofo. Through these two works I will show: 1) by which means a vast sound material can be organized and processed/composed automatically in order to beget a sound environment in real-time through a coherent open virtual score; 2) how such a sound environment may be seen simultaneously as a sound composition, as the trace of a shared experience, as the record of poetry and vocal performance or as the soundmark of a community and of a land.
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unknown
DOI: 10.5281/zenodo.850461
Zenodo URL: https://zenodo.org/record/850461
2014.193
Real-time Manipulation of Syncopation in Audio Loops
Cocharro, Diogo TEC, INESC TEC; Porto, Portugal
Sioros, George Faculdade de Engenharia, Universidade do Porto; Porto, Portugal
Caetano, Marcelo TEC, INESC TEC; Porto, Portugal
Davies, Matthew E. P. TEC, INESC TEC; Porto, Portugal
Abstract
In this work we present a system that estimates and manipulates rhythmic structures from audio loops in realtime to perform syncopation transformations. The core of our system is a technique for the manipulation of syncopation in symbolic representations of rhythm. In order to apply this technique to audio signals we must first segment the audio loop into musical events using onset detection. Then, we use the symbolic syncopation transformation method to determine how to modify the rhythmic structure in order to change the syncopation. Finally we present two alternative methods to reconstruct the audio loop, one based on time scaling and the other on resampling. Our system, Loopalooza, is implemented as a freely available MaxForLive device to allow musicians and DJs to manipulate syncopation in audio loops in realtime.
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unknown
DOI: 10.5281/zenodo.850607
Zenodo URL: https://zenodo.org/record/850607
2014.194
Real-time Music Composition Through P-timed Petri Nets
Baratè, Adriano Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Haus, Goffredo Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Ludovico, Luca Andrea Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Abstract
This paper introduces a new real-time concept of reconfigurable P-timed Petri nets. Our goal is to provide a formal model to build and modify a net on the fly. In the first part of the article, the original P-timed extensions are summarized. Then we define an endomorphism that alters the original Petri net in real time; for instance one can change the number of tokens or the net structure. The endomorphism is applied to Music Petri nets, showing how this new approach can be effective in real-time synthesis of music. The final case study provides a practical application by illustrating the real-time creation of a simple piano loop.
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unknown
DOI: 10.5281/zenodo.850565
Zenodo URL: https://zenodo.org/record/850565
2014.195
Real Time Tempo Canons With Antescofo
Trapani, Christopher Columbia University; Manhattan, United States
Echeveste, José IRCAM UMR STMS 9912 - CNRS, Sorbonne Universités UPMC; Rocquencourt, France
Abstract
With recent advances in score-following capabilities, it has become possible to envision new timing strategies, to realize previously impractical methods of coordination between a live performer and electronics. Our work centers on the challenge of synchronizing at the end of a musical phrase, where events and processes are timed not from an initial trigger, but occur according to a relative distance towards a predicted future attack. The key software component is Antescofo, a score-following tool which relies on a strong coupling, through a dynamic programming language, between a machine listening module and a reactive engine. This language allows hierarchical, concurrent, and heterogeneous computer processes to be organized over time, and for external events to be anticipated, with a runtime system that triggers electronic actions in response to variations in performance. Various programming strategies were implemented, honed and tested with a live performer. The musical material of these sketches focused on the idea of flexible canons, on interactions between a live instrument and a second voice generated from a buffered real-time recording. The different canonic strategies make use of Antescofo’s live tempo calculations to create dynamic tempo shifts, to force voices to converge, and to control precise canon effects.
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unknown
DOI: 10.5281/zenodo.850777
Zenodo URL: https://zenodo.org/record/850777
2014.196
Recommending Music to Groups in Fitness Classes
De Carolis, Berardina Università di Bari; Bari, Italy
Ferilli, Stefano Università di Bari; Bari, Italy
Orio, Nicola Università di Padova; Padova, Italy
Abstract
Research in the fitness domain proves that music has an important motivating effect on the athletes' performance. This effect is even stronger when music is used in sport synchronously like, for instance, in fitness classes. Indoor cycling is one of these activities in which music is a key issue of success during the lesson, providing a high motivational mean for the instructor towards the classroom. In this paper we present the result of a study in which we tested a group recommender system aiming at supporting the instructor music choice when preparing the lesson. This is done aggregating data present in the individual profiles of each user in the class that are built by combining explicit and implicit gathering of information about their music tastes. In order to refine the profiling process, users may express their feedback on the proposed music tracks after the workout, thus improving the quality of the future music recommendations
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unknown
DOI: Missing
Zenodo URL: Missing
2014.197
Representation of Musical Computer Processes
Fober, Dominique Centre national de création musicale, GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Orlarey, Yann Centre national de création musicale, GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Letz, Stéphane Centre national de création musicale, GRAME - Générateur de Ressources et d’Activités Musicales Exploratoires; Lyon, France
Abstract
The paper presents a study about the representation of musical computer processes within a music score. The idea is to provide performers with information that could be useful especially in the context of interactive music. The paper starts with a characterization of a musical computer process in order to define the values to be represented. Next it proposes an approach to time representation suitable to asynchronous processes representation.
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unknown
DOI: 10.5281/zenodo.850935
Zenodo URL: https://zenodo.org/record/850935
2014.198
Resolving Octave Ambiguities: A Cross-dataset Investigation
Su, Li CITI, Academia Sinica; Taipei, Taiwan
Lai, Hsin-Yu Dep. EE, National Taiwan University; Taipei, Taiwan
Yu, Li-Fan CITI, Academia Sinica; Taipei, Taiwan
Yang, Yi-Hsuan CITI, Academia Sinica; Taipei, Taiwan
Abstract
Octave dual-tone is one of the most difficult patterns to identify in multipitch estimation (MPE), as the spectrum of the upper note is almost masked by the lower one. This paper investigates the potential for a supervised binary classification framework to address this issue, and whether such a framework is adequate for diverse real-world signals. To this end, a new dataset comprising of 3,493 real single notes and octaves recorded by two pianists and guitarists are constructed to facilitate an in-depth analysis of this problem. The dataset is available to the research community. Performance of synthetic and real-world octave dualtones using various spectral-, cepstraland phase-based features are studied systematically. Our experiments show that the instantaneous frequency deviation (IFD) represents the most reliable feature representation in discriminating octave dual-tones from single notes. Based on this new dataset and the RWC dataset, we present a series of experiments to offer insights into the performance difference between synthetic and real octaves, piano and guitar notes, as well as studio recordings and home recordings. As the proposed method holds the promise of resolving octave dualtone, we envision that it can be an important module of a multipitch estimation system.
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unknown
DOI: 10.5281/zenodo.850739
Zenodo URL: https://zenodo.org/record/850739
2014.199
Rhythmic Processes in Electronic Music
Roads, Curtis Media Arts and Technology, Music University of California; Santa Barbara, United States
Abstract
Electronic technology has liberated musical time and changed musical aesthetics. In the past, musical time was considered as a linear medium that was subdivided according to ratios and intervals of a more-or-less steady meter. However, the possibilities of envelope control and the creation of liquid or cloud-like sound morphologies suggests a view of rhythm not as a fixed set of intervals on a time grid, but rather as a continuously flowing, undulating, and malleable temporal substrate upon which events can be scattered, sprinkled, sprayed, or stirred at will. In this view, composition is not a matter of filling or dividing time, but rather of generating time. The core of this paper introduces aspects of rhythmic discourse that appear in my electronic music. These include: the design of phrases and figures, exploring a particle-based rhythmic discourse, deploying polyrhythmic processes, the shaping of streams and clouds, using fields of attraction and repulsion, creating pulsation and pitched tones by particle replication, using reverberant space as a cadence, contrasting ostinato and intermittency, using echoes as rhythmic elements, and composing with tape echo feedback. The lecture is accompanied by sound examples. The text is derived from a chapter on rhythm in my forthcoming book Composing Electronic Music: A New Aesthetic [1].
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unknown
DOI: 10.5281/zenodo.850449
Zenodo URL: https://zenodo.org/record/850449
2014.200
Sampling the Extrema From Statistical Models of Music With Variable, Neighbourhood Search
Herremans, Dorien ANT/OR - University of Antwerp Operations Research Group, University of Antwerp; Antwerp, Belgium
Sörensen, Kenneth Department of Computer Science and Artificial Intelligence, University of the Basque Country (UPV/EHU); San Sebastián, Spain
Conklin, Darrell IKERBASQUE, Basque Foundation for Science; Bilbao, Spain
Abstract
Statistical models of music can be used for classification and prediction tasks as well as for generating music. There are several different techniques to generate music from a statistical model, but not all are able to effectively explore the higher probability extrema of the distribution of sequences. In this paper, the vertical viewpoints method is used to learn a Markov Model of abstract features from an existing corpus of music. This model is incorporated in the objective function of a variable neighbourhood search method. The resulting system is extensively tested and compared to two popular sampling algorithms such as Gibbs sampling and random walk. The variable neighbourhood search algorithm previously worked with predefined style rules from music theory. In this work it has been made more versatile by using automatically learned rules, while maintaining its efficiency.
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unknown
DOI: 10.5281/zenodo.850779
Zenodo URL: https://zenodo.org/record/850779
2014.201
Scaling Up Live Internet Performance With the Global Net Orchestra
Dannenberg, Roger B. Carnegie Mellon University; Pittsburgh, United States
Neuendorffer, Tom Carnegie Speech Corp.; Pittsburgh, United States
Abstract
Networked or “telematic” music performances take many forms, ranging from small laptop ensembles using local area networks to long-distance musical collaborations using audio and video links. Two important concerns for any networked performance are: (1) what is the role of communication in the music performance? In particular, what are the esthetic and pragmatic justifications for performing music at a distance, and (2) how are the effects of communication latency ameliorated or incorporated into the performance? A recent project, the Global Net Orchestra, is described. In addition to addressing these two concerns, the technical aspects of the project, which achieved a coordinated performance involving 68 computer musicians, each with their own connection to the network, are described.
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unknown
DOI: 10.5281/zenodo.850669
Zenodo URL: https://zenodo.org/record/850669
2014.202
SculpTon: A Malleable Tangible Interface for Sound Sculpting
Boem, Alberto Interface Culture Lab, Kunstuniversität Linz (UFG); Linz, Austria
Abstract
This paper seeks to outline the development of SculpTon, a malleable tangible interface for sound sculpting oriented to live performance. Within our concept, shaping sound is an equivalent of physically shaping an object. The recent reflexion on “computational materials” and “Radical Atoms” in TUIs has prompted us to imagine what possible applications in the context of NIME. In our interface the musical expression is made through the use of real-time formant synthesis in the form of a three dimensional, organically shaped object, which can be handled and modified by the user. Firstly, we describe the development and the design principles of the SculpTon interface. Since the notion of malleable interface was already explored in research fields such as TUIs, OUIs and NIME, we are going to recapitulate some previous works. Next, we introduce the technical implementation of the device and the embedded sensor array developed ad hoc. Drawing from such elements, we eventually describe the methods by which useful features were extracted and the mapping techniques used to deploy these features as control data for real-time sound synthesis.
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unknown
DOI: 10.5281/zenodo.850671
Zenodo URL: https://zenodo.org/record/850671
2014.203
Sense: An Electroacoustic Composition for Surround Sound and Tactile Transducers
Kokoras, Panayiotis University of North Texas; Denton, United States
Abstract
This paper describes the construction of a system for tactile sound using tactile transducers and explores the compositional potential for a system of these characteristics. It provides a short overview of the technologies involved and the composition methods and studio techniques developed to implement this project. Sense for fourteen discrete channels includes a surround 5.1-sound composition, the development of a six-channel tactile transducers system and the demonstration of the compositional methodology used in the piece. The purpose of the project was to create a holistic listening experience where the audible listening experience is combined with the tactile experiences ultra and infrasound.
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unknown
DOI: 10.5281/zenodo.850567
Zenodo URL: https://zenodo.org/record/850567
2014.204
Sensors2PD: Mobile Sensors and WiFi Information as Input for Pure Data
Deusany de Carvalho Junior, Antonio Computer Music Research Group, University of São Paulo (USP); São Paulo, Brazil
Abstract
This article presents the results of some experiments using mobile sensors in patches of pure data. We are considering normal sensor, connected devices and Android also focusing on information as hotspots available as our best improvement in this way. During testing was performed some communication through the web server, implementing push notifications, and we apply this approach in smart phone applications to react on interactive sound installations. Ambient sound is generated using Pure Data patches, and is collectively changed in the installation environment. Sensors2PD is a generic application that can load any Pure Data patch and can be freely used for other experiments. The description of the application and installation ideas are discussed based on technical results of our tests. Our approach is analyzed as a good concept for use in mobile music performances and installations, with clear advantages for sound and music computing.
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unknown
DOI: 10.5281/zenodo.850673
Zenodo URL: https://zenodo.org/record/850673
2014.205
Short-term and Long-term Evaluations of Melody Editing Method Based on Melodic Outline
Kitahara, Tetsuro Nihon University; Tokyo, Japan
Tsuchiya, Yuichi Nihon University; Tokyo, Japan
Abstract
In this paper, we describe short-term and long-term evaluations of our melody editing method based on a melodic outline. There have been a lot of attempts at automatic music composition, but only few allow musically untrained users to easily edit the melodies automatically composed. This is an important issue because it is difficult for such users to express what kind of melody they want in a machine-readable form and accordingly the generated melodies are often different from what they want. Based on this motivation, we proposed a melody editing method based on a melodic outline in which notewise information is hidden. Although we obtained promising results through a small user test, we did not conduct sufficient experiments. In this paper, we report the results of two experiments: one short-term and one long-term. In the shortterm experiment, we compared our method to the pianoroll interface. In the long-term experiment, we followed how users’ minds change through continously using our system. The results of both experiments showed the effects of our melody editing method.
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unknown
DOI: 10.5281/zenodo.850818
Zenodo URL: https://zenodo.org/record/850818
2014.206
SkipStep: A Multi-paradigm Touch-screen Instrument
Sarwate, Avneesh Department of Computer Science, Princeton University; Princeton, United States
Snyder, Jeff Department of Music, Princeton University; Princeton, United States
Abstract
SkipStep is a novel touchscreen application that allows users to write, perform, and improvise music on multiple virtual instruments via MIDI. It is a looping-based instrument that incorporates step sequencer and keyboard inspired interfaces with generative music capabilities. Additionally, SkipStep allows for collaborative performance over Wi-Fi, allowing users to either send musical material between separate SkipStep instances or collaboratively edit a single SkipStep file. This paper will provide the motivation behind SkipStep’s design, review similar interfaces, describe SkipStep, present a user evaluation of the interface, and detail future work
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unknown
DOI: 10.5281/zenodo.850675
Zenodo URL: https://zenodo.org/record/850675
2014.207
SoDA: A Sound Design Accelerator for the Automatic Generation of Soundscapes From an Ontologically Annotated Sound Library
Valle, Andrea CIRMA/StudiUm, Università di Torino; Torino, Italy
Armao, Paolo Freelance Sound Designer - Zero dB, Independent; Italy
Casu, Matteo CELI srl; Torino, Italy
Koutsomichalis, Marinos CIRMA/StudiUm, Università di Torino; Torino, Italy
Abstract
In this paper we describe the SoDA project, that aims at automatically generating soundscapes from a database of annotated sound files. The rationale of the project lies in the ubiquitous requirement for sound designer to produce backgrounds that include specific multi-layered sound materials. SoDA provides an ontologically-annotated database that allows the sound designer to describe the desired soundscape by keywords: by referring to the database, the system then delivers a resulting audiofile.
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unknown
DOI: 10.5281/zenodo.850937
Zenodo URL: https://zenodo.org/record/850937
2014.208
Some Perspectives in the Artistic Rendering of Music Scores
Evangelista, Gianpaolo Institute for Electroacoustics and Music Composition, University of Music and Performing Arts (MDW); Vienna, Austria
Abstract
Inspired by contemporary arts, we strive to apply visual techniques and concepts to the rendering of acousmatic and electroacoustic music scores over new and old media. In fact, the changed role of the score in music offers the opportunity for considering it as an object of art in itself, since it can and should be shared with and be enjoyed by the audience, while maintaining its usefulness to the composer, as well as to the eventual instrumentalists. In particular, we consider lenticular media for the rendering of multiple parts scores or even of three dimensional scores. Furthermore, we consider techniques related to the perception of color contrast for the rendering of simple geometric objects, such as lines and curves, with artistic nuances. The main point brought about by this paper is a reflection on how visual art styles and graphic design can be bent to represent structural elements of the score while keeping their meaning alive and making their look pleasant.
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unknown
DOI: 10.5281/zenodo.850781
Zenodo URL: https://zenodo.org/record/850781
2014.209
Sonic Scenography - Equalized Structure-borne Sound for Aurally Active Set Design
Lähdeoja, Otso Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Haapaniemi, Aki Department of Media Technology, Aalto University; Espoo, Finland
Välimäki, Vesa Department of Signal Processing and Acoustics, Aalto University; Espoo, Finland
Abstract
This paper suggests the use of a plywood panel, which is also a scenographic element in a dance performance, as a flat speaker. The sound emanating from the panel is subjectively different from a traditional loudspeaker, since the sound appears to originate from behind the panel. However, its frequency response is severely coloured by the panel modes, and the panel has a displeasing low pass-filtered sound. We propose a digital equalizing filter to improve the sound quality of the panel. The panel response is measured at various angles using the sinesweep method, and a smoothed average response is formed. A minimum-phase FIR equalizing filter is then designed using an FFT-based technique. Applying this filter to the input signal of the panel alleviates the spectral imbalance. As the measurement and filter design can be conducted online on the scene, the proposed equalized structure-borne sound now becomes an attractive possibility for modern performances.
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unknown
DOI: 10.5281/zenodo.850973
Zenodo URL: https://zenodo.org/record/850973
2014.210
Sonification of Controlled Quantum Dynamics
Kontogeorgakopoulos, Alexandros Cardiff School of Art and Design, Cardiff Metropolitan University; Cardiff, United Kingdom
Burgarth, Daniel Department of Mathematics and Physics, Aberystwyth University; Aberystwyth, United Kingdom
Abstract
In the present paper we employ sonification and simple electroacoustic composition techniques to represent simulated controlled quantum dynamics. We suggest an intuitive sonification process in order to represent acoustically and musically an important quantum phenomenon that is used in quantum computation. A interesting problem in this field has been to understand why states floats back and forth between a number of configurations, seemingly unguided, and yet almost miraculously reach target eventually. Through Parameter-Mapping-Sonification we explore the dynamics of this microscopic peculiar system. In our current research, our sonification choices have both a functional and an aesthetic goal.
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unknown
DOI: 10.5281/zenodo.850884
Zenodo URL: https://zenodo.org/record/850884
2014.211
Sound and Music Computing at Aalborg University in Copenhagen
Serafin, Stefania Aalborg University Copenhagen; Copenhagen, Denmark
Dahl, Sofia Aalborg University Copenhagen; Copenhagen, Denmark
De Götzen, Amalia Aalborg University Copenhagen; Copenhagen, Denmark
Erkut, Cumhur Aalborg University Copenhagen; Copenhagen, Denmark
Overholt, Daniel Aalborg University Copenhagen; Copenhagen, Denmark
Purwins, Hendrik Aalborg University Copenhagen; Copenhagen, Denmark
Sturm, Bob Luis Aalborg University Copenhagen; Copenhagen, Denmark
Abstract
In this studio report we present the research and teaching activities of the Sound and Music Computing Group at Aalborg University Copenhagen. A new Master education in Sound and Music Computing which starts on September 2014 is introduced.
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unknown
DOI: 10.5281/zenodo.851007
Zenodo URL: https://zenodo.org/record/851007
2014.212
Sound and Music Computing Meets Philosophy
Risset, Jean-Claude Laboratoire de Mécanique et d’Acoustique, Laboratoire de Mécanique et d'Acoustique (LMA); Marseille, France
Abstract
Philosophy was born in Greece: it raised fundamental questions, some of which were revived since 1957, when it became possible to compute sound and music. All material substances are made of atoms: modularity is at work in chemistry, linguistics, but also in music. Sounds can be synthesized from other sounds, but one cannot exhibit genuine atoms of sound. The question of simple versus multiple is crucial: as Chowning demonstrated, a mix of sound components can be heard as a single sonic entity or as a multiplicity of sounds. Sounds have objective reality, but auditory illusions demonstrate the idiosyncrasies of perception and remind us of Protagoras’ claim that “of all things the measure is man”. Chaos was present in the views of Anaxagoras. Pythagoras – echoed by Leibniz - insisted that numbers rule the world, including musical harmony, whereas Aristoxenus argued that the justification of music is in the ear of the listener rather in a mathematical rationale. Sound and music computation follows Pythagoras, but the importance of aural perception supports the motto of Aristoxenus. Myths like the New Atlantis and the Nietzschean distinction between apollinian and dyonisiac are still with us. Sound and music computing is still an Odyssey.
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unknown
DOI: 10.5281/zenodo.850447
Zenodo URL: https://zenodo.org/record/850447
2014.213
Sound of Rivers: Stone Drum: A Multimedia Collaboration, with Sonified Data, Computer-processed Narration, and Electric Violin
Nichols, Charles Institute for Creativity, Arts, and Technology, School of Performing Arts, Virginia Tech; Blacksburg, United States
Lorang, Mark Flathead Lake Biological Station, University of Montana; Polson, United States
Gibbons, Mark Independent research, Independent; United States
Bradley Browning, Nicole School of Dance, University of Montana; Missoula, United States
Bushnell, Amber College of Visual and Performing Arts, University of Montana; Missoula, United States
Abstract
Sound of Rivers: Stone Drum is a multimedia collaboration, between choreographer Nicole Bradley Browning, animator and video artist Amber Marjorie Bushnell, poet and narrator Mark Gibbons, and composer and electric violinist Charles Nichols, with dancer Allison Herther and narrator Stephen Kalm. The piece illuminates research by scientist Mark Lorang, into how fish and insects navigate the ecosystem of floodplains, by the sound of rivers. The project began with three floats down the Middle Fork Flathead River, where audio and data were recorded, on and in the river, and at the field station. The data were used to ramp amplitudes of bandpass filterbanks, to process recordings above and below water, and to drive a bowed-string physical model. Poetry was written, based on an explanation of the scientific research, and choreography, animation, computerprocessed narration, and an electric violin part were composed around the structure of the poem. The piece was performed live with a narrator, dancer, video artist, and electric violinist, and later developed into a fixed media piece.
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unknown
DOI: 10.5281/zenodo.850569
Zenodo URL: https://zenodo.org/record/850569
2014.214
Sound Processes: A New Computer Music Framework
Rutz, Hanns Holger Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
Sound Processes is an open source computer music framework providing abstractions suitable for composing realtime sound synthesis processes. It posits a memory model that automatically persists object graphs in a database, preserving the evolution of these objects over time and making them available either for later analysis or for incorporation into the compositional process itself. We report on the experience of using a prototype of this framework for a generative sound installation; in a second iteration, a graphical front-end was created that focuses on tape music composition and introduces new abstractions. Using this more controlled setting allowed us to study the implications of using a live versioning system for composition. We encountered a number of challenges in this system and present suggestions to tackle them: the relationship between compositional time (versions) and performance time; the relationship between text and interface and between object dependencies and interface; the representation, organisation and querying of musical data; the preservation and evolution of compositions.
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Paper type
unknown
DOI: 10.5281/zenodo.850939
Zenodo URL: https://zenodo.org/record/850939
2014.215
SoundScapeTK: A Platform for Mobile Soundscapes
Stoll, Thomas Kitefish Labs; Buffalo, United States
Abstract
SoundScapeTK is a set of software tools for soundscape composition utilizing smartphones. Developed as an outgrowth of earlier technological solutions, the software is a simple system for developing and deploying a series of sounds placed in a physical space using GPS information from individuals’ phones. The user experiences mixtures of these sounds as he/she moves about, with location information triggering all responses and interaction. The software is described in terms of its current core features, along with possibilities for extension and further capabilities.
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Paper type
unknown
DOI: 10.5281/zenodo.850975
Zenodo URL: https://zenodo.org/record/850975
2014.216
Sound Shapes and Spatial Texture: Frequency-space Morphology
Stuart, James Edith Cowan University; Perth, Australia
Abstract
The use of Wave Terrain Synthesis as a control mechanism is a governing system that allows the performer to create a complex and coordinated change across an existing complex parametric system. This research has focused largely on the application of Wave Terrain Synthesis for the control of Timbral Spatialisation. Various mappings of the Wave Terrain mechanism are discussed, to highlight some various ways in which frequency-space morphology may be approached with such a model. With the means of smoothly interpolating between various terrain and trajectory states allow the performer to control the evolving nature of sound shapes and spatial texture generated by the model.
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unknown
DOI: 10.5281/zenodo.850886
Zenodo URL: https://zenodo.org/record/850886
2014.217
Spatial and Kinematic Models for Procedural Audio in 3D Virtual Environments
Pecino Rodriguez, Jose Ignacio NOVARS Research Centre, University of Manchester; Manchester, United Kingdom
Abstract
In the last years an increasing interest can be observed for developments in game engine technologies as a versatile creative tool. In particular, the possibility to visualize and simulate real-time complex physical behaviors facilitates the design and implementation of 3D virtual music instruments and the exploration of sound gesture as a result of their kinematic and spatial properties. This paper describes two case examples in the form of linear compositions based on non-conventional instrumental designs where audio is procedurally generated using custom-built APIs in the game engine scripting language (Unity3D-Javascript/C#). Sound events are also organized as a sequence of flexible code instructions, resulting in a quasi-fixed piece duration with subtle timbral variations over multiple playbacks. In both cases, the model presented shows inherit spatial characteristics, which are useful in order to build spatialization patterns in a multichannel loudspeakers configuration and emphasize the strong causal connection between the visual and sonic aspects of these works.
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unknown
DOI: 10.5281/zenodo.850703
Zenodo URL: https://zenodo.org/record/850703
2014.218
Spatialization Symbolic Music Notation at ICST
Ellberger, Emile ICST - Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Toro Pérez, Germán ICST - Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Schuett, Johannes ICST - Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Zoia, Giorgio ICST - Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Cavaliero, Linda ICST - Institute for Computer Music and Sound Technology, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
SSMN intends to develop a conceptual framework and a tool set that allows composers to integrate spatialization in musical notation from the onset of the creation process. As the composition takes form and graphic symbols expressing spatialization is introduced into the score, instant audio rendering provides feedback within a surround sound configuration. In parallel, SSMN helps interpreters and audio engineers to learn and master scores that contain complex instructions of motion in space easily recognizable both in printed and animated electronic format. At first the SSMN SpatialTaxonomy was established to identify key motion in space possibilities within musical context; consequently, a collection of SSMN Symbols has been designed and implemented in a software library of graphical objects within MuseScoreSSMN, a dedicated editor that has been developed to allow interactive use of this library along with CWMN. In order to bridge the gap between visual elements and audio perception, the SSMN Rendering Engine application is at the heart of OSC inter-application communication strategies allowing the use of DAW and user-defined programming environments along with MuseScoreSSMN. A prototype has been prepared and tested by a user group consisting of composers and performers. Further research shall address other user cases integrating electroacoustic paradigms.
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unknown
DOI: 10.5281/zenodo.850787
Zenodo URL: https://zenodo.org/record/850787
2014.219
Spatial Transformations in Simplicial Chord Spaces
Bigo, Louis Department of Computer Science and Artificial Intelligence, University of the Basque Country (UPV/EHU); San Sebastián, Spain
Ghisi, Daniele Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Spicher, Antoine Laboratoire d’Algorithmique, Complexité et Logique (LACL), Université Paris-Est Créteil (UPEC); Paris, France
Andreatta, Moreno Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
In this article, we present a set of musical transformations based on chord spaces representations derived from the Tonnetz. These chord spaces are formalized as simplicial complexes. A piece is represented in such a space by a trajectory. Spatial transformations are applied on these trajectories and induce a transformation of the original piece. These concepts are implemented in two applications, the software HexaChord and the Max object bach.tonnetz, respectively dedicated to music analysis and composition.
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unknown
DOI: 10.5281/zenodo.850783
Zenodo URL: https://zenodo.org/record/850783
2014.220
Spatial Utilization of Sensory Dissonance and the Creation of Sonic Sculpture
Hansen, Brian Media Arts & Technology Program, University of California, Santa Barbara (UCSB); Santa Barbara, United States
Abstract
Issues of musically consonant and dissonant sonorities have defined compositional practices for centuries. Contributing to our understanding of consonant and dissonant sonorities is the quantification of sensory dissonance. There has been much research done in developing a method to quantify the sensory dissonance between two tones. All methods consider the physical and psychoacoustical aspects of sonic perception. However, these models typically ignore the dimension of physical space. This paper aims to develop a model for representing sensory dissonance in three-dimensional space. In doing so, the proposed method accounts for factors that impact the spatialization of sound and, in turn, sensory dissonance. These factors include the inverse-square law, atmospheric absorption, and phase. The implementation of these factors will be discussed in detail, ultimately resulting in a method to model the sensory dissonance of sound in space. Once the method is established, dissonance fields will be calculated, displaying the contours of dissonance that occur in a given space with multiple sound sources. It will then present how such dissonance fields and contours can be utilized to create atmospheric sculptures resulting from the sonic arrangement of a given space.
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not available
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unknown
DOI: 10.5281/zenodo.850705
Zenodo URL: https://zenodo.org/record/850705
2014.221
Spinphony Demo
Nilsen, Mark Robert spinphony.com, Independent; United States
Abstract
Spinphony is a program that turns pictures into music. The basis of this project was to create a program for iOS devices that would give anyone a tool to create original music. Spinphony uses the user’s own pictures as input. Pixel data is turned into control codes that trigger Spinphony’s sound engine. Some of the techniques used include note mapping and frequency quantization to coerce the data into a musical tonality and motif functions to give a rhythmic cohesiveness to the output. Additive and FM synthesis are the main sound generating synthesis types. The overall philosophy was to balance user interaction and internal algorithms as they relate to interpretation of the image-driven data stream. The result gives the program immersive interactive capabilities but also clearly image-driven musical output. Spinphony has succeeded in enabling non musicans and professional musicians to explore and create original music in a new way.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.851003
Zenodo URL: https://zenodo.org/record/851003
2014.222
StiffNeck: The Electroacoustic Music Performance Venue in a Box
Eckel, Gerhard Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Rumori, Martin Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
StiffNeck is a tool for the auralisation of electroacoustic music performance venues based on measured room impulse responses. It has been developed to support in situ composition, a particular approach towards creating sitespecific electroacoustic music works. This compositional practice tries to take maximum advantage of the particularities of irregular loudspeaker configurations and their interaction with the acoustics of the room. StiffNeck can also be used to rehearse acousmatic performances, to test sound rendering with standard spatialisation techniques using regular loudspeaker configurations or to produce artificial sonic spaces in the context of studio work. StiffNeck comes with a large set of room impulse responses covering various loudspeaker configurations measured with an extensive array of microphones in KUG’s György Ligeti Hall in Graz. In addition to the convolution based auralisation, StiffNeck provides geometric representations of the loudspeakers, measurement positions, and the hall which can be used for purposes of visualisation but also for performing geometric calculations informing sound synthesis and projection. StiffNeck has been used to produce a variety of in situ compositions and has been evaluated informally at several occasions in various ways. The open source tool is available as standalone application and as a SuperCollider Quark.
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not available
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unknown
DOI: 10.5281/zenodo.850609
Zenodo URL: https://zenodo.org/record/850609
2014.223
Study of the Perceptual and Semantic Divergence of Digital Audio Processed by Restoration Algorithms
Cenceschi, Sonia Politecnico di Milano; Milano, Italy
Klauer, Giorgio Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Abstract
This research integrates sensory and scientific instruments to analyze the relationship between subjective evaluations of digitally restored audio and its computer extracted perceptual descriptors. Statistical methods have been used to compare the displacement of three types of remediated content in subspaces obtained by data expressed both by individuals and by feature extraction algorithms. Qualitative demands in audio restoration are tightly connected to the information embedded in remediated content: it is crucial the awareness that every choice is re-balancing it and affecting its reception. Listeners in their turn don’t do an acousmatic reduction of auditory information but recode it interleaving contextual and aesthetic approaches, according to their sensitivity and being influenced by their cultural background. Thanks to the analysis of the displacement in subspaces related to the descriptive characteristics with greater variability, the semantic divergence resulting from the operations of improving the quality of sound was interpreted and a predictive model aimed at their optimization was assumed.
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unknown
DOI: 10.5281/zenodo.850741
Zenodo URL: https://zenodo.org/record/850741
2014.224
Swarm Lake: A Game of Swarm Intelligence, Human Interaction and Collaborative Music Composition
Kaliakatsos-Papakostas, Maximos School of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Floros, Andreas Audiovisual Signal Processing Lab, Department of Audiovisual Arts, Ionian University; Corfu, Greece
Drossos, Konstantinos Audiovisual Signal Processing Lab, Department of Audiovisual Arts, Ionian University; Corfu, Greece
Koukoudis, Konstantinos Department of Audiovisual Arts, Ionian University; Corfu, Greece
Kyzalas, Manolis Department of Audiovisual Arts, Ionian University; Corfu, Greece
Kalantzis, Achilleas Department of Audiovisual Arts, Ionian University; Corfu, Greece
Abstract
In this work we aim to combine a game platform with the concept of collaborative music synthesis. We use bioinspired intelligence for developing a world - the Lake - where multiple tribes of artificial, autonomous agents live within, having survival as their ultimate goal. The tribes exhibit primitive social swarm-based behavior and intelligence, which is used for taking actions that will potentially allow to dominate the game world. Tribes’ populations also demonstrate a number of physical properties that restrict their ability to act illimitably. Multiuser intervention is employed in parallel, affecting the automated decisions and the physical parameters of the tribes, thus infusing the gaming orientation of the application context. Finally, sound synthesis is achieved through a complex mapping scheme established between the events occurring in the Lake and the rhythmic, harmonic and dynamic-range parameters of an advanced, collaborative sound composition engine. This complex mapping scheme allows the production of interesting and complicated sonic patterns that follow the performance evolution in both objective and conceptual levels. The overall synthesis process is controlled by the conductor, a virtual entity that determines the synthesis evolution in a way that is very similar to directing an ensemble performance in real world.
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unknown
DOI: 10.5281/zenodo.850571
Zenodo URL: https://zenodo.org/record/850571
2014.225
Symmetrical and Geometrical Cycles in Twelve-tone Composition: Developments Toward a New Model
Marques, Telmo Research Center for Science and Technology of the Arts (CITAR), Portuguese Catholic University; Porto, Portugal
Ferreira-Lopes, Paulo Research Center for Science and Technology of the Arts (CITAR), Portuguese Catholic University; Porto, Portugal
Abstract
The development of a pre-compositional model is proposed in this study based on two systems with two design perspectives: Schoenberg’s Serialism and Perle’s TwelveTone Tonality (from now on TTT). Schoenberg’s perspective reveals a linear design where the set has functions like those of a motive; on the other hand, Perle’s design result in harmonic simultaneities based on symmetric cycles. The authors propose a model for 12-tone composition that assumes an interactive approach between the horizontal and the vertical statements toward a new pre-compositional system based on geometrical and symmetrical issues. This model is being implemented in PWGL for Computer Aided Composition (CAC) in order to assist the extrapolation of the Motivic/Harmonic fundamental requirements of the model. Finally, the empiric outcome produced in the form of musical composition was analyzed, although not presented in its entirety in the scope of this paper.
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not available
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unknown
DOI: 10.5281/zenodo.850573
Zenodo URL: https://zenodo.org/record/850573
2014.226
SYSTab: A Proactive Real-time Expert System for Ancient Greek Music Theory and Notation
Carlé, Martin Medienwissenschaft, Humboldt-Universität zu Berlin; Berlin, Germany
Abstract
When studying the corpus of ancient Greek music theory and related literature [1], one invariably finds oneself confronted with references to a multiplicity of 'scales' (nomoi, harmoniai, systemata, tonoi) and diverse shades (chroai) of tunings. During the dawn of European science, epistemological considerations of the phenomena of pitch and harmony played a major role and acted as a sensually accessible, quasi-experimental match-maker of later on diverging fields of knowledge and methodologies. Disputes about the right way approaching pitch in general and how to systematically deal with fine pitch variations in particular are legend [2], latest since Plato's famous metaphor of vexing and torturing strings on the rack [2, Politeia 530d-531c] and Aristoxenus rejection of musical notation (parasemtike techne) as mere eye candy [3, 49.16-50.18]. Besides the instrumental re-production and subjective acoustical comparison of pitched sounds (phthoggoi), diverging methods based on different scientific media like numbers, diagrams and specially designed signs were used to analyse, to theorise and to encode phenomena bestowed by the muses that we are used to call 'music' - still at this joined conference.
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unknown
DOI: 10.5281/zenodo.850997
Zenodo URL: https://zenodo.org/record/850997
2014.227
Tactile Composition: Configurations and Communications for a Musical Haptic Chair
Armitage, Joanne ICSRiM – School of Music and School of Computing, University of Leeds; Leeds, United Kingdom
Ng, Kia ICSRiM – School of Music and School of Computing, University of Leeds; Leeds, United Kingdom
Abstract
Musical experiences can be highly multisensory, from obvious auditory stimulation, to the visual elements of a live performance, and physical excitement of the body. In this paper, we propose a means of incorporating an additional somatic channel of communication into live performances and compositional practice to further augment the physical nature of live performance. This work explores the integration of augmented vibratory, or haptic stimulation for audiences in live performance. The vibration interface is presented as an expressive and creative live performance-based tool for composers. Vibrations, or haptics, are implemented as an additional instrumental line, alongside auditory musical gestures, to expand the composer’s palette of expressions through augmented somatic engagement. The paper starts with the work’s overall context, followed by related literature from exisitng projects that have informed this research. It also includes a discussion of the design and development of an array of vibrating motors, a composition produced for the system, and ongoing work.
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unknown
DOI: 10.5281/zenodo.850611
Zenodo URL: https://zenodo.org/record/850611
2014.228
tactile.motion: An iPad Based Performance Interface for Increased Expressivity in Diffusion Performance
Johnson, Bridget New Zealand School of Music (NZSM); Wellington, New Zealand
Norris, Michael New Zealand School of Music (NZSM); Wellington, New Zealand
Kapur, Ajay Victoria University of Wellington; Wellington, New Zealand
Abstract
This paper presents recent developments in interface design for the diffusion performance paradigm. It introduces a new custom-built iPad application tactile.motion, designed as a performance interface for live sound diffusion. The paper focuses its discussion on the intuitive nature of the interface’s design, and the ways it aims to increase expressivity in spatial performance. The paper also introduces the use of autonomous behaviors as a way to encourage live control of a more dynamic spatial field. It is hoped that this interface will encourage new aesthetics in diffusion performance.
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unknown
DOI: 10.5281/zenodo.850691
Zenodo URL: https://zenodo.org/record/850691
2014.229
Takt: A Read-eval-play-loop Interpreter for a Structural/Procedural Score Language
Nishimura, Satoshi University of Aizu; Aizuwakamatsu, Japan
Abstract
A new language for describing musical scores as well as its interpreter is developed. The language allows a concise description of note and chord sequences, and at the same time, it provides rich programming functionalities with Clike syntax, which are useful for algorithmic composition. Representing structures in music such as repetitive occurrences of a common phrase or its variation is supported with macros and phrase transformation modules. The interpreter enables us to execute its program code interactively with a read-eval-play loop. The interpreter can also be used for the real-time processing of MIDI events coming from input devices. The language is extensible in that C functions can be called from its program code.
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unknown
DOI: 10.5281/zenodo.850977
Zenodo URL: https://zenodo.org/record/850977
2014.230
Tangibility and Low-level Live Coding
Diapoulis, Georgios No affiliation, Independent; Greece
Zannos, Ioannis Department of Audiovisual Arts, Ionian University; Corfu, Greece
Abstract
Current advances in digital fabrication are accompanied by efforts to bring about increased facility in the fabrication of digital circuits. In this context, tangibility can apply to the intimate contact with objects as programmable entities forming part of the human-material loop in the sense of physical computing. In this paper, we explore the possibilities of making music with very simple circuits, using an equally minimal interface for live interaction with the hardware. Our aim is to find new ways for experiencing the behavior of circuits and for navigating inside the data space of generative algorithms with musical devices by using minimal interfaces, while involving both human and machine in the perception of the musical output. In our experiment we have focused on the lowest level of the machine language [1], that of manipulating bits in real-time. Furthermore, we attempt to tighten the loop between human and machine by introducing a machine listening component which processes the output of the human-machine interaction. This splits the perceptual feedback loop into a human and a machine part, and makes the final output a joint outcome of both.
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not available
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unknown
DOI: 10.5281/zenodo.850575
Zenodo URL: https://zenodo.org/record/850575
2014.231
Tangibility, Presence, Materiality, Reality in Artistic Creation With Digital Technology
Cadoz, Claude Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Luciani, Annie Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Villeneuve, Jérôme Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Kontogeorgakopoulos, Alexandros CSAD, Cardiff School of Art and Design; Cardiff, United Kingdom
Zannos, Ioannis Ionian University; Corfu, Greece
Abstract
The democratization of Computer Arts and Computer Music has, due to dematerialization (virtualization) consequence of digital technologies, considerably widened the boundaries of creativity. As we are now entering a second phase that has been labeled “post-digital”, we are called to reconcile this openness with notions such as embodiment, presence, enaction and tangibility. These notions are in our view inherently linked to creativity. Here we outline some approaches to this problem under development within the “European Art-ScienceTechnology Network” (EASTN 1 ). Several areas of artistic creation are represented (Music, Animation, Multisensory Arts, Architecture, Fine Arts, Graphic communication, etc.). A main objective of this network is to establish common grounds through collaborative reflection and work on the above notions, using the concept of tangibility as a focal point. In this paper we describe several different approaches to the tangibility, in relation to concepts such as reality, materiality, objectivity, presence, concreteness, etc. and their antonyms. Our objective is to open a debate on tangibility, in the belief that it has a strong unifying potential but is also at the same time presents challenging and difficult to define. Here we present some initial thoughts on this topic in a first effort to bring together the approaches that arise from the different practices and projects developed within the partner institutions involved in the EASTN network.
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unknown
DOI: 10.5281/zenodo.850677
Zenodo URL: https://zenodo.org/record/850677
2014.232
TC-Data: Extending Multi-touch Interfaces for Generalized Relational Control
Schlei, Kevin Department of Music, Peck School of the Arts, University of Wisconsin-Milwaukee; Milwaukee, United States
Abstract
This paper presents TC-Data, an OSC and MIDI controller application for iPad that uses multi-touch relational control. The application is designed to allow for customization of controller data streams and message formatting. This paper discusses the design of the programming interface, as well as the control paradigms that best fit the application's functionality. The concept of a convoluted control state is considered as a guide for programming target systems.
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unknown
DOI: 10.5281/zenodo.850679
Zenodo URL: https://zenodo.org/record/850679
2014.233
Teaching Robots to Conduct: Automatic Extraction of Conducting Information From Sheet Music
Salgian, Andrea The College of New Jersey; Ewing, United States
Agina, Laurence The College of New Jersey; Ewing, United States
Nakra, Teresa Marrin The College of New Jersey; Ewing, United States
Abstract
While a large number of human computer interaction systems are aimed at allowing the user to conduct a virtual orchestra, very few attempts have been made to solve the reverse problem of building a computerbased conductor that can conduct a real orchestra. The only known instances of robotic conductors had prerecorded performances that require reprogramming for every new musical piece. In this paper we present a family of artificial conducting systems that rely on a novel parsing algorithm to extract conducting information from sheet music encoded in MIDI files. The algorithm was successfully implemented in humanoid and non-humanoid robots and animations and tested in a live concert with student musicians.
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unknown
DOI: 10.5281/zenodo.850820
Zenodo URL: https://zenodo.org/record/850820
2014.234
Tempo Prediction Model for Accompaniment System
Wada, Shizuka Chiba University; Chiba, Japan
Horiuchi, Yasuo Chiba University; Chiba, Japan
Kuroiwa, Shingo Chiba University; Chiba, Japan
Abstract
In this paper, we propose a tempo prediction model for an accompaniment system. To realize a system that acts as a human performer, it is necessary to clarify how performance control is done by human accompanists. In our previous study, we proposed a method for predicting the next beat time by using the previous history of two parameters: the time difference between the soloist and accompanist and the change of the beat duration of the accompanist. However, the study analyzed only simple music that consisted of notes with the same musical length; therefore, the model cannot be applied to general music with different note lengths. In this study, we analyze general ensemble recordings by virtuosi to investigate the effectiveness of prediction with the two parameters proposed in the previous study and a newly added parameter: the time length difference between the soloist and accompanist. Then, we propose a method for predicting the next beat time of the accompanist that is applicable to general music. The result of an evaluation experiment shows that this model can predict the next beat time with errors of 25 - 45 ms.
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unknown
DOI: 10.5281/zenodo.850846
Zenodo URL: https://zenodo.org/record/850846
2014.235
Test Methods for Score-Based Interactive Music Systems
Poncelet, Clément STMS, DGA & INRIA, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Jacquemard, Florent STMS, INRIA, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Score-Based Interactive Music Systems (SBIMS) are involved in live performances with human musicians, reacting in realtime to audio signals and asynchronous incoming events according to a pre-specified timed scenario called a mixed score. This implies strong requirements of reliability and robustness to unforeseen errors in input. In this paper, we present the application of formal methods for black-box conformance testing of embedded systems to SBIMS’s. We describe how we have handled the 3 main problems in automatic testing reactive and realtime software like SBIMS: (i) the generation of relevant input data for testing, including delay values, with the sake of exhaustiveness, (ii) the computation of the corresponding expected output, according to a given mixed score, (iii) the test execution on input and verdict. Our approach is based on formal models compiled from mixed scores. Using a symbolic checker, such a model is used both for (i), by a systematic exploration of the state space of the model, and for (ii) by simulation on a given test input. Moreover, we have implemented several scenarios for (iii), corresponding to different boundaries for the implementation under test (black box). The results obtained from this formal test method have permitted to identify bugs in the SBIMS Antescofo.
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not available
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unknown
DOI: 10.5281/zenodo.850743
Zenodo URL: https://zenodo.org/record/850743
2014.236
The Black Swan: Probable and Improbable Communication Over Local and Geographically Displaced Net-worked Connections as a Musical Performance System
Aska, Alyssa University of Calgary; Calgary, Canada
Abstract
The Black Swan is a networked performance system for two groups of non-specific performers. The work derives its title and inspiration from Nicolas Taleb’s description of extreme and catastrophic events. These “black swan” events are characterized as being outliers, unpredictable, and yet completely explainable when viewed in retrospect. The Black Swan uses this concept in performance; throughout the piece a group of instrumentalists is solely responsible for interpreting the score while a group of motion-tracked performers advance the score. However, when the “Black Swan” occurs, the motion-tracked group begins to generate sound, an event that the instrumentalists could not have anticipated. A third party is responsible for distributing instructions to each performance group over the network during the performance. Therefore, The Black Swan explores the way networked performers communicate with each other as well as the dramaturgy between ensemble members in a networked setting.
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unknown
DOI: 10.5281/zenodo.850613
Zenodo URL: https://zenodo.org/record/850613
2014.237
The Breath Engine: Challenging Biological and Technological Boundaries Through the Use of NK Complex Adaptive Systems
Cantrell, Joe University California, San Diego (UCSD); San Diego, United States
Zyskowski, Colin University California, San Diego (UCSD); San Diego, United States
Ceccato, Drew University California, San Diego (UCSD); San Diego, United States
Abstract
Breath Engine is an interface and performance system that draws focus to the ephemeral nature of the actions of living beings and how they intersect with the world of the artificial and computational. The piece relies on human respiration to create and affect a generative sound synthesis system modeled on evolutionary algorithms. The respiration system is controlled by 1 - 3 participants, who wear oxygen masks that transfer the breath of the performers into electromechanical pressure sensors mounted in the project enclosure. These sensors convert the respiration levels of each performer into digital information, which is then used to affect a self-generative audio synthesis system. This generation is based on NK complex adaptive systems, which mathematician Stephen J. Lansing purports to be a potentially important factor in determining long term changes in mechanical and natural systems, such as biological evolution. This system generates iterative arrays of timbre and frequency that are perturbed by data received from the breathing sensors, causing chaotic reactions that eventually coalesce into repeating patterns. In this way, the piece will enact an evolving visual and sonic environment that questions the boundaries between the biological and the technological.
Keywords
not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850681
Zenodo URL: https://zenodo.org/record/850681
2014.238
The Centre Iannis Xenakis's Establishment at the University of Rouen
Delhaye, Cyrille Université de Rouen Normandie; Mont-Saint-Aignan, France / Centre Iannis Xenakis (CIX); Mont-Saint-Aignan, France
Bourotte, Rodolphe Centre Iannis Xenakis (CIX); Mont-Saint-Aignan, France
Kanach, Sharon Centre Iannis Xenakis (CIX); Mont-Saint-Aignan, France
Abstract
The Centre Iannis Xenakis is a continuation of Les Ateliers UPIC, the association founded in 1985 by Iannis Xenakis and Maurice Fleuret, to promote the machine for composing music by drawing, invented by Iannis Xenakis in 1977, called UPIC (Unité Polyagogique Informatique du CEMAMu). Since December 2010, the University of Rouen (France) welcomes the Centre Iannis Xenakis (CIX) on its premises. Under the auspices of the GRHIS (History Research Lab), the CIX has placed its archives on the shelves of the University’s Library and connected its UPIC machines on the premises of the Maison de l’Université (MDU, Scientific Culture pole). In addition to the conservation work, digitizing, cataloging and the valorization of 40 linear meters of its archives, the CIX is home to the latest version of the UPIC (2001) and continues to develop its software version (the UPIX).
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.851009
Zenodo URL: https://zenodo.org/record/851009
2014.239
The Counterpoint Game: Rules Constraints and Computational Spaces
Samory, Mattia Università di Padova; Padova, Italy
Mandanici, Marcella Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
Peserico, Enoch Università di Padova; Padova, Italy
Abstract
We envision first species counterpoint as a fundamental step in defining rules in a game-theoretical approach to algorithmic composition. While previous literature focuses on producing counterpoints that are aesthetically pleasing, our work formalizes the space where cantus firmi and counterpoints can be considered valid. A set of common rules is extracted from a comparative analysis of treatises from the 18th to the 20th century, and a generative algorithm is implemented to explore the validity space. The results highlight the existence of a subset of cantus firmi that do not admit valid counterpoint. Human experts in a qualitative assessment perform similarly to our validation algorithm; at the same time, the systematic omission of single and pairs of rules does not eliminate such a subset. It follows either that unwritten musical knowledge must be rendered explicit to modify the proposed rule set, or that, in general, admitting valid counterpoint is not a necessary property of cantus firmus.
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850789
Zenodo URL: https://zenodo.org/record/850789
2014.240
The Creation and Projection of Space-source in Electroacoustic Music
Lotis, Theodoros Department of Music, Ionian University; Corfu, Greece
Abstract
This paper develops the notion of space-source in electroacoustic music. Space-source is one of the four spatial categories, drawn from the theoretical work of Annette Vande Gorne (the other spatial categories are spaceambiophony, space-geometry and space-illusion). It demonstrates the methods by which space-source can be integrated into the compositional process and in the projection of electroacoustic music in performance. It examines different ways with which space-source is perceived and deciphered. The influential role of the loudspeaker installation for the projection of space-source is also a preoccupation in this paper. The art of projection plays a decisive role in the perception of electroacoustic music and the space-source in particular. The way we compose and hear electroacoustic music is defined by a loudspeaker-based approach. Individual or pairs of loudspeakers project sonic images, which are influenced by the acoustic properties of the listening space and the projection decisions made by the performer. Five spatial figures (Accentuation, Glittering, Unmasking, Insertion/rupture, Appearance/disappearance) are introduced as potential templates for the projection of space-source.
Keywords
not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850577
Zenodo URL: https://zenodo.org/record/850577
2014.241
The Effectiveness of Visual Feedback Singing Vocal Technology in Greek Elementary School
Stavropoulou, Sofia Department of music studies, University of Athens; Athens, Greece
Georgaki, Anastasia Department of music studies, University of Athens; Athens, Greece
Moschos, Fotis Department of Pedagogy, University of Athens; Athens, Greece
Abstract
The main scope of this research is to investigate children’s singing voice pitch accuracy and quality. The investigation was led in two elementary schools, mainly on children aging between 6 and 9. We have used common freeware 1 for visual feedback, in order to find out its degree of effectiveness on the improvement of the children’s pitch accuracy. The results indicated that through the use of visual feedback singing software and the teacher’s help, children are more motivated to sing in tune, to understand the vowel quality, and to learn how to improve their singing.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850989
Zenodo URL: https://zenodo.org/record/850989
2014.242
The Feature Extraction Based Hypersampler in Il Grifo nelle perle nere: A Bridge Between Player and Instrument Paradigm
Marinoni, Marco Conservatorio di musica “Giuseppe Verdi” di Como; Como, Italy
Abstract
This paper concerns the hypersampler implemented for my piece Il grifo nelle perle nere for piano and hypersampler, composed in 2008 and premiered during the 54 th Venice Biennale’s International Festival of Contemporary Music, in the framework of XVII CIM – Colloquium on Music Informatics. The hypersampler involves a real-time synthesis engine based on processes of feature extraction as an alternative to hyperinstruments’ physical control paradigm. Features are derived from the performance of a traditional musician on an acoustic instrument – a piano – and are used as a control for the mapping between the instantaneous power spectrum of the acoustic instrument’s sound output (the musical dynamics performed by the pianist) and realtime synthesis engine’s parameters.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850683
Zenodo URL: https://zenodo.org/record/850683
2014.243
The Future of Spatial Computer Music
Lyon, Eric ICAT, School of Performing Arts, Virginia Tech; Blacksburg, United States
Abstract
Composing computer music for large numbers of speakers is a daunting process, but it is becoming increasingly practicable. This paper argues for increased attention to the possibilities for this mode of computer music on the part of both creative artists and institutions that support advanced aesthetic research. We first consider the large role that timbre composition has played in computer music, and posit that this research direction may be showing signs of diminishing returns. We next propose spatial computer music for large numbers of speakers as a relatively unexplored area with significant potential, considering reasons for the relative preponderance of timbre composition over spatial composition. We present a case study of a computer music composition that focuses on the orchestration of spatial effects. Finally we propose some steps to be taken in order to promote exploration of the full potential of spatial computer music.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850707
Zenodo URL: https://zenodo.org/record/850707
2014.244
The Ghost in the MP3
Maguire, Ryan Virginia Center for Computer Music, McIntire Department of Music, University of Virginia; Charlottesville, United States
Abstract
The MPEG-1 or MPEG-2 Layer III standard, more commonly referred to as MP3, has become a nearly ubiquitous digital audio file format. First published in 1993 [1], this codec implements a lossy compression algorithm based on a perceptual model of human hearing. Listening tests, primarily designed by and for western-european men, and using the music they liked, were used to refine the encoder. These tests determined which sounds were perceptually important and which could be erased or altered, ostensibly without being noticed. What are these lost sounds? Are they sounds which human ears can not hear in their original contexts due to our perceptual limitations, or are they simply encoding detritus? It is commonly accepted that MP3's create audible artifacts such as pre-echo [2], but what does the music which this codec deletes sound like? In the work presented here, techniques are considered and developed to recover these lost sounds, the ghosts in the MP3, and reformulate these sounds as art.
Keywords
not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850515
Zenodo URL: https://zenodo.org/record/850515
2014.245
The "Harmonic Walk": An Interactive Educational Environment to Discover Musical Chords
Mandanici, Marcella Department of Information Engineering, Università di Padova; Padova, Italy
Rodà, Antonio Department of Information Engineering, Università di Padova; Padova, Italy
Canazza, Sergio Department of Information Engineering, Università di Padova; Padova, Italy
Abstract
Harmony has always been considered a difficult matter to learn, also by experienced musicians. The aim of this paper is to present a system designed to provide unskilled users with an indication about the sound of the different harmonic regions and to help them to build a cognitive map of their relationships, linking musical perception to spatial abilities like orientation and wayfinding. The Harmonic Walk is an interactive environment which responds to the user’s position inside a rectangular space. Different chords are proposed to the user depending on her/his position. The user’s task is to find and to recognize them, and, then, to decide how to link the chords producing a convincing harmonic progression. This can be made by choosing a precise path to perform the best satisfying “harmonic walk”, selecting it among various possibilities. From a theoretical point of view the project is inspired to the neo-Riemannian ideas of harmony and parsimonious progressions, which try to give a wider and coherent framework to 19th century harmony and to its representation. The results of our preliminary tests confirm that, in a sample of children from 7 to 11 years old, most of the participants were able to locate the chords and to find some valid path to perform a harmonic progression.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850987
Zenodo URL: https://zenodo.org/record/850987
2014.246
The HOA Library, Review and Prospects
Sèdes, Anne MSH Paris Nord, LABEX Arts H2H, University Paris VIII; Paris, France
Guillot, Pierre MSH Paris Nord, LABEX Arts H2H, University Paris VIII; Paris, France
Paris, Elliot MSH Paris Nord, LABEX Arts H2H, University Paris VIII; Paris, France
Abstract
In this paper, we present the HOA Library, an open source high order ambisonic spatialisation tools collection programmed in C++. We expose the objectives and characteristics of the project, which treat the potential of high order Ambisonics in a musical perspective, based on the practice and the creativity of the electronic musicians. We clarify the context of use, the choice of optimization and decoding. We review the implementations of the library in various environments, such Max, Pure Data, and Faust. We discuss the use of feedback from musicians and members of especially Max and Pure Data community. Finally, we advance the prospects of the HOA library in its current developments in threedimensions.
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not available
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unknown
DOI: 10.5281/zenodo.850709
Zenodo URL: https://zenodo.org/record/850709
2014.247
The Notion of Ethos in Arabic Music: Computational Modeling of Al-Urmawi's Modes (13th Century) in Csound
Belhassen, Raed CICM EA 1572, University Paris VIII; Paris, France
Abstract
The notion of ethos in Arabic music is outlined in this paper through the writings and thoughts of al-Kindi, Ziriab, Ikhwan al-Safa, Avicenna and Saffiyu al-Din alUrmawi. The approach developed by al-Urmawi in his book "The book of cycles" will be studied and the ties woven between 13th Century modes and their ethos will be underlined. Al-Urmawi was the first Arabic theorist who defined a relationship between musical modes and their emotional influence on people's perception according to a classification in three categories: bravery, peaceful and sad characters. A computational model of these modes will be proposed using an object library developed in a Csound environment. A computational model of Saffiyu al-Din alUrmawi's intervallic system will be performed and the twelve cycles he defined in his book will be classified according to their ethos. The modeling of some of the idioms pertaining to Arabic music, such as the homophonic aspect of musical rendition, or ornamentation, will be addressed. Intrinsic units of the object library: UDO (User Defined Opcodes), function tables, Opcodes (operation codes), loops and conditions will be explained. Finally, the possibility of studying the effect these modes create on people will be considered.
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not available
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not available
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not available
Paper type
unknown
DOI: 10.5281/zenodo.850791
Zenodo URL: https://zenodo.org/record/850791
2014.248
The Place and Meaning of Computing in a Sound Relationship of Man, Machines, and Environment
Di Scipio, Agostino Department of Electroacoustic Music, Conservatorio Statale di Musica "Alfredo Casella" di L'Aquila; L'Aquila, Italy
Abstract
The following is a revised version of the text prepared by the author for his keynote speech at the opening session of the International Computer Music Conference 2013 (12.08.2013 Heath Ledger Theatre, State Theatre Centre, Perth, Western Australia). It bears on conceptual changes that have taken place, along the decades, in the shared notion of "computing" as relative to creative practices of soundand music-making. In particular, the notion of computing is considered vis a vis the relationship, either implicity established or deliberately designed by practitioners, to the (necessarily hybrid) technological infrastructures of their work, as well as to the surrouding physical space where such practices take place. A path is outlined across subsequent connotations of computational tasks and the coupling (or decoupling) of computing resources to the physical environment: from "calculation", to "communication", to "media processing", to "embedded (or physical or tangible) interfaces". The author then illustrates features of a sound installation of his own, where a structural coupling is handled between the acoustics of a room environment and the equipment (the latter including simple computational resources, beside proand consumer-level electroaoustic tranducers). The example raises questions as to the potential complexity and richness of creative sound-making emerging when larger and larger sets of data streams - from different sources in the environment - are admitted to, and are coordinated as part of, the computing process. A comprehensive view of the "performance ecosystem" is needed to handle this strong integration of technological layers, and a practice-led account is needed to propertly situate the performer's (and listener's) body in such performative practices.
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not available
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unknown
DOI: 10.5281/zenodo.850457
Zenodo URL: https://zenodo.org/record/850457
2014.249
The Procedural Sounds and Music of ECHO::Canyon
Hamilton, Robert Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
In the live game-based performance work ECHO::Canyon, the procedural generation of sound and music is used to create tight crossmodal couplings between mechanics in the visual modality, such as avatar motion, gesture and state, and attributes such as timbre, amplitude and frequency from the auditory modality. Real-time data streams representing user-controlled and AI driven avatar parameters of motion, including speed, rotation and coordinate location act as the primary drivers for ECHO::Canyon’s fullyprocedural music and sound synthesis systems. More intimate gestural controls are also explored through the paradigms of avian flight, biologically-inspired kinesthetic motion and manually-controlled avatar skeletal mesh components. These kinds of crossmodal mapping schemata were instrumental in the design and creation of ECHO::Canyon’s multiuser multi-channel dynamic performance environment using techniques such as composed interaction, compositional mapping and entirely procedurally-generated sound and music.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850579
Zenodo URL: https://zenodo.org/record/850579
2014.250
The Sound Effect of Ancient Greek Theatrical Masks
Kontomichos, Fotios Department of Electrical and Computer Engineering, University of Patras; Patras, Greece
Papadakos, Charalampos Department of Electrical and Computer Engineering, University of Patras; Patras, Greece
Georganti, Eleftheria Experimental Audiology, University Hospital of Zurich; Zurich, Switzerland
Vovolis, Thanos Dramatic Institute; Stockholm, Sweden
Mourjopoulos, Ioannis N. (John) Department of Electrical and Computer Engineering, University of Patras; Patras, Greece
Abstract
All theatrical forms developed in ancient Greece were forms of masked drama. Apart from the obvious change of the visual appearance of the actors, the masks also altered the acoustic characteristics of their voices. Therefore, both from the listener’s and the actor’s points of view these masks significantly modified the acoustic events and inevitably transformed the overall theatrical experience. In this work, we employ recreations of such masks and through controlled experiments, via measurements and simulations, we evaluate their impact on the acoustics of the most typical and famous of the ancient theatres, this one of Epidaurus. Emphasis is given on unraveling the character of the combined acoustics of the voice of masked actor and the response of such a theatre which is famous for its perfect acoustics for speech and drama plays.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850889
Zenodo URL: https://zenodo.org/record/850889
2014.251
The SpatDIF Library - Concepts and Practical Applications in Audio Software
Schacher, Jan C. Institute for Computer Music and Sound Technology ICST, Zurich University of the Arts (ZHdK); Zurich, Switzerland
Miyama, Chikashi Studio for Electronic Music, Hochschule für Musik und Tanz Köln (HfMT Köln); Cologne, Germany
Lossius, Trond Bergen Center for Electronic Arts (BEK); Bergen, Norway
Abstract
The development of SpatDIF, the Spatial Sound Description Interchange Format, continues with the implementation of concrete software tools. In order to make SpatDIF usable in audio workflows, two types of code implementations are developed. The first is the C/C++ software library ‘libspatdif’, whose purpose is to provide a reference implementation of SpatDIF. The class structure of this library and its main components embodies the principles derived from the concepts and specification of SpatDIF. The second type of tool are specific implementations in audio programming environments, which demonstrate the methods and best-use practices for working with SpatDIF. Two practical scenarios demonstrates the use of an external in MaxMSP and Pure Data as well as the implementation of the same example in a C++ environment. A short-term goal is the complete implementation of the existing specification within the library. A long-term perspective is to develop additional extensions that will further increase the utility of the SpatDIF format.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850711
Zenodo URL: https://zenodo.org/record/850711
2014.252
The TR-808 Cymbal: A Physically-informed, Circuit-bendable, Digital Model
Werner, Kurt James Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abel, Jonathan S. Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Smith, Julius Orion III Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
We present an analysis of the cymbal voice circuit from a classic analog drum machine, the Roland TR-808 Rhythm Composer. A digital model based on this analysis (implemented in Cycling 74’s Gen ̃) retains the salient features of the original. Developing physical models of the device’s many sub-circuits allows for accurate emulation of circuit-bent modifications (including component substitution, changes to the device’s architecture, and voltage starve)—complicated behavior that is impossible to capture through black-box modeling or structured sampling. This analysis will support circuit-based musicological inquiry into the history of analog drum machines and the design of further mods.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850891
Zenodo URL: https://zenodo.org/record/850891
2014.253
The Use of Apprenticeship Learning via Inverse Reinforcement Learning for Generating Melodies
Messer, Orry University of the Witwatersrand; Johannesburg, South Africa
Ranchod, Pravesh University of the Witwatersrand; Johannesburg, South Africa
Abstract
The research presented in this paper uses apprenticeship learning via inverse reinforcement learning to ascertain a reward function in a musical context. The learning agent then used this reward function to generate new melodies using reinforcement learning. Reinforcement learning is a type of unsupervised machine learning where rewards are used to guide an agent’s learning. These rewards are usually manually specified. However, in the musical setting it is difficult to manually do so. Apprenticeship learning via inverse reinforcement learning can be used in these difficult cases to ascertain a reward function. In order to ascertain a reward function, the learning agent needs examples of expert behaviour. Melodies generated by the authors were used as expert behaviour in this research from which the learning agent discovered a reward function and subsequently used this reward function to generate new melodies. This paper is presented as a proof of concept; the results show that this approach can be used to generate new melodies although further work needs to be undertaken in order to build upon the rudimentary learning agent presented here.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850991
Zenodo URL: https://zenodo.org/record/850991
2014.254
The Use of Rhythmograms in the Analysis of Electroacoustic Music, With Application to Normandeau's Onomatopoeias Cycle
Hirst, David School of Contemporary Music, The University of Melbourne; Melbourne, Australia
Abstract
The rhythmogram is the visual output of an algorithm developed by Todd and Brown which is characterised as a “multi-scale auditory model” consisting of a number of stages that are meant to emulate the response of the lower levels of the auditory system. The aim of the current study is to continue the author’s SIAM approach of employing a cognitive model, in combination with signal processing techniques, to analyse the “raw” audio signal of electroacoustic music works, and more specifically, to depict time-related phenomena in a visual manner. Such depictions should assist or enhance aural analysis of, what is essentially, an aural artform. After introducing the theoretical framework of the rhythmogram model, this paper applies it to a detailed analysis of a short segment of Normandeau’s work called Spleen. The paper then briefly compares rhythmograms of the entirety of Normandeau’s related works Éclats de voix, Spleen and Le renard et la rose. The paper concludes that rhythmograms are capable of showing both the details of short segments of electroacoustic works as well as the broader temporal feature of entire works. It also concludes that the rhythmogram has its limitations, but could be used in further analyses to enhance aural analysis.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850517
Zenodo URL: https://zenodo.org/record/850517
2014.255
Timbral Hauntings: An Interactive System Re-interpreting the Present in Echoes of the Past
Musick, Michael Music and Audio Research Lab (MARL), New York University (NYU); New York, United States
Park, Tae Hong Music and Audio Research Lab (MARL), New York University (NYU); New York, United States
Abstract
Timbral Hauntings (2014) is an interactive installation system created by Michael Musick that considers the impact of echoes from the past on the perception of the present and their capacity to induce future sonic expectancy. This paper discusses details in producing Timbral Hauntings including motivation, core concepts, and technical particulars. It specifically discusses the compositional processes using music information retrieval (MIR) and feature extraction techniques to classify phrases and pull information from the ‘past’ to re-shape the ‘present’. Concepts of temporal dynamics will be discussed by examining the compositional process during analysis/feature extraction, classification and re-structuring, and synthesis phases.
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not available
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850519
Zenodo URL: https://zenodo.org/record/850519
2014.256
Timbre Features and Music Emotion in Plucked String, Mallet Percussion, and Keyboard Tones
Chau, Chuck-jee Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Wu, Bin Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Horner, Andrew Department of Computer Science and Engineering, The Hong Kong University of Science and Technology; Hong Kong, Hong Kong
Abstract
Music conveys emotions by means of pitch, rhythm, loudness, and many other musical qualities. It was recently confirmed that timbre also has direct association with emotion, for example, that a horn is perceived as sad and a trumpet heroic in even isolated instrument tones. As previous work has mainly focused on sustaining instruments such as bowed strings and winds, this paper presents an experiment with non-sustaining instruments, using a similar approach with pairwise comparisons of tones for emotion categories. Plucked string, mallet percussion, and keyboard instrument tones were investigated for eight emotions: Happy, Sad, Heroic, Scary, Comic, Shy, Joyful, and Depressed. We found that plucked string tones tended to be Sad and Depressed, while harpsichord and mallet percussion tones induced positive emotions such as Happy and Heroic. The piano was emotionally neutral. Beyond spectral centroid and its deviation, which are important features in sustaining tones, decay slope was also significantly correlated with emotion in non-sustaining tones.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850745
Zenodo URL: https://zenodo.org/record/850745
2014.257
Timbre-invariant Audio Features for Style Analysis of Classical Music
Weiß, Christof Fraunhofer Institute of Digital Media Technology (IDMT); Ilmenau, Germany
Mauch, Matthias Queen Mary University of London; London, United Kingdom
Dixon, Simon Queen Mary University of London; London, United Kingdom
Abstract
We propose a novel set of chroma-based audio features inspired by pitch class set theory and show their utility for style analysis of classical music by using them to classify recordings into historical periods. Musicologists have long studied how composers’ styles develop and influence each other, but usually based on manual analyses of the score or, more recently, automatic analyses on symbolic data, both largely independent from timbre. Here, we investigate whether such musical style analyses can be realised using audio features. Based on chroma, our features describe the use of intervals and triads on multiple time scales. To test the efficacy of this approach we use a 1600 track balanced corpus that covers the Baroque, Classical, Romantic and Modern eras, and calculate features based on four different chroma extractors and several parameter configurations. Using Linear Discriminant Analysis, our features allow for a visual separation of the four eras that is invariant to timbre. Classification using Support Vector Machines shows that a high era classification accuracy can be achieved despite strong timbral variation (piano vs. orchestra) within eras. Under the optimal parameter configuration, the classifier achieves accuracies of 82.5%.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850893
Zenodo URL: https://zenodo.org/record/850893
2014.258
"Topos" Toolkit for Pure Data: Exploring the Spatial Features of Dance Gestures for Interactive Musical Applications
Naveda, Luiz State University of Minas Gerais (UEMG); Belo Horizonte, Brazil
Santana, Ivani Federal University of Bahia (UFBA); Salvador, Brazil
Abstract
The dissemination of multimedia technologies in the information societies created an interesting scenario: the unprecedented access to a diverse combination of music, image, video and other media streams raised demands for more interactive and expressive multimodal experiences. How to support the demands for richer music-movement interactions? How to translate spatiotemporal qualities of human movement into relevant features for music making and sound design? In this paper we study the realtime interaction between choreographic movement in space and music, implemented by means of a collection of tools called Topos. The tools were developed in the Pure Data platform and provide a number of feature descriptions that help to map the quality of dance gestures in space to music and other media. The features are based concepts found in the literature of cognition and dance, which improves the computational representation of dance gestures in space. The concepts and techniques presented in the study introduce new problems and new possibilities for multimedia applications involving dance and music interaction.
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not available
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not available
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unknown
DOI: 10.5281/zenodo.850585
Zenodo URL: https://zenodo.org/record/850585
2014.259
Touchpoint: Dynamically Re-routable Effects Processing as a Multi-touch Tablet Instrument
Suda, Nicholas K. California Institute of the Arts (CalArts); Santa Clarita, United States
Vallis, Owen S. California Institute of the Arts (CalArts); Santa Clarita, United States
Abstract
Touchpoint is a multi-touch tablet instrument which presents the chaining-together of non-linear effects processors as its core music synthesis technique. In doing so, it utilizes the on-the-fly re-combination of effects processors as the central mechanic of performance. Effects Processing as Synthesis is justified by the fact that that the order in which non-linear systems are arranged results in a diverse range of different output signals. Because the Effects Processor Instrument is a collection of software, the signal processing ecosystem is virtual. This means that processors can be re-defined, re-configured, created, and destroyed instantaneously, as a “note-level” musical decision within a performance. The software of Touchpoint consists of three components. The signal processing component, which is addressed via Open Sound Control (OSC), runs in Reaktor Core. The touchscreen component runs in the iOS version of Lemur, and the networking component uses ChucK. The resulting instrument unifies many perceptual domains of modulation into a consistent interface, encouraging an expressive exploration of the areas between their borders. Touchpoint attempts to embody and make vital an aspect of contemporary music which is typically treated as augmentative and secondary.
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unknown
DOI: 10.5281/zenodo.850895
Zenodo URL: https://zenodo.org/record/850895
2014.260
Toward Real-time Estimation of Tonehole Configuration
Smyth, Tamara Department of Music, University California, San Diego (UCSD); San Diego, United States
Abstract
This work presents a strategy for developing an estimator of tonehole configuration or “fingering” applied by a player during performance, using only the signal recorded at the bell. Because of a player can use alternate fingerings and overblowing to produce a given frequency, detecting the sounding pitch does not produce a unique result. An estimator is developed using both 1) instrument transfer function as derived from acoustic measurements of the instrument configured with each of all possible fingerings, and 2) features extracted from the produced sound— indirect correlations with the transfer function magnitudes. Candidate fingerings are held in sorted stacks, one for each feature considered and a final decision is made based on a fingering’s position within the stack, along with that stacks weighting. Several recordings of a professional saxophonist playing notes using all fingerings are considered, and features discussed.
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unknown
DOI: 10.5281/zenodo.850897
Zenodo URL: https://zenodo.org/record/850897
2014.261
Towards a Dynamic Model of the Palm Mute Guitar Technique Based on Capturing Pressure Profiles Between the Guitar Strings
Biral, Julien NUMEDIART Institute, University of Mons; Mons, Belgium
d'Alessandro, Nicolas NUMEDIART Institute, University of Mons; Mons, Belgium
Freed, Adrian CNMAT, University of California, Berkeley; Berkeley, United States
Abstract
Electric guitar is one of the most emblematic musical instruments. It benefits from a large community that constantly extends its frontiers by innovating playing technique and adding control surfaces. This work focuses on palm muting, one of the most known electric guitar techniques. This technique is produced when the palm of the picking hand is used to damp the strings and this can have a strong effect on the timbre and dynamics of sound. However there are not known sensors or sound analysis techniques to precisely measure this effect. We introduce a new approach of sensing performance gestures by using pressure sensors between the strings. We explored several designs for the sensing system and have performed preliminary experiments on the relationship between the palm pressure, the sound and the behavior of the picking hand.
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unknown
DOI: 10.5281/zenodo.850899
Zenodo URL: https://zenodo.org/record/850899
2014.262
Towards an Aesthetic of Electronic-music Performance Practice
Ciciliani, Marko Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
The performance of electronic-music shows a large number of different practices, some displaying cunning interfaces that minutely track physical motions, while others refuse the display of any performative actions on behalf of the performer. With today's availability of largely inexpensive interfaces, the choice of a particular performance practice does not come as a technological necessity but as an aesthetic decision. This paper proposes a method to aesthetically evaluate the different performance practices that have emerged in the past decades in electronic music. Thereby the goal is to get a better understanding of the differing concepts of performance in electronic music. Since a fixed typology of performance practices proved not to be a suitable approach, a description of the practices by means of a parametric space is proposed. After the introduction of the various parameters, the application of the parametric space is demonstrated with five different examples.
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unknown
DOI: 10.5281/zenodo.850521
Zenodo URL: https://zenodo.org/record/850521
2014.263
Towards Defining the Potential of Electroacoustic Infrasonic Music
Crawshaw, Alexis Story Media Arts and Technology, University of California, Santa Barbara (UCSB); Santa Barbara, United States / Lab, Ecole Doctorale Esthéthique, Sciences et Technologies des Arts, University Paris VIII; Paris, France
Abstract
Infrasounds, frequencies ≤ 20 Hz, occupying the sonic landscape beyond pitch, offer a wide terrain of musical potential to the contemporary electroacoustic composer, a potential that has so far been poorly defined or exploited. This paper is a brief tutorial on employing infrasounds in electroacoustic composition. Infrasounds possess musical potential within the auditory and tactile modalites as either airborne and solidean vibrations, either containing or psychoacoustically suggesting a fundamental wave ≤ 20 Hz. The infrasonic composer must consider a range of issues with respect to 1) equal-loudness contours (the detection threshold being > 70 dB below 20 Hz), 2) intersubject variability within these contours, 3) obstacles in finding hardware to diffuse these oscillations at the SPL needed for their detection, 4) their safe usage (anticipating harmonic distortion in hardware when working at high SPLs), as well as engineering an aesthetic context through interactivity and sensory conditioning to optimize a positive-valence response. There is great potential for sonic, vibrotactile, and intersensorial composition with respect to space and the body, e.g., interacting with or conveying large architectural spaces, evoking psychosomatic interactions through biorhythmic suggestion, and exploring the musicality of the body through its peak resonances.
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unknown
DOI: 10.5281/zenodo.850523
Zenodo URL: https://zenodo.org/record/850523
2014.264
Towards Open 3D Sound Diffusion Systems
Lopez-lezcano, Fernando CCRMA, Stanford University; Stanford, United States
Abstract
This paper describes the rationale, design and implementation of general purpose sound diffusion systems running on commodity PC hardware, and using open source free software components with minimal additional programming. These systems are highly configurable and powerful, can be extended as needed, and are a good fit for research environments as they can adapt to changing needs and experimentation in new technologies. This paper describes two examples: the system we have been using and extending for the past few years for sound diffusion in concert, and the system running permanently in our Listening Room at CCRMA, Stanford University.
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unknown
DOI: 10.5281/zenodo.850713
Zenodo URL: https://zenodo.org/record/850713
2014.265
Towards Soundscape Information Retrieval (SIR)
Park, Tae Hong Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Lee, Jun Hee Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
You, Jaeseong Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Yoo, Min-Joon Department of Computer Science, Yonsei University; Seoul, South Korea
Turner, John Music and Audio Research Lab (MARL), The Steinhardt School, New York University (NYU); New York, United States
Abstract
In this paper we discuss our efforts in Soundscape Information Retrieval (SIR). Computational soundscape analysis is a key research component in the Citygram Project which is built on a cyber-physical system that includes a scalable robust sensor network, remote sensing devices (RSD), spatio-acoustic visualization formats, as well as software tools for composition and sonification. By combining our research in soundscape studies, which includes the capture, collection, analysis, visualization and musical applications of spatio-temporal sound, we discuss our current research efforts that aim to contribute towards the development of soundscape information retrieval (SIR). This includes discussion of soundscape descriptors, soundscape taxonomy, annotation, and data analytics. In particular, we discuss one of our focal research agendas in measuring and quantifying urban noise pollution.
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unknown
DOI: 10.5281/zenodo.850822
Zenodo URL: https://zenodo.org/record/850822
2014.266
Towards Touch Screen Live Instruments With Less Risk: A Gestural Approach
Lee, Edward Jangwon Graduate School of Culture Technology, Korea Advanced Institute of Science and Technology (KAIST); Daejeon, South Korea
Yeo, Woon Seung Division of Digital Media, Ewha Womans University; Seoul, South Korea
Abstract
Although touch screen interfaces such as smartphones and tablet PCs have become an important part of our life and are being used in almost every situation, these interfaces are facing some difficulties in being used in live musical performances, despite the numerous benefits they can musically offer. Among those difficulties, we identify and focus on the visual dedication requirement of interaction and nevertheless high risk of making mistakes, and design a simple musical interface aiming to alleviate these problems. In order to reduce visual dedication, we employ larger on-screen controls. To reduce risk of mistakes, we choose a gestural approach and incorporate plucking gestures, which require users to pull and release a touch after initiated. The interface is qualitatively tested, focusing on playability, visual dedication, and risk of making mistakes. While playability and risk received positive feedbacks, reducing visual dedication received partial agreement and seems to require further investigation. Although the interface is yet immature and too simple to be used on stage, we believe that identifying and solving the problems that touch screens have while being used in live situations is meaningful and valuable to discuss.
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unknown
DOI: 10.5281/zenodo.850685
Zenodo URL: https://zenodo.org/record/850685
2014.267
Transcription, Adaptation and Maintenance in Live Electronic Performance With Acoustic Instruments
Furniss, Pete Reid School of Music, Edinburgh College of Art, The University of Edinburgh; Edinburgh, United Kingdom
Dudas, Richard Center for Research in Electro-Acoustic Music and Audio Technology (CREAMA), Hanyang University School of Music; Seoul, South Korea
Abstract
This paper examines processes of musical adaptation in a live electronic context, taking as a case study the authors’ collaborative work transcribing Richard Dudas’ Prelude No.1 for flute and computer (2005), to a new version for clarinet and live electronics, performed in the Spring of 2014 by clarinettist Pete Furniss. As such, the idea of transcription and its implications are central to this study. We will additionally address some of the salient information that the user interface in a piece of interactive electro-instrumental music should present to the performer, as well as some possible ways of restructuring not only the interface itself, but also the déroulement of the piece to aid the solo performer to the maximum degree possible. A secondary focus of the paper is to underline the need for the creation of a body of musical works that are technically straightforward enough to serve as an introduction to live electronic performance for musicians who might otherwise be daunted by the demands of the existing repertoire.
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unknown
DOI: 10.5281/zenodo.850581
Zenodo URL: https://zenodo.org/record/850581
2014.268
Transient Analysis for Music and Moving Images: Considerations for Television Advertising
Gibson, Ian University of Huddersfield; Huddersfield, United Kingdom
Rogers, Andrew University of Huddersfield; Huddersfield, United Kingdom
Abstract
In audiovisual composition, coupling montage moving images with music is common practice. Interpretation of the effect on an audioviewer's consequent interpretation of the composition is discursive and unquantified. Methodology for evaluating the audiovisual multimodal interactivity is proposed, developing an analysis procedure via the study of modality interdependent transient structures, explained as forming the foundation of perception via the concept of Basic Exposure response to the stimulus. The research has implications for analysis of all audiovisual media, with practical implications in television advertising as a discrete typology of target driven audiovisual presentation. Examples from contemporary advertising are used to explore typical transient interaction patterns and the consequences of which are discussed from the practical viewpoint of the audiovisual composer.
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unknown
DOI: Missing
Zenodo URL: Missing
2014.269
Translation as Technique: Collaboratively Creating an Electro-acoustic Composition for Saxophone and Live Video Projection
Jette, Christopher School of Information, Science, Technology & Arts, University of Arizona; Tucson, United States
Thomas, Kelland School of Information, Science, Technology & Arts, University of Arizona; Tucson, United States
Villegas, Javier School of Information, Science, Technology & Arts, University of Arizona; Tucson, United States
Forbes, Angus Graeme School of Information, Science, Technology & Arts, University of Arizona; Tucson, United States
Abstract
This paper describes the development of an electro-acoustic composition, titled v→t→d, which positions the act of translation as the focal point of the creative process. The work is a collaboration between a saxophonist, a composer, and two multimedia artists. We begin with a saxophone improvisation which is translated into a composition featuring solo saxophone and fixed electronics work. The performance of this sound composition is translated again with live image processing, where the audio and visual content serve as control signals. We locate translation as an effective tool for composition and describe work that has inspired this approach to our creation processes.
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unknown
DOI: 10.5281/zenodo.850583
Zenodo URL: https://zenodo.org/record/850583
2014.270
Turnector: Tangible Control Widgets for Capacitive Touchscreen Devices
Rutter, Edward Kingsley University of the West of England (UWE Bristol); Bristol, United Kingdom
Mitchell, Tom University of the West of England (UWE Bristol); Bristol, United Kingdom
Nash, Chris University of the West of England (UWE Bristol); Bristol, United Kingdom
Abstract
This paper details the development of Turnector, a control system based upon tangible widgets that are manipulated on the touchscreen of a capacitive touch device. Turnector widgets are modelled on rotary faders and aim to connect the user to parameters in their audio software in a manner analogous to the one-to-one control mapping utilised in analogue studio equipment. The system aims to streamline workflow and facilitate hands-on experimentation through a simple and unobtrusive interface. The physical widgets provide the users with the freedom to glance away from the touchscreen surface whilst maintaining precise control of multiple parameters simultaneously. Related work in this area, including interaction design and TUIs in the context of musical control, is first discussed before setting out the design specification and manufacturing process of the Turnector widgets. A number of unique methods for widget detection, tracking are presented before closing the paper with initial findings and conclusive remarks.
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unknown
DOI: 10.5281/zenodo.850687
Zenodo URL: https://zenodo.org/record/850687
2014.271
Understanding and Tuning Mass-interaction Networks Through Their Modal Representation
Villeneuve, Jérôme ICA laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Cadoz, Claude ICA laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
Sound is all about vibration, and the GENESIS environment provides an efficient way for modeling and simulating complex vibrating structures, enabling to produce rich sounds. In this paper, we propose an overview of tools recently developed and available within the GENESIS environment, allowing a better understanding on how massinteraction networks behave and introducing some enhanced tuning of their vibrating properties. All these tools try to address an inherent need of any creative process either in the physical world or in GENESIS, which is to create bidirectional connections between properties of a phenomenon, in our case, audible sounds, and properties of what produced it, here, mass-interaction networks. For this purpose, we will introduce the topological and modal representations of such mass-interaction networks and appreciate how relevant it can be to switch between these different representations to really apprehend its inner properties and those of the sounds it produces.
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unknown
DOI: 10.5281/zenodo.850901
Zenodo URL: https://zenodo.org/record/850901
2014.272
Unisoner: An Interactive Interface for Derivative Chorus Creation From Various Singing Voices on the Web
Tsuzuki, Keita Graduate School of Systems and Information Engineering, University of Tsukuba; Tsukuba, Japan
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Yamada, Takeshi Faculty of Engineering, Information and Systems, University of Tsukuba; Tsukuba, Japan
Makino, Shoji Faculty of Engineering, Information and Systems, University of Tsukuba; Tsukuba, Japan
Abstract
This paper describes Unisoner, an interface for assisting the creation of derivative choruses in which voices of different singers singing the same song are overlapped on one common accompaniment. It was time-consuming to create such derivative choruses because creators have to manually cut and paste fragments of singing voices from different singers, and then adjust the timing and volume of every fragment. Although several interfaces for mashing up different songs have been proposed, no mash-up interface for creating derivative choruses by mixing singing voices for the same song has been reported. Unisoner enables users to find appropriate singers by using acoustic features and metadata of the singing voices to be mixed, assign icons of the found singers to each phrase within a song, and adjust the mixing volume by moving those icons. Unisoner thus enables users to easily and intuitively create derivative choruses. It is implemented by using several signal processing techniques, including a novel technique that integrates F 0 - estimation results from many voices singing the same song to reliably estimate F 0 without octave errors.
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unknown
DOI: 10.5281/zenodo.850689
Zenodo URL: https://zenodo.org/record/850689
2014.273
University of Helsinki Music Research Laboratory and Electronic Music Studio - the First 50 Years and Beyond
Lassfolk, Kai Musicology, Department of Philosophy, History, Culture and Art Studies, University of Helsinki; Helsinki, Finland
Ojanen, Mikko Musicology, Department of Philosophy, History, Culture and Art Studies, University of Helsinki; Helsinki, Finland
Abstract
The University of Helsinki Music Research Laboratory and Electronic Music Studio is one of the oldest studios and research facilities of its kind in the Nordic countries. Originally named "Ääniteknillinen laboratorio" (Laboratory of sound technology), the studio was the leading electronic music facility in Finland from the early 1960s to the late 1970s. Built and maintained by Erkki Kurenniemi, the studio served also as an important center for the development of electronic musical instruments. In the mid-1980s, the focus of the studio shifted toward research, first in the form of computer music software development and later in various fields of research. In the fall of 2012, the studio celebrated its 50th anniversary. In the same year, the studio moved from its long-time location at Vironkatu 1 to the Topelia building in the historic center of Helsinki. Lately, the studio has gained new interest in the Finnish media, especially through the pioneering work of Kurenniemi. This studio report describes both recent activities and the early history of the studio.
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unknown
DOI: 10.5281/zenodo.851013
Zenodo URL: https://zenodo.org/record/851013
2014.274
Using Natural Language to Specify Sound Parameters
Milde, Jan-Torsten Digital Media Working Group, CS Department, Fulda University of Applied Sciences (Hochschule Fulda); Fulda, Germany
Abstract
In this paper we describe the development of a test system, allowing to specify sound parameters of a virtual synthesizer using natural language. A sound may be described by the user with complex adjective phrases. These phrases are parsed and a semantic representation is created, which in turn is mapped to control parameters of the software synthesizer. The test system is the basis for more elaborate investigation on the relation between sound quality specifications and natural language expressions.
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unknown
DOI: 10.5281/zenodo.850941
Zenodo URL: https://zenodo.org/record/850941
2014.275
Violin Fingering Estimation According to Skill Level Based on Hidden Markov Model
Nagata, Wakana Nagoya Institute of Technology; Nagoya, Japan
Sako, Shinji Nagoya Institute of Technology; Nagoya, Japan
Kitamura, Tadashi Nagoya Institute of Technology; Nagoya, Japan
Abstract
This paper describes a method that estimates the appropriate violin fingering pattern according to the player’s skill level. A violin can produce the same pitch for different fingering patterns, which generally vary depending on skill level. Our proposed method translates musical scores into suitable fingering patterns for the desired skill level by modeling a violin player’s left hand based on a hidden Markov model. In this model, fingering is regarded as the hidden state and the output is the musical note in the score. We consider that differences in fingering patterns depend on skill level, which determines the prioritization between ease of playing and performance expression, and this priority is related to the output probability. Transition probability is defined by the appropriateness and ease of the transitions between states in the musical composition. Manually setting optimal model parameters for these probabilities is difficult because they are too numerous. Therefore, we decide on the parameters by training with textbook fingering. Experimental results show that fingering can be estimated for a skill level using the proposed method. The results of evaluations conducted of the method’s fingering patterns for beginners indicate that they are as good as or better than textbook fingering patterns.
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unknown
DOI: 10.5281/zenodo.850824
Zenodo URL: https://zenodo.org/record/850824
2014.276
Visualization and Manipulation of Stereophonic Audio Signals by Means of IID and IPD
Presti, Giorgio Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Mauro, Davide Andrea Department of Architecture and Arts, IUAV University of Venice; Venezia, Italy
Haus, Goffredo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica (DI), Università degli Studi di Milano; Milano, Italy
Abstract
In this paper we will discuss a model aimed at improving the spectral data representation of stereophonic audio in a way that allows efficient stereophonic data visualization and linear manipulation of arbitrary parts of the stereo image. The stereo pair is here interpreted as a single spectrum with additional dimensions, expressing the Interaural Intensity Difference (IID) and Interaural Phase Difference (IPD) for each FFT bin. These dimensions are evaluated assuming that the stereo signal is an instantaneous mixture with a residual amount of convolutive phenomena. Even if this assumption is not generally true for the majority of music signals it is applicable to single stems or submixes used during music production or other signals that comes in pairs. After a brief overview of the state of the art in stereo data representation, we will introduce the proposed dimensions, then we will show how they can be displayed and finally we will suggest a technique to manipulate the stereophonic data in realtime.
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unknown
DOI: 10.5281/zenodo.850903
Zenodo URL: https://zenodo.org/record/850903
2014.277
Vuza: A Functional Language for Creative Applications
Cella, Carmine-Emanuele Casa de Velázquez; Madrid, Spain / Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
This short paper will present Vuza, a new functional language for computer music and creative coding. The keypoint of the language is to bring the expressivity and the flexiblity of functional programming to digital art and computer music and make possible to embed such power in host applications. Vuza is a general purpose language with specific extensions for sound analysis and synthesis in realtime, computer assisted composition and GUI (graphical user interface) creation.
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unknown
DOI: 10.5281/zenodo.850943
Zenodo URL: https://zenodo.org/record/850943
2014.278
What Is Sound?
Nelson, Peter The University of Edinburgh; Edinburgh, United Kingdom
Abstract
What is sound? This question is posed in contradiction to the every-day understanding that sound is a phenomenon apart from us, to be heard, made, shaped and organised. Thinking through the history of computer music, and considering the current configuration of digital communications, sound is reconfigured as a type of network. This network is envisaged as non-hierarchical, in keeping with currents of thought that refuse to prioritise the human in the world. The relationship of sound to music proposes ways of thinking about and tapping into the network, in the hope of re-enchanting sound with the grace of art.
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unknown
DOI: 10.5281/zenodo.850445
Zenodo URL: https://zenodo.org/record/850445
2014.279
Xenakis's Philosophy of Technology Through Some Interviews
Solomos, Makis EMD, University Paris VIII; Paris, France
Abstract
Iannis Xenakis’s pioneering role in new music technologies is well known. He contributed to their development through his electroacoustic works (Diamorphoses, Concret PH, Légende d’Eer, etc.), his theories (stochastics, granular paradigm, etc.), his machines (UPIC), and his multimedia realizations (polytopes, etc.). His first studies as a civil engineer sharpened his efficiency. But his practical mind was coupled with a speculative mind, oriented toward philosophical interrogations. In this paper, we will quote some historical interviews in which Xenakis develops his views on technology: technology and progress; technique as a tool; the dangers of technology; art for everybody thanks to technology; forward-looking view about the computer; the role of intuition; and, finally, computer and manual actions (bricolage). In his writings, Xenakis tends to present applications of technology, but in his interviews, he is more eloquent on his philosophy of technology.
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unknown
DOI: 10.5281/zenodo.850459
Zenodo URL: https://zenodo.org/record/850459
2014.280
Zwischenräume - A Case Study in the Evaluation of Interactive Sound Installations
Marentakis, Georgios Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Pirrò, David Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Kapeller, Raphael Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
This paper presents a collaborative project revolving around the conception, the realisation, and the qualitative evaluation of the interactive sound installation zwischenräume. In the installation interaction is considered in a particular way, in that both the installation and the visitor are regarded as being part of an evolving dynamical system. First, we will frame the addressed question in the relevant research context. Then the installation and the ideas guiding its realisation will be described. Next, the evaluation methods used in this case study will be presented as well as the first results arising from their application. We finally point out how evaluation results could inform the subsequent refinement of the sound installation and directions for future research. The aspects investigated here are part of broader research project that looks into how evaluation strategies could be integrated in the development lifecycle of interactive sound installations.
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unknown
DOI: 10.5281/zenodo.850525
Zenodo URL: https://zenodo.org/record/850525
2014.281
ΗarmonyMixer: Mixing the Character of Chords Among Polyphonic Audio
Fukayama, Satoru National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
This paper describes HarmonyMixer, a method that enables a user without musical expertise to personalize the mood of existing polyphonic musical recordings by modifying their chord sequences. Our method lets the user choose a reference song with a character that the user wants reflected in chords of a target song. It is, however, difficult to modify chords in existing complex sound mixtures since technologies of sound source separation and multipitch analysis are not yet accurate enough for those mixtures. To overcome this difficulty, HarmonyMixer does not rely on those technologies and instead modifies chords by leveraging chromagrams. It first analyzes a chromagram feature matrix by using Bayesian non-parametric Non-negative Matrix Factorization, and then interpolates basis matrices obtained from reference and target songs to convert the chromagram of the target song. It finally modifies the spectrogram of the target song by reflecting the difference between the original and converted chromagrams while considering relations between frequency bins and chroma bins. Listening to the output from our method confirmed that modification of chords had been derived.
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unknown
DOI: 10.5281/zenodo.850905
Zenodo URL: https://zenodo.org/record/850905