Papers
Sound and Music Computing Conference 2016 (ed. 13)
Dates: from August 31 to September 03, 2016
Place: Hamburg, Germany
Proceedings info: Proceedings SMC 2016 | 31.8. - 3.9.2016, Hamburg, Germany, ISBN 978-3-00-053700-4
2016.1
Adapting a Computational Multi Agent Model for Humpback Whale Song Research for use as a Tool for Algorithmic Composition
Mcloughlin, Michael University of Plymouth; Plymouth, United Kingdom
Lamoni, Luca University of St Andrews; St Andrews, United Kingdom
Garland, Ellen University of St Andrews; St Andrews, United Kingdom
Ingram, Simon University of Plymouth; Plymouth, United Kingdom
Kirke, Alexis University of Plymouth; Plymouth, United Kingdom
Noad, Michael The University of Queensland; Sydney, Australia
Rendell, Luke University of St Andrews; St Andrews, United Kingdom
Miranda, Eduardo Reck University of Plymouth; Plymouth, United Kingdom
Abstract
Humpback whales (Megaptera Novaengliae) present one of the most complex displays of cultural transmission amongst non-humans. During the breeding season, male humpback whales create long, hierarchical songs, which are shared amongst a population. Every male in the popu- lation conforms to the same song in a population. During the breeding season these songs slowly change and the song at the end of the breeding season is significantly different from the song heard at the start of the breeding season. The song of a population can also be replaced, if a new song from a different population is introduced. This is known as song revolution. Our research focuses on building computational multi agent models, which seek to recreate these phenomena observed in the wild. Our research relies on methods inspired by computational multi agent models for the evolution of music. This inter- disciplinary approach has allowed us to adapt our model so that it may be used not only as a scientific tool, but also a creative tool for algorithmic composition. This paper discusses the model in detail, and then demon- strates how it may be adapted for use as an algorithmic composition tool.
Keywords
Algorithmic Composition, A-life, Multi Agent Modelling
Paper topics
improvisation and notation, Other, Real-time composition, Social interaction in sound and music computing, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851253
Zenodo URL: https://zenodo.org/record/851253
2016.2
A Faust Based Driving Simulator Sound Synthesis Engine
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Chafe, Chris Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Gang, Nick Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Johns, Mishel Center for Design Research, Stanford University; Stanford, United States
O'Modhrain, Sile University of Michigan; Ann Arbor, United States
Wright, Matthew James Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Sirkin, David Center for Design Research, Stanford University; Stanford, United States
Ju, Wendy Center for Design Research, Stanford University; Stanford, United States
Gowda, Nikhil Center for Design Research, Stanford University; Stanford, United States
Abstract
A driver’s awareness while on the road is a critical factor in his or her ability to make decisions to avoid hazards, plan routes and maintain safe travel. Situational awareness is gleaned not only from visual observation of the environment, but also the audible cues the environment provides — police sirens, honking cars, and crosswalk beeps, for instance, alert the driver to events around them. In our ongoing project on "investigating the influence of audible cues on driver situational awareness", we implemented a custom audio engine that synthesizes in real time the soundscape of our driving simulator and renders it in 3D. This paper describes the implementation of this system, evaluates it and suggests future improvements. We believe that it provides a good example of use of a technology developed by the computer music community outside of this field and that it demonstrates the potential of the use of driving simulators as a music performance venue.
Keywords
Autonomous Driving, Digital Signal Processing, Driving Simulator, Faust, Soundscape Synthesis, Sound Synthesis
Paper topics
Digital signal processing, Sonic interaction design, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851261
Zenodo URL: https://zenodo.org/record/851261
2016.3
A Hybrid Filter-Wavetable Oscillator Technique for Formant-Wave-Function Synthesis
Olsen, Michael Stanford University; Stanford, United States
Smith, Julius Orion III Stanford University; Stanford, United States
Abel, Jonathan S. Stanford University; Stanford, United States
Abstract
In this paper a hybrid filter-wavetable oscillator implmentation of Formant-Wave-Function (FOF) synthesis is presented where each FOF is generated using a second-order filter and wavetable oscillator pair. Similar to the original time-domain FOF implementation, this method allows for separate control of the bandwidth and skirtwidth of the formant region generated in the frequency domain by the FOF synthesis. Software considerations are also taken into account whihch improve the performance and flexibility of the synthesis technique.
Keywords
FAUST, formant-wave-function synthesis, synthesis techniques, vocal synthesis
Paper topics
Digital signal processing, Other, Software / computer music languages
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851283
Zenodo URL: https://zenodo.org/record/851283
2016.4
A Liberated Sonic Sublime: Perspectives on the Aesthetics & Phenomenology of Sound Synthesis
Bach Pedersen, Anders IT University of Copenhagen; Copenhagen, Denmark
Abstract
In this paper I will investigate the aesthetics of electronic sound synthesis and the contemporary sublime in an analysis and discussion of interrelated phenomenological, philosophical and cultural considerations through chosen sound and music examples. I argue that the aesthetic experience of sonic timbres that seem unearthly to us resembles that of a transcendental sublime in the uncanny experience of the synthesis of both known and unknown sounds and the overall immaterial materiality of electricity. Both experimental music and “switched-on” reinterpretations are addressed through explorations of sound in time, space and technology and I discuss if we as listeners are able to differentiate materiality from its superficial cognates when challenged by sonic doppelgängers. Concepts of sonorous perception are taken into account from a phenomenological point-of-reference with the purpose of suggesting a liberation of sound synthesis, arguing the transcendence of its boundaries in the physical world being possible through the aesthetics surrounding an un-fathomable technological sublime in the art of synthesizing electricity.
Keywords
Aesthetics, Materiality, Perception, Phenomenology, Sublime, Synthesis, Uncanny
Paper topics
History and aesthetics of electronic media, Music cognition and creativity
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851291
Zenodo URL: https://zenodo.org/record/851291
2016.5
A Model Selection Test for Factors Affecting the Choice of Expressive Timing Clusters for a Phrase
Li, Shengchen Queen Mary University of London; London, United Kingdom
Dixon, Simon Queen Mary University of London; London, United Kingdom
Black, Dawn Factum Radioscape; London, United Kingdom
Plumbley, Mark D. University of Surrey; Guildford, United Kingdom
Abstract
Expressive timing for a phrase in performed classical music is likely to be effected by two factors: the expressive timing in the previous phrase and the position of the phrase within the piece. In this work, we present a model selection test for evaluating candidate models that assert different dependencies on deciding the Cluster of Expressive Timing (CET) for a phrase. We use cross entropy and Kullback Leibler (KL) divergence to evaluate the resulting models: with theses criteria we find that both the expressive timing in the previous phrase and the position of a phrase in music score effect expressive timing in a phrase. The expressive timing in the previous phrase prioritises the position of the phrase as the position of the phrase only impacts the choice of expressive timing with the consideration of expressive timing in the previous phrase.
Keywords
classical piano performance, computational musicology, expressive timing, model selection
Paper topics
Computational musicology and mathematical music theory, Computer-based music analysis
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851245
Zenodo URL: https://zenodo.org/record/851245
2016.6
AN EXPLORATION ON WHOLE-BODY AND FOOT-BASED VIBROTACTILE SENSITIVITY TO MELODIC CONSONANCE
Fontana, Federico Università di Udine; Udine, Italy
Camponogara, Ivan New York University (NYU); New York, United States
Vallicella, Matteo Università di Verona; Verona, Italy
Ruzzenente, Marco Università di Verona; Verona, Italy
Cesari, Paola Università di Verona; Verona, Italy
Abstract
Consonance is a distinctive attribute of musical sounds, for which a psychophysical explanation has been found leading to the critical band perceptual model. Recently this model has been hypothesized to play a role also during tactile perception. In this paper the sensitivity to vibrotactile consonance was subjectively tested in musicians and non-musicians. Before the test, both such groups listened to twelve melodic intervals played with a bass guitar. After being acoustically isolated, participants were exposed to the same intervals in the form of either a whole-body or foot-based vibrotactile stimulus. On each trial they had to identify whether an interval was ascending, descending or unison. Musicians were additionally asked to label every interval using standard musical nomenclature. The intervals identification as well as their labeling was above chance, but became progressively more uncertain for decreasing consonance and when the stimuli were presented underfoot. Musicians’ labeling of the stimuli was incorrect when dissonant vibrotactile intervals were presented underfoot. Compared to existing literature on auditory, tactile and multisensory perception, our results reinforce the idea that vibrotactile musical consonance plays a perceptual role in both musicians and non-musicians. Might this role be the result of a process occurring at central and/or peripheral level, involving or not activation of the auditory cortex, concurrent reception from selective somatosensory channels, correlation with residual auditory information reaching the basilar membrane through bone conduction, is a question our preliminary exploration leaves open to further research work.
Keywords
melodic interval, musical consonance, tactile perception, underfoot vibrations, whole-body vibrations
Paper topics
Multi-modal perception and emotion
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851213
Zenodo URL: https://zenodo.org/record/851213
2016.7
An Online Tempo Tracker for Automatic Accompaniment based on Audio-to-audio Alignment and Beat Tracking
Burloiu, Grigore Politehnica University of Bucharest (UPB); Bucharest, Romania
Abstract
We approach a specific scenario in real-time performance following for automatic accompaniment, where a relative tempo value is derived from the deviation between a live target performance and a stored reference, to drive the playback speed of an accompaniment track. We introduce a system which combines an online alignment process with a beat tracker. The former aligns the target performance to the reference without resorting to any symbolic information. The latter utilises the beat positions detected in the accompaniment, reference and target tracks to (1) improve the robustness of the alignment-based tempo model and (2) take over the tempo computation in segments when the alignment error is likely high. While other systems exist that handle structural deviations and mistakes in a performance, the portions of time where the aligner is attempting to find the correct hypothesis can produce erratic tempo values. Our proposed system, publicly available as a Max/MSP external object, addresses this problem.
Keywords
audio-to-audio alignment, automatic accompaniment, beat tracking, Max/MSP external, tempo models
Paper topics
Interactive performance systems, Music information retrieval, Other
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851197
Zenodo URL: https://zenodo.org/record/851197
2016.8
A Score-Informed Computational Description of Svaras Using a Statistical Model
Şentürk, Sertan Pompeu Fabra University (UPF); Barcelona, Spain
Koduri, Gopala Krishna Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Musical notes are often modeled as a discrete sequence of points on a frequency spectrum with possibly different interval sizes such as just-intonation. Computational descriptions abstracting the pitch content in audio music recordings have used this model, with reasonable success in several information retrieval tasks. In this paper, we argue that this model restricts a deeper understanding of the pitch content. First, we discuss a statistical model of musical notes which widens the scope of the current one and opens up possibilities to create new ways to describe the pitch content. Then we present a computational approach that partially aligns the audio recording with its music score in a hierarchical manner first at metrical cycle-level and then at note-level, to describe the pitch content using this model. It is evaluated extrinsically in a classification test using a public dataset and the result is shown to be significantly better compared to a state-of-the-art approach. Further, similar results obtained on a more challenging dataset which we have put together, reinforces that our approach outperforms the other.
Keywords
audio-score alignment, Carnatic music, histogram, iterative subsequence dynamic time warping, kriti, note model, raga recognition, svara, varnam
Paper topics
Computational musicology and mathematical music theory, Digital signal processing, Music information retrieval
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851301
Zenodo URL: https://zenodo.org/record/851301
2016.9
A Study of the Use of Perceptual Features for Music Emotion Recognition
Abela Scicluna, Maria University of Malta; Msida, Malta
Muscat, Adrian University of Malta; Msida, Malta
Buttigieg, Victor University of Malta; Msida, Malta
Abstract
Perceptual features are defined as musical descriptors that closely match a listener’s understanding of musical characteristics. This paper tackles Music Emotion Recognition through the consideration of three kinds of perceptual feature sets, human rated, computational and modelled features. The human rated features are extracted through a survey and the computational features are estimated directly from the audio signal. Regressive modelling is used to predict the human rated features from the computational features. The latter predicted set constitute the modelled features. The regressive models performed well for all features except for Harmony, Timbre and Melody. All three feature sets are used to train three regression models (one for each set) to predict the components Energy and Valence, which are then used to recognise emotion. The model trained on the rated features performed well for both components. This therefore shows that emotion can be predicted from perceptual features. The models trained on the computational and modelled features performed well in predicting Energy, but not so well in predicting Valence. This is not surprising since the main predictors for Valence are Melody, Harmony and Timbre, which therefore need added or modified computational features that better match human perception.
Keywords
Classification, Feature Extraction, Music Emotion Recognition, Perceptual Features
Paper topics
Computer-based music analysis, Multi-modal perception and emotion, Music information retrieval
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851167
Zenodo URL: https://zenodo.org/record/851167
2016.10
Authoring Spatial Music with SpatDIF Version 0.4
Schacher, Jan C. Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Peters, Nils Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT), Schulich School of Music, McGill University; Montreal, Canada
Lossius, Trond Bergen Centre for Electronic Arts (BEK); Bergen, Norway
Miyama, Chikashi Institute for Music and Acoustics, Center for Art and Media Karlsruhe (ZKM); Karlsruhe, Germany
Abstract
SpatDIF, the Spatial Sound Description Interchange Format is a light-weight, human-readable syntax for storing and transmitting spatial sound scenes, serving as an independent, cross-platform and host-independent solution for spatial sound composition. The recent update to version 0.4 of the specification introduces the ability to define and store continuous trajectories on the authoring layer in a human-readable way, as well as describing groups and source spreading. As a result, SpatDIF provides a new way to exchange higher level authoring data across authoring tools that help to preserve the artistic intent in spatial music.
Keywords
authoring, composition, interoperability, SpatDIF, spatial sound, trajectory
Paper topics
improvisation and notation, Real-time composition, Room acoustics and spatial audio, Software / computer music languages, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851297
Zenodo URL: https://zenodo.org/record/851297
2016.11
Automatic musical instrument recognition in audiovisual recordings by combining image and audio classification strategies
Slizovskaia, Olga Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Pompeu Fabra University (UPF); Barcelona, Spain
Haro, Gloria Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
The goal of this work is to incorporate the visual modality into a musical instrument recognition system. For that, we first evaluate state-of-the-art image recognition techniques in the context of music instrument recognition, using a database of about 20.000 images and 12 instrument classes. We then reproduce the results of state-of-the-art methods for audio-based musical instrument recognition, considering standard datasets including more than 9.000 sound excerpts and 45 instrument classes. We finally compare the accuracy and confusions in both modalities and we showcase how they can be integrated for audio-visual instrument recognition in music videos. We obtain around 0.75 F1-measure for audio and 0.77 for images and similar confusions between instruments. This study confirms that visual (shape) and acoustic (timbre) properties of music instruments are related to each other and reveals the potential of audiovisual music description systems and the fact.
Keywords
audiovisual content-based learning, multimodal musical instrument recognition, multimodal music information retrieval
Paper topics
Computer-based music analysis, Music information retrieval, Other
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851305
Zenodo URL: https://zenodo.org/record/851305
2016.12
A Virtual Acousmonium for Transparent Speaker Systems
Canfield-Dafilou, Elliot Kermit Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
An acousmonium, or loudspeaker orchestra, is a system of spatially-separated loudspeakers designed for diffusing electroacoustic music. The speakers in such a system are chosen based on their sonic properties and placed in space with the intention of imparting spatial and timbral effects on the music played through them. Acousmonia are in fact musical instruments that composers and sound artists use in concerts to perform otherwise static tape pieces. Unfortunately, acousmonia are large systems that are challenging to maintain, upgrade, transport, and reconfigure. Additionally, their sole task is limited to the diffusion of acousmatic music. On the other hand, most computer music centers have incorporated multichannel sound systems into their studio and concert setups. In this paper, we propose a virtual acousmonium that decouples an arbitrary arrangement of virtual, colored speakers from a transparent speaker system that the acousmonium is projected through. Using ambisonics and an appropriate decoder, we can realize the virtual acousmonium on almost any speaker system. Our software automatically generates a GUI for metering and OSC/MIDI responders for control, making the system portable, configurable, and simple to use.
Keywords
acousmatic music, acousmonium, diffusion tools, speaker orchestra
Paper topics
Computer environments for sound/music processing, History and aesthetics of electronic media, Interactive performance systems, Room acoustics and spatial audio, Virtual environments for music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851239
Zenodo URL: https://zenodo.org/record/851239
2016.13
Beatings: a web application to foster the renaissance of the art of musical temperaments
Penha, Rui Faculdade de Engenharia da Universidade do Porto (FEUP), INESC TEC / Universidade do Porto; Porto, Portugal
Bernardes, Gilberto INESC TEC; Porto, Portugal
Abstract
In this article we present beatings, a web application for the exploration of tuning and temperaments which pays particular attention to auditory phenomena resulting from the interaction of the spectral components of a sound, and in particular to the pitch fusion and the amplitude modulations occurring between the spectral peaks a critical bandwidth apart. By providing a simple, yet effective, visualization of the temporal evolution of this auditory phenomena we aim to foster new research in the pursuit of perceptually grounded principles explaining Western tonal harmonic syntax, as well as provide a tool for musical practice and education, areas where the old art of musical tunings and temperaments, with the notable exception of early music studies, appears to have long been neglected in favour of the practical advantages of equal temperament.
Keywords
harmony, javascript, temperament, tuning, voice leading, web application, Web Audio API, Web MIDI API
Paper topics
Computer-based music analysis, New interfaces for musical expression, Other, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851293
Zenodo URL: https://zenodo.org/record/851293
2016.14
CAMEL: CARNATIC PERCUSSION MUSIC GENERATION USING N-GRAM MODELS
Trochidis, Konstantinos New York University (NYU); New York, United States
Guedes, Carlos New York University (NYU); New York, United States
Anantapadmanabhan, Akshay Independent Musician, Independent; India
Klaric, Andrija New York University (NYU); New York, United States
Abstract
In this paper we explore a method for automatically generating Carnatic style rhythmic. The method uses a set of annotated Carnatic percussion performances to generate new rhythmic patterns. The excerpts are short percussion solo performances in ādi tāla (8 beat-cycle), performed in three different tempi (slow/moderate/fast). All excerpts were manually annotated with beats, downbeats and strokes in three different registers — Lo-Mid-Hi. N-gram analysis and Markov chains are used to model the rhythmic structure of the music and determine the progression of the generated rhythmic patterns. The generated compositions are evaluated by a Carnatic music percussionist through a questionnaire and the overall evaluation process is discussed. Results show that the system can successfully compose Carnatic style rhythmic performances and generate new patterns based on the original compositions.
Keywords
automatic music generation, Carnatic rhythmic patterns, rhythmic structure
Paper topics
Computer-based music analysis, improvisation and notation, Interactive performance systems, New interfaces for musical expression, Real-time composition, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851317
Zenodo URL: https://zenodo.org/record/851317
2016.15
Composition Identification in Ottoman-Turkish Makam Music Using Transposition-Invariant Partial Audio-Score Alignment
Şentürk, Sertan Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
The composition information of audio recordings is highly valuable for many tasks such as music auto-tagging, music discovery and recommendation. Given a music collection, two typical scenarios are retrieving the composition(s) performed in an audio recording and retrieving the audio recording(s), where a composition is performed. These tasks are challenging in many music traditions, where the musicians have a vast freedom of interpretation. We present a composition identification methodology for such a music culture, in a music collection consisting of audio recordings and music scores. Our methodology first attempts to align the music score of a composition partially with an audio recording by using either Hough transform or subsequence dynamic time warping (SDTW). Next, it computes a similarity from the alignment, which indicates the likelihood of the audio having a performance of this composition. By repeating this procedure over all queries (scores or recordings depending on the retrieval task) we obtain similarity-values between the document (score or recording) and each query. Finally, the queries emitting high similarities are selected by a simple approach using logistic regression. We evaluate our methodology on a dataset of Ottoman-Turkish classical makam music. Our methodology achieves 0.95 mean average precision (MAP) for both composition retrieval and performance retrieval tasks using optimal parameters.
Keywords
classical music, composition identification, composition retrieval, Hough transform, logistic regression, Mahalanobis distance, Ottoman-Turkish makam music, outlier detection, partial audio-score alignment, performance retrieval, Subsequence dynamic time warping, tonic identification
Paper topics
Computational musicology and mathematical music theory, Digital signal processing, Music information retrieval
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851303
Zenodo URL: https://zenodo.org/record/851303
2016.16
David Wessel's Slabs: A Case Study in Preventative Digital Musical Instrument Conservation
Freed, Adrian Center for New Music and Audio Technologies (CNMAT), University of California, Berkeley; Berkeley, United States
Abstract
David Wessel's Slabs is being conserved as an important element of CNMAT's collection of electronic music and computer music instruments and controllers. This paper describes the strategies being developed to conserve the instrument and how we are reaching for the goals of both maintaining the symbolic value of the instrument as a prize-winning, highly-regarded example of the "composed instrument" paradigm and "use value" as an example students and scholars can interact with to develop their own composed instruments. Conservation required a sensitive reconfiguration and rehousing of this unique instrument that preserves key original components while rearranging them and protecting them from wear and damage.
Keywords
Conservation, David Wessel, DMI, Multitouch, Piezoresistive Trackpad, Slabs
Paper topics
Computer environments for sound/music processing, History and aesthetics of electronic media, Instrument building and virtuosity in Computer Music, Interactive performance systems, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851215
Zenodo URL: https://zenodo.org/record/851215
2016.17
deepGTTM-II: Automatic Generation of Metrical Structure based on Deep Learning Technique
Hamanaka, Masatoshi Kyoto University; Kyoto, Japan
Hirata, Keiji Future University Hakodate; Hakodate, Japan
Tojo, Satoshi Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Abstract
This paper describes an analyzer that automatically generates the metrical structure of a generative theory of tonal music (GTTM). Although a fully automatic time-span tree analyzer has been developed, musicologists have to correct the errors in the metrical structure. In light of this, we use a deep learning technique for generating the metrical structure of a GTTM. Because we only have 300 pieces of music with the metrical structure analyzed by musicologist, directly learning the relationship between the score and metrical structure is difficult due to the lack of training data. To solve this problem, we propose a multidimensional multitask learning analyzer called deepGTM-II that can learn the relationship between score and metrical structures in the following three steps. First, we conduct unsupervised pre-training of a network using 15,000 pieces in a non-labeled dataset. After pre-training, the network involves supervised fine-tuning by back propagation from output to input layers using a half-labeled dataset, which consists of 15,000 pieces labeled with an automatic analyzer that we previously constructed. Finally, the network involves supervised fine-tuning using a labeled dataset. The experimental results demonstrated that the deepGTTM-II outperformed the previous analyzers for a GTTM in F-measure for generating the metrical structure.
Keywords
A generative thory of tonal music (GTTM), Deep belief network, Deep learning, Metrical structure
Paper topics
Computational musicology and mathematical music theory, Computer-based music analysis
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851229
Zenodo URL: https://zenodo.org/record/851229
2016.18
Detection Thresholds in Audio-Visual Redirected Walking
Meyer, Florian Hamburg University of Technology (TUHH); Hamburg, Germany
Nogalski, Malte Hamburg University of Applied Sciences (HAW); Hamburg, Germany
Fohl, Wolfgang Hamburg University of Applied Sciences (HAW); Hamburg, Germany
Abstract
Redirected walking is a technique to present users a walkable virtual environment that is larger than the extent of the physical space of the reproduction room. For the proper application of this technique, it is necessary to determine the detection threshold for the applied manipulations. In this paper, an experiment to measure the detection levels of redirected walking manipulations in an audio-visual virtual environment is described, results are presented and compared to previous results of a purely acoustically controlled redirected walking experiment.
Keywords
Detection thresholds, Redirected walking, Virtual audio-visual environments
Paper topics
Interactive performance systems, Room acoustics and spatial audio, Sonic interaction design, Sound and music for virtual reality and games, Virtual environments for music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851259
Zenodo URL: https://zenodo.org/record/851259
2016.19
DEVELOPING A PARAMETRIC SPATIAL DESIGN FRAMEWORK FOR DIGITAL DRUMMING
Ham, Jeremy Royal Melbourne Institute of Technology (RMIT); Melbourne, Australia
Prohasky, Daniel Royal Melbourne Institute of Technology (RMIT); Melbourne, Australia
Abstract
This research operates at the intersection of music and spatial design within the context of improvised digital drumming. We outline a creative design research project founded on the generation of a large body of improvised drum output with the intention of identifying a set of ‘referent (Pressing 1987)’ improvisations, patterns and phrases within the phenomenology of improvisation. We outline the development of a parametric computational framework using software from the spatial design industry to provide affordance (Gibson 1979) to understanding the complexities of drum improvisation. The ‘ImprovSpace’ Grasshopper script, operating within Rhino3D enables the 3D spatialization of digital drum-based improvisations wherein the parameters of drum notes, duration and velocity all can be flexibly manipulated. Drum phrases and patterns can be compared individually and clusters of repeated elements can be found within a larger corpus of improvisations. The framework enables insights into the specific attributes that constitute individual style including playing behind and ahead of the beat, microtiming, rubato and other elements. It is proposed that, by bringing these improvisations into visual and spatial domain in plan, elevation and isometric projections, a theoretic musico-perspectival hinge may be deconstructed. This may provide insights for non-reading, visually and spatially dominant musi-cians within reflective, educational and other contexts
Keywords
Digital drumming, Improvisation, Music and Architecture, Parametric Modelling
Paper topics
Computer-based music analysis, improvisation and notation, Real-time composition
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851227
Zenodo URL: https://zenodo.org/record/851227
2016.20
Emerging Composition: Being and Becoming
Tipei, Sever University of Illinois at Urbana-Champaign; Champaign County, United States
Abstract
Emerging Composition: Being and Becoming envisions a work in continuous transformation, never reaching an equilibrium, a complex dynamic system whose components permanently fluctuate and adjust to global changes. The process never produces a definitive version, but provides at any arbitrary point in time a plausible variant of the work - a transitory being. Directed Graphs are used to represent the structural levels of a composition (vertices) and the relationships between them (edges); parent-children and ancestor-descendant type connections describe well potential hierarchies in a piece of music. By determining adjacencies and degrees of vertices and introducing weights for edges, one can define affinities and dependencies in the complex and flexible structure that is a musical composition. Ways in which the all-incidence matrix of a graph with weighted edges can evolve are discussed including the use for that purpose of elements of Information Theory. The Emerging Composition model is closer to the way composers actually write music and refine their output; it also creates the equivalent of a live organism, growing, developing, and transforming itself over time.
Keywords
computer-assisted composition, directed graph, dynamic system, high performance computing, information theory
Paper topics
High performance computing for audio, Other, Software / computer music languages
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851313
Zenodo URL: https://zenodo.org/record/851313
2016.21
Engagement and Interaction in Participatory Sound Art
Goudarzi, Visda Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Gioti, Artemi-Maria Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
This paper explores a variety of existing interactive and participatory sound systems and the role of different actors in them. In human computer interaction (HCI), the focal point on studying interactive systems has been the usability and functionality of the systems. We are trying to shift the focus more towards creative aspects of interaction in both technology development and sound creation. In some sound art works, the control is in the hand of the technology creators, in some others in the hand of composers, and sometimes in the hand of the performers or the audience members. Some challenges in such systems are the ownership of technical and aesthetic components, balancing engagement and interaction among different stakeholders (designer, composer, spectator, etc) and encouraging audience engagement. We propose a discussion on participation, human-computer and human-human interaction within the process of creation and interaction with the system.
Keywords
Human Computer Interaction, Interactive Sound Art, Participatory Performance
Paper topics
Interactive performance systems, Other, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851221
Zenodo URL: https://zenodo.org/record/851221
2016.22
Exploring Gesturality in Music Performance
Schacher, Jan C. Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Bisig, Daniel Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Neff, Patrick University of Zurich (UZH) / Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
Perception of gesturality in music performance is a multi-modal phenomenon and is carried by the differentiation of salient features in movement as well as sound. In a mix of quantitative and qualitative methods we collect sound and motion data, Laban effort qualifiers, and in a survey with selected participants subjective ratings and categorisations. The analysis aims at uncovering correspondences in the multi-modal information, using comparative processes to find similarity/differences in movement, sound as well categorical data. The resulting insights aim primarily at developing tools for automated gestural analysis that can be used both for musical research and to control interactive systems in live performance.
Keywords
gesturality, motion features, multi-modal analysis, music performance, surveys
Paper topics
Computer-based music analysis, Multi-modal perception and emotion, Music cognition and creativity, Music information retrieval
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851295
Zenodo URL: https://zenodo.org/record/851295
2016.23
Exploring Moment-form in Generative Music
Eigenfeldt, Arne Simon Fraser University; Vancouver, Canada
Abstract
Generative art is art created through the use of a system. A unique and distinguishing characteristic of generative artworks is that they change with each run of the system; in the case of generative music, a musical composition that re-explores itself, continually producing alternative versions. An open problem in generative music is large- scale structure: how can generative systems avoid creating music that meanders aimlessly, yet doesn’t require strict architectural forms into which it is forced inside? Moments is a generative installation that explores Moment-form, a term Stockhausen coined to describe (his) music that avoids directed narrative curves. Through the use of musebots – independent musical agents – that utilize a parameterBot to generate an overall template of “moments”, the agents communicate their intentions and coordinate conditions for collaborative machine composition.
Keywords
form, generative music, moment-form, musical metacreation
Paper topics
Computational musicology and mathematical music theory, Computer environments for sound/music processing, improvisation and notation, Interactive performance systems, New interfaces for musical expression, Real-time composition
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851207
Zenodo URL: https://zenodo.org/record/851207
2016.24
EXPRESSIVE HUMANOID ROBOT FOR AUTOMATIC ACCOMPANIMENT
Xia, Guangyu Carnegie Mellon University; Pittsburgh, United States
Dannenberg, Roger B. Carnegie Mellon University; Pittsburgh, United States
Kawai, Mao Waseda University; Tokyo, Japan
Matsuki, Kei Waseda University; Tokyo, Japan
Takanishi, Atsuo Waseda University; Tokyo, Japan
Abstract
We present a music-robotic system capable of performing an accompaniment for a musician and reacting to human performance with gestural and facial expression in real time. This work can be seen as a marriage between social robotics and computer accompaniment systems in order to create more musical, interactive, and engaging performances between humans and machines. We also conduct subjective evaluations on audiences to validate the joint effects of robot expression and automatic accompaniment. Our results show that robot embodiment and expression improve the subjective ratings on automatic accompaniment significantly. Counterintuitively, such improvement does not exist when the machine is performing a fixed media and the human musician simply follows the machine. As far as we know, this is the first interactive music performance between a human musician and a humanoid music robot with systematic subjective evaluation.
Keywords
automatic accompaniment, human-computer interaction, humanoid robotic
Paper topics
Interactive performance systems, Music and robotics
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851327
Zenodo URL: https://zenodo.org/record/851327
2016.25
Factors Influencing Vocal Pitch in Articulatory Speech Synthesis: A Study Using PRAAT
Meenakshisundaram, Sivaramakrishnan Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Kaimi, Irene School of Computing, Electronics and Mathematics, University of Plymouth; Plymouth, United Kingdom
Abstract
An extensive study on the parameters influencing the pitch of a standard speaker in articulatory speech synthesis is presented. The speech synthesiser used is the articulatory synthesiser in PRAAT. Categorically, the repercussion of two parameters: Lungs and Cricothyroid on the average pitch of the synthesised sounds are studied. Statistical analysis of synthesis data proclaims the extent to which each of the variables transforms the tonality of the speech signals.
Keywords
Articulatory Synthesis, Cricothyroid, Lungs, PRAAT, Vocal Pitch
Paper topics
Other
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851255
Zenodo URL: https://zenodo.org/record/851255
2016.26
FACTORSYNTH: A MAX TOOL FOR SOUND ANALYSIS AND RESYNTHESIS BASED ON MATRIX FACTORIZATION
Burred, Juan José Independent; France
Abstract
Factorsynth is a new software tool, developed in the Max environment, that implements sound processing based on matrix factorization techniques. In particular, Non-negative Matrix Factorization is applied to the input sounds, which produces a set of temporal and spectral components that can be then freely manipulated and combined to produce new sounds. Based on a simple graphical interface that visualizes the factorization output, Factorsynth aims at bringing the ideas of matrix factorization to a wider audience of composers and sound designers.
Keywords
analysis/synthesis, cross-synthesis, matrix factorization, max/msp, nmf
Paper topics
Computer environments for sound/music processing, Software / computer music languages
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851199
Zenodo URL: https://zenodo.org/record/851199
2016.27
FaucK!! Hybridizing the FAUST and ChucK Audio Programming Languages
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Wang, Ge Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
This paper presents a hybrid audio programming environment, called FaucK, which combines the powerful, succinct Functional AUdio STream (FAUST) language with the strongly-timed ChucK audio programming language. FaucK allows programmers to on-the-fly evaluate FAUST code directly from ChucK code and control FAUST signal processors using ChucK’s sample-precise timing and concurrency mechanisms. The goal is to create an amalgam that plays to the strengths of each language, giving rise to new possibilities for rapid prototyping, interaction design and controller mapping, pedagogy, and new ways of working with both FAUST and ChucK. We present our motivations, approach, implementation, and preliminary evaluation. FaucK is open-source and freely available.
Keywords
ChucK, DSP, FAUST, Programming Languages
Paper topics
Computer environments for sound/music processing, Digital signal processing, Software / computer music languages
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851265
Zenodo URL: https://zenodo.org/record/851265
2016.28
FONASKEIN: An interactive application software for the practice of the singing voice
Moschos, Fotis National and Kapodistrian University of Athens; Athens, Greece
Georgaki, Anastasia National and Kapodistrian University of Athens; Athens, Greece
Kouroupetroglou, Georgios National and Kapodistrian University of Athens; Athens, Greece
Abstract
A number of software applications for the practice of the singing voice have been introduced the last decades, but all of them are limited to equal tempered scales. In this work, we present the design and development of FONASKEIN, a novel modular interactive software application for the practice of singing voice in real time and with visual feedback for both equal and non-equal tempered scales. Details of the Graphical User Interface of FONASKEIN are given, along with its architecture. The evaluation results of FONASKEIN in a pilot experiment with eight participants and with four songs in various musical scales showed its positive effect in practice of the singing voice in all cases.
Keywords
Computer aided singing, non-equal tempered scales, Singing, Singing in non-equal tempered scales, Visual feedback singing software
Paper topics
Computer-based music analysis, Computer environments for sound/music processing, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851271
Zenodo URL: https://zenodo.org/record/851271
2016.29
FORM-AWARE, REAL-TIME ADAPTIVE MUSIC GENERATION FOR INTERACTIVE EXPERIENCES
Aspromallis, Christodoulos University College London; London, United Kingdom
Gold, Nicolas E. University College London; London, United Kingdom
Abstract
Many experiences offered to the public through interactive theatre, theme parks, video games, and virtual environments use music to complement the participants’ activity. There is a range of approaches to this, from straightforward playback of ‘stings’, to looped phrases, to on-the-fly note generation. Within the latter, traditional genres and forms are often not represented, with the music instead being typically loose in form and structure. We present work in progress on a new method for real-time music generation that can preserve traditional musical genres whilst being reactive in form to the activities of participants. The results of simulating participant trajectories and the effect this has on the music generation algorithms are presented, showing that the approach can successfully handle variable length forms whilst remaining substantially within the given musical style.
Keywords
functional music, generative music, interactive systems, musical grammars, music applications in theatre
Paper topics
improvisation and notation, Interactive performance systems, Real-time composition, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851177
Zenodo URL: https://zenodo.org/record/851177
2016.30
Gestural Control of Wavefield Synthesis
Grani, Francesco Aalborg University; Aalborg, Denmark
Serafin, Stefania Aalborg University; Aalborg, Denmark
Abstract
We present a report covering our preliminary research on the control of spatial sound sources in wavefield synthesis through gesture based interfaces. After a short general introduction on spatial sound and few basic concepts on wavefield synthesis, we presents a graphical application called spAAce which let users con- trol real-time movements of sound sources by drawing tra- jectories on a screen. The first prototype of this application has been developed bound to WFSCollider, an open-source software based on Supercollider which let users control wavefield synthesis. The spAAce application has been im- plemented using Processing, a programming language for sketches and prototypes within the context of visual arts, and communicates with WFSCollider through the Open Sound Control protocol. This application aims to create a new way of interaction for live performance of spatial composition and live electronics. In a subsequent section we present an auditory game in which players can walk freely inside a virtual acoustic en- vironment (a room in a commercial ship) while being ex- posed to the presence of several “enemies”, which the player needs to localise and eliminate by using a Nintendo Wi- iMote game controller to “throw” sounding objects towards them. Aim of this project was to create a gestural interface for a game based on auditory cues only, and to investigate how convolution reverberation can affects people’s percep- tion of distance in a wavefield synthesis setup environment.
Keywords
gestural control, spatialization, wavefield synthesis
Paper topics
Room acoustics and spatial audio, Sonic interaction design, Virtual environments for music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851223
Zenodo URL: https://zenodo.org/record/851223
2016.31
GestureChords: Transparency in Gesturally Controlled Digital Musical Instruments through Iconicity and Conceptual Metaphor
Brown, Dom University of the West of England (UWE Bristol); Bristol, United Kingdom
Nash, Chris University of the West of England (UWE Bristol); Bristol, United Kingdom
Mitchell, Tom University of the West of England (UWE Bristol); Bristol, United Kingdom
Abstract
This paper presents GestureChords, a mapping strategy for chord selection in freehand gestural instruments. The strategy maps chord variations to a series of hand postures using the concepts of iconicity and conceptual metaphor, influenced by their use in American Sign Language (ASL), to encode meaning in gestural signs. The mapping uses the conceptual metaphors MUSICAL NOTES ARE POINTS IN SPACE and INTERVALS BETWEEN NOTES ARE SPACES BETWEEN POINTS, which are mapped respectively to the number of extended fingers in a performer’s hand and the abduction or adduction between them. The strategy is incorporated into a digital musical instrument and tested in a preliminary study for transparency by both performers and spectators, which gave promising results for the technique.
Keywords
American Sign Language, Conceptual Metaphor, Digital Musical Instruments, Gestural Interaction, Iconicity, Mapping, Transparency
Paper topics
Instrument building and virtuosity in Computer Music, New interfaces for musical expression, Sonic interaction design
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851193
Zenodo URL: https://zenodo.org/record/851193
2016.32
IMPROVISATION AND GESTURE AS FORM DETERMINANTS IN WORKS WITH ELECTRONICS
Aska, Alyssa University of Calgary; Calgary, Canada
Abstract
This paper examines several examples that use electronics as form determinants in works with some degree of structured improvisation. Three works created by the author are discussed, each of which uses gestural controller input to realize an indeterminate form in some way. The application of such principles and systems to venues such as networked performance is explored. While each of these discussed works contains an improvisatory and/or aleatoric element, much of their content is composed, which brings the role of the composer into question. The “improviser”, who in these works advances the work temporally and determines the overall form, is actually taking on the more familiar role of the conductor. Therefore, these works also bring up important conversation topics regarding performance practice in works that contain electronics and how they are realized.
Keywords
algorithmic music, improvisation, interaction, motion tracking, performance aesthetics
Paper topics
improvisation and notation, Interactive performance systems, New interfaces for musical expression, Real-time composition, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851175
Zenodo URL: https://zenodo.org/record/851175
2016.33
INTERACTION WITH A LARGE SIZED AUGMENTED STRING INSTRUMENT INTENDED FOR A PUBLIC SETTING
Paloranta, Jimmie KTH Royal Institute of Technology; Stockholm, Sweden
Lundström, Anders KTH Royal Institute of Technology; Stockholm, Sweden
Elblaus, Ludvig KTH Royal Institute of Technology; Stockholm, Sweden
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Frid, Emma KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
In this paper we present a study of the interaction with a large sized string instrument intended for a large installation in a museum, with focus on encouraging creativity, learning, and providing engaging user experiences. In the study, nine participants were video recorded while playing with the string on their own, followed by an interview focusing on their experiences, creativity, and the functionality of the string. In line with previous research, our results highlight the importance of designing for different levels of engagement (exploration, experimentation, challenge). However, results additionally show that these levels need to consider the users’ age and musical background as these profoundly affect the way the user plays with and experiences the string.
Keywords
creativity, digital musical instruments, engagement, interactive installations, museum exhibits, sensor design, string instruments
Paper topics
Instrument building and virtuosity in Computer Music, Interactive performance systems, Multi-modal perception and emotion, Music cognition and creativity, New interfaces for musical expression, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851289
Zenodo URL: https://zenodo.org/record/851289
2016.34
Interfaces for Sound: Representing Material in Pop Music Productions
Grote, Florian Native Instruments GmbH; Berlin, Germany
Abstract
Sound is the foundation of music composition in contemporary popular cultures. As the medium of popular music, sound is an important dimension in which artists establish their identities and become recognizable. This presents a radical departure from the focus on written notation and a pre-set corpus of instrument timbres found in classical Western-European music. To create in the medium of sound, contemporary composers utilize digital production systems with new interfaces, many of which are built upon the waveform representation as their cornerstone. This waveform representation is an interesting bridge between the analog world, from where it borrows its appearance as a seemingly continuous line, and the digital world in which it exists as a visualization of a digital model describing continuous audio material in discrete sample points. This opens up possibilities to augment the waveform representation with interactions for algorithmic transformations of the audio material. The paper investigates the cultural implications of such interfaces and provides an outlook into their possible futures.
Keywords
Composition, Culture, Interfaces, Sound
Paper topics
Computer environments for sound/music processing, History and aesthetics of electronic media, Music cognition and creativity, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851225
Zenodo URL: https://zenodo.org/record/851225
2016.35
Lazy Evaluation in Microsound Synthesis
Nishino, Hiroki Imagineering Institute; Iskandar Puteri, Malaysia
Cheok, Adrian David Imagineering Institute; Iskandar Puteri, Malaysia
Abstract
The microsound synthesis framework in the LC computer music programing language developed by Nishino integrates objects and library functions that can directly represent microsounds and related manipulations for microsound synthesis. Together with the seamless collaboration mechanism with the unit-generator-based sound synthesis framework, such abstraction can help provide a simpler and terser programing model for various microsound synthesis techniques. However, while the framework can achieve the practical real-time sound synthesis performance in general, it was observed that the temporal suspension in sound synthesis can occur, when a very large microsound object beyond microsound time-scale is manipulated, missing the deadline for real-time sound synthesis. Such an issue may not be desirable when considering more general applications beyond microsound synthesis. In this paper, we describe our solution to this problem. By lazily evaluating microsound objects, the computation is delayed until when the samples are actually needed (e.g., for the DAC output), and only the amount of samples required at the point is computed; thus, the temporal suspension in real-time sound synthesis can be avoided by dis- tributing the computation among the DSP cycles.
Keywords
lazy evaluation, microsound synthesis, performance efficiency, real-time sound synthesis, software design
Paper topics
High performance computing for audio, Software / computer music languages
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851279
Zenodo URL: https://zenodo.org/record/851279
2016.36
LyricListPlayer: A Consecutive-Query-by-Playback Interface for Retrieving Similar Word Sequences from Different Song Lyrics
Nakano, Tomoyasu National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Goto, Masataka National Institute of Advanced Industrial Science and Technology (AIST); Tsukuba, Japan
Abstract
This paper presents LyricListPlayer, a music playback interface for an intersong navigation and browsing that enables a set of musical pieces to be played back by music zapping based on lyrics words. In other words, this paper proposes a novel concept we callconsecutive-query-by-playback, which is for retrieving similar word sequences during music playback by using lyrics words as candidate queries. Lyrics can be used to retrieve musical pieces from the perspectives of the meaning and the visual scene of the song. A user of LyricListPlayer can see time-synchronized lyrics while listening, can see word sequences of other songs similar to the sequence currently being sung, and can jump to and listen to one of the similar sequences. Although there are some systems for music playback and retrieval that use lyrics text or time-synchronized lyrics and there is an interface generating lyrics animation by using kinetic typography, LyricListPlayer provides a new style of music playback with lyrics navigation based on the local similarity of lyrics.
Keywords
consecutive-query-by-playback, latent Dirichlet allocation, lyrics, music information retrieval, user interface
Paper topics
Music information retrieval, Other
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851277
Zenodo URL: https://zenodo.org/record/851277
2016.37
Melody extraction based on a source-filter model using pitch contour selection
Bosch, Juan J. Pompeu Fabra University (UPF); Barcelona, Spain
Gómez, Emilia Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
This work proposes a melody extraction method which combines a pitch salience function based on source-filter modelling with melody tracking based on pitch contour selection. We model the spectrogram of a musical audio signal as the sum of the leading voice and accompaniment. The leading voice is modelled with a Smoothed Instantaneous Mixture Model (SIMM), and the accompaniment is modelled with a Non-negative Matrix Factorization (NMF). The main benefit of this representation is that it incorporates timbre information, and that the leading voice is enhanced, even without an explicit separation from the rest of the signal. Two different salience functions based on SIMM are proposed, in order to adapt the output of such model to the pitch contour based tracking. Candidate melody pitch contours are then created by grouping pitch sequences, using auditory streaming cues. Finally, melody contours are selected using contour characteristics and smoothness constraints. An evaluation on a large set of challenging polyphonic music material, showed that the proposed salience functions helps increasing the salience of melody pitches in comparison to similar methods. The complete melody extraction method is also compared against related state-of-the-art approaches, achieving a higher overall accuracy when evaluated on both vocal and instrumental music.
Keywords
evaluation, melody, pitch contour, pitch salience, source-filter model, symphonic music, timbre
Paper topics
Computer-based music analysis, Digital signal processing, Music information retrieval
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851187
Zenodo URL: https://zenodo.org/record/851187
2016.38
Modulating or 'Transferring' Between Non-octave Microtonal Scales
Harrop, Todd Hochschule für Musik und Theater Hamburg; Hamburg, Germany
Abstract
The author searches for non-octave scales which approx- imate a 6:7:9 septimal minor triad, settling on 8, 13 and 18 equal divisions of the perfect fifth, then proposes three methods for modulating dynamically in between each scale.
Keywords
microtonal, modulation, non-octave
Paper topics
Computational musicology and mathematical music theory, improvisation and notation, Real-time composition, Software / computer music languages, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851231
Zenodo URL: https://zenodo.org/record/851231
2016.39
Movement Sonification of Musical Gestures: Investigating Perceptual Processes Underlying Musical Performance Movements
Hohagen, Jesper Universität Hamburg; Hamburg, Germany
Wöllner, Clemens Universität Hamburg; Hamburg, Germany
Abstract
Truslit (1938) developed a theory on the gestural quality of musical interpretations. Self-other judgment paradigms of visual point-light movements allow elucidating action-perception coupling processes underlying musical performance movements as described by Truslit. Employing movement sonification with a continuous parameter mapping approach may further show parallels between the audio information of music, physical movements, and audio information based on sonified movement parameters. The present study investigates Truslit’s hypothesis of prototypical musical gestures by comparing free movements and movements following detailed instructions recorded by a 12-camera optical motion capture system. The effects of watching these movements and listening to the sonification were tested within a multimodal self-other recognition task. A total of 26 right-handed participants were tracked with a motion capture system while executing arm movements along with Truslit’s (1938) original musical examples. The second experimental part consisted of a multimodal self-other perception judgment paradigm, presenting sequences to the same participants (matched with those of two other participants, unbeknown to them) under four different conditions. Signal detection analyses of the self-other recognition task addressed judgment sensitivity by calculating for individual participants. While self-recognition was successful for visual, audiovisual and still image examples, movement sonification did not provide sufficient detail on performer’s agency. Nevertheless, a number of relevant sonification parameters is discussed.
Keywords
Movement Sonification, Musical Gestures, Self-other Perception
Paper topics
Auditory displays and data sonification, Multi-modal perception and emotion
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851235
Zenodo URL: https://zenodo.org/record/851235
2016.40
Musical sonification in electronic therapy aids for motor-functional treatment - a smartphone approach
Stahl, Benjamin Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Zmölnig, Iohannes Institute of Electronic Music and Acoustics (IEM), University of Music and Performing Arts (KUG); Graz, Austria
Abstract
This work presents a system which uses an Android smartphone to measure the wrist motion of patients in ergotherapy and creates musical sounds out of it, which can make exercises more attractive for patients. The auditory feedback is used in a bimodal context (together with visual feedback on the smartphone's display). The underlying concept is to implement a therapy aid that transports the principles of music therapy to motor-functional therapy using a classical sonification approach and to create an electronic instrument in this way. Wind chime sounds are used to sonify the patient's wrist motion, a three-dimensional parameter mapping was implemented. The system was evaluated in a qualitative pilot study with one therapist and five patients. The responses to the musical auditory feedback were different from patient to patient. Musical auditory feedback in therapy can encourage patients on one hand, on the other hand it can also be perceived disturbing or discouraging. From this observation we conclude that sound in electronic therapy aids in fields other than music therapy should be made optional. Multimodal electronic therapy aids, where sound can be toggled on and off, are possible applications.
Keywords
ergotherapy, mobile devices, movement sonification, music therapy
Paper topics
Auditory displays and data sonification
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851307
Zenodo URL: https://zenodo.org/record/851307
2016.41
Nuance: Adding Multi-Touch Force Detection to the iPad
Michon, Romain Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Smith, Julius Orion III Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Chafe, Chris Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Wang, Ge Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Wright, Matthew James Center for Computer Research in Music and Acoustics (CCRMA), Stanford University; Stanford, United States
Abstract
Nuance is a new device adding multi-touch force detection to the iPad touch screen. It communicates with the iPad using the audio jack input. Force information is sent at an audio rate using analog amplitude modulation (AM). Nuance provides a high level of sensitivity and responsiveness by only using analog components. It is very cheap to make. Nuance has been developed in the context of a larger project on augmenting mobile devices towards the creation of a form of hybrid lutherie where instruments are based on physical and virtual elements.
Keywords
Force Touch, iPad, Musical Instrument, NIME
Paper topics
Digital signal processing, Instrument building and virtuosity in Computer Music, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851263
Zenodo URL: https://zenodo.org/record/851263
2016.42
Optical or Inertial? Evaluation of Two Motion Capture Systems for Studies of Dancing to Electronic Dance Music
Solberg, Ragnhild Torvanger University of Agder; Kristiansand, Norway
Jensenius, Alexander Refsum University of Oslo; Oslo, Norway
Abstract
What type of motion capture system is best suited for studying dancing to electronic dance music? The paper discusses positive and negative sides of using camera-based and sensor-based motion tracking systems for group studies of dancers. This is exemplified through experiments with a Qualisys infrared motion capture system being used alongside a set of small inertial trackers from Axivity and regular video recordings. The conclusion is that it is possible to fine-tune an infrared tracking system to work satisfactory for group studies of complex body motion in a “club-like” environment. For ecological studies in a real club setting, however, inertial tracking is the most scalable and flexible solution.
Keywords
dancing, electronic dance music, motion capture
Paper topics
Computer-based music analysis, Multi-modal perception and emotion, Music cognition and creativity, Other
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851315
Zenodo URL: https://zenodo.org/record/851315
2016.43
Pitch Contour Segmentation for Computer-aided Jingju Singing Training
Gong, Rong Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Yang, Yile Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Serra, Xavier Music Technology Group (MTG), Pompeu Fabra University (UPF); Barcelona, Spain
Abstract
Imitation is the main approach of jingju (also known as Beijing opera) singing training through its inheritance of nearly 200 years. Students learn singing by receiving auditory and gestural feedback cues. The aim of computer-aided training is to visually reveal the student’s intonation problem by representing the pitch contour on segment- level. In this paper, we propose a technique for this purpose. Pitch contour of each musical note is segmented automatically by a melodic transcription algorithm incorporated with a genre-specific musicological model of jingju singing: bigram note transition probabilities defining the probabilities of a transition from one note to another. A finer segmentation which takes into account the high variability of steady segments in jingju context enables us to analyse the subtle details of the intonation by subdividing the note’s pitch contour into a chain of three basic vocal expression segments: steady, transitory and vibrato. The evaluation suggests that this technique outperforms the state of the art methods for jingju singing. The web prototype implementation of these techniques offers a great potential for both in-class learning and self-learning.
Keywords
Computer-aided singing training, Intonation, Jingju, Melodic transcription, Pitch contour segmentation
Paper topics
Music information retrieval, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Full paper
2016.44
POLYTEMPO COMPOSER: A TOOL FOR THE COMPUTATION OF SYNCHRONISABLE TEMPO PROGRESSIONS
Kocher, Philippe Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
The accurate synchronisation of tempo progressions is a compositional challenge. This paper describes the development of a method based on Bezier curves that facilitates the construction of musical tempo polyphonies up to an arbitrary level of complexity, and its implementation in a software tool. The motivation for this work is to enable and encourage composers to create music with different simultaneously varying tempos which otherwise would be too complex to manage.
Keywords
Computer assisted composition, Tempo polyphony, Tempo synchronisation
Paper topics
Computational musicology and mathematical music theory, Computer environments for sound/music processing, Software / computer music languages
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851241
Zenodo URL: https://zenodo.org/record/851241
2016.45
Precision Finger Pressing Force Sensing in the Pianist-Piano Interaction
Flückiger, Matthias Electronics Laboratory, Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Großhauser, Tobias Electronics Laboratory, Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Tröster, Gerhard Electronics Laboratory, Swiss Federal Institute of Technology in Zurich (ETH Zürich); Zurich, Switzerland
Abstract
Playing style, technique and touch quality are essential for musical expression in piano playing. From a mechanical point of view, this is mainly influenced by finger pressing force, finger position and finger contact area size. To measure these quantities, we introduce and evaluate a new sensor setup suited for the in-depth investigation of the pianist-piano interaction. A strain gauge based load cell is installed inside a piano key to measure finger pressing force via deflection. Several prototypes of the finger pressing force sensor have been tested and the final sensor measures from 0 N to 40 N with a resolution smaller than 8 mN and a sample rate of 1000 Hz. Besides an overview of relevant findings from psychophysics research, two pilot experiments with a single key piano action model are presented to explore the capability of the force sensor and discuss applications.
Keywords
augmented instruments, finger pressing force, force measurement, force sensor, load cell, musical instrument, performance analysis, pianist-piano interaction, piano key, pressure measurement
Paper topics
New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851211
Zenodo URL: https://zenodo.org/record/851211
2016.46
Primary-ambient Extraction in Audio Signals Using Adaptive Weighting and Principal Component Analysis
Ibrahim, Karim M. Nile University; Giza, Egypt
Allam, Mahmoud Nile University; Giza, Egypt
Abstract
Most audio recordings are in the form of a 2-channel stereo recording while new playback sound systems make use of more loudspeakers that are designed to give a more spatial and surrounding atmosphere that is beyond the content of the stereo recording. Hence, it is essential to extract more spatial information from stereo recording in order to reach an enhanced upmixing techniques. One way is by extracting the primary/ambient sources. The problem of primary-ambient extraction (PAE) is a challenging problem where we want to decompose a signal into a primary (direct) and ambient (surrounding) source based on their spatial features. Several approaches have been used to solve the problem based mainly on the correlation between the two channels in the stereo recording. In this paper, we propose a new approach to decompose the signal into primary and ambient sources using Principal Component Analysis (PCA) with an adaptive weighting based on the level of correlation between the two channels to overcome the problem of low ambient energy in PCA-based approaches.
Keywords
Audio Source Separation, Primary/ambient Separation, Surrounding Sound Systems, Upmixing
Paper topics
Computer-based music analysis, Digital signal processing, Room acoustics and spatial audio
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851237
Zenodo URL: https://zenodo.org/record/851237
2016.47
Prototyping a Wireless Integrated Wearable Interactive Music System: Musfit
Tseng, Yu-Chung National Chiao Tung University; Hsinchu, Taiwan
Li, Bo-Ting National Chiao Tung University; Hsinchu, Taiwan
Wang, Tsung-Hua National Chiao Tung University; Hsinchu, Taiwan
Abstract
This paper presents the development of a wireless integrated wearable interactive music system - Musfit. The system was built according the intension of integrating the motion of hands (fingers), head, and feet of a performer to music performance. The device of the system consists of a pair of gloves, a pair of shoes, and a cap, which were embedded various sensors to detect the body motion of a performer. The data from detecting was transmitted to computer via wireless device and then mapped into various parameters of sound effectors built on Max/MSP for interactive music performance. The ultimate goal of the system is to free the performing space of the player, to increase technological transparency of performing and, as a result, to promote the interests of interactive music performance. At the present stage, the progression of prototyping a wireless integrated wearable interactive music system has reached the goal we expected. Further studies are needed in order to assess and improve playability and stability of the system, in such a way that it can be effectively employed in concerts eventually.
Keywords
integrated, interactive music, Musfit, sensor, wearable, wireless
Paper topics
Interactive performance systems, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851319
Zenodo URL: https://zenodo.org/record/851319
2016.48
Rethinking the audio workstation : tree-based sequencing with i-score and the LibAudioStream
Celerier, Jean-Michaël Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Desainte-Catherine, Myriam Laboratoire Bordelais de Recherche en Informatique (LaBRI), Université Bordeaux-I; Bordeaux, France
Couturier, Jean-Michel Blue Yeti; St Georges de Didonne, France
Abstract
The field of digital music authoring provides a wealth of creative environments in which music can be created and authored : patchers, programming languages, and multitrack sequencers. By combining the i-score interactive sequencer to the LibAudioStream audio engine, a new music software able to represent and play rich interactive audio sequences is introduced. We present new stream expressions compatible with the LibAudioStream, and use them to create an interactive audio graph : hierarchical stream and send - return streams. This allows to create branching and arbitrarily nested musical scores, in an OSC-centric environment. Three examples of interactive musical scores are presented : the recreation of a traditional multi-track sequencer, an interactive musical score, and a temporal effect graph.
Keywords
audio sequencing, digital audio workstation, interactive music, i-score, LibAudioStream
Paper topics
Computer environments for sound/music processing, Interactive performance systems, Software / computer music languages
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851203
Zenodo URL: https://zenodo.org/record/851203
2016.49
REVEALING THE SECRET OF "GROOVE" SINGING: ANALYSIS OF J-POP MUSIC
Arai, Masaru Kwansei Gakuin University; Osaka, Japan
Hashida, Mitsuyo Soai University; Osaka, Japan
Katayose, Haruhiro Kwansei Gakuin University; Osaka, Japan
Matoba, Tastuya Kwansei Gakuin University; Osaka, Japan
Abstract
In music, "groove" refers to the sense of rhythmic "feel" or swing. Groove, which was originally introduced to describe the taste of a band’s rhythm section, has been expanded to non-rhythmic sections and to several genres and has become a key facet of popular music. Some studies have analyzed groove by investigating the delicate beat nuances of playing the drums. However, the nature of groove that is found in continuous sound has not yet been elucidated. To describe the nature of groove, we conducted an evaluative study using a questionnaire and balance method based on signal processing for vocal melodies sung by a professional popular music vocalist. We found that the control over (voiced) consonants followed by vowels constitutes an expression that is crucial to groove in J-pop vocal melodies. The experimental results suggest that time-prolongation and pitch overshoot added to voiced consonants made listeners perceive the vowels that follow to be more accentuated, eventually enhancing listeners’ perceptions of groove elements in vocal melodies.
Keywords
groove sensation, pitch-overshoot of voiced consonants, vocal expression
Paper topics
Computer-based music analysis, Multi-modal perception and emotion, Music cognition and creativity
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851173
Zenodo URL: https://zenodo.org/record/851173
2016.50
RHYTHM TRANSCRIPTION OF POLYPHONIC MIDI PERFORMANCES BASED ON A MERGED-OUTPUT HMM FOR MULTIPLE VOICES
Nakamura, Eita Kyoto University; Kyoto, Japan
Yoshii, Kazuyoshi Kyoto University; Kyoto, Japan
Sagayama, Shigeki Meiji University; Tokyo, Japan
Abstract
This paper presents a statistical method of rhythm transcription that, given a polyphonic MIDI performance (e.g. piano) signal, simultaneously estimates the quantised durations (note values) and the voice structure of the musical notes, as in music scores. Hidden Markov models (HMMs) have been used in rhythm transcription to combine a model for music scores and a model describing the temporal fluctuations in music performances. Conventionally, for polyphonic rhythm transcription, a polyphonic score is represented as a linear sequence of chords and models for monophonic performances are simply extended to include chords (simultaneously sounding notes). A major problem is that this extension cannot properly describe the structure of multiple voices, which is most manifest in polyrhythmic scores, or the phenomenon of loose synchrony between voices. We therefore propose a statistical model in which each voice is described with an HMM and polyphonic performances are described as merged outputs from multiple HMMs that are loosely synchronous. We derive an efficient Viterbi algorithm that can simultaneously separate performed notes into voices and estimate their note values. We found that the proposed model outperformed previously studied HMM-based models for rhythm transcription of polyrhythmic performances.
Keywords
Machine learning for music processing, Rhythm transcription (quantisation), Statistical model of music scores and performances, Symbolic music processing
Paper topics
Music information retrieval
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851275
Zenodo URL: https://zenodo.org/record/851275
2016.51
SEED: Resynthesizing Environmental Sounds from Examples
Bernardes, Gilberto INESC TEC; Porto, Portugal
Aly, Luis Faculdade de Engenharia da Universidade do Porto (FEUP), Universidade do Porto; Porto, Portugal
Davies, Matthew E. P. INESC TEC; Porto, Portugal
Abstract
In this paper we present SEED, a generative system capable of infinitely extending recorded environmental sounds while preserving their inherent structure. The system architecture is grounded in concepts from concatenative sound synthesis and includes three top-level modules for segmentation, analysis, and generation. An input audio signal is first temporally segmented into a collection of audio events, which are then reduced into a dictionary of audio classes, by means of an agglomerative clustering algorithm. This representation, together with a concatenation cost between audio segment boundaries, is finally used to generate sequences of audio segments with arbitrary-long duration. The system output can be varied in the generation process by the simple and yet effective parametric control over the creation of the natural, temporally coherent, and varied audio renderings of environmental sounds.
Keywords
audio resynthesis, concatenative sound synthesis, environmental sounds, generative music
Paper topics
Computer environments for sound/music processing, Sonic interaction design, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851183
Zenodo URL: https://zenodo.org/record/851183
2016.52
SKETCHING SONIC INTERACTIONS BY IMITATION-DRIVEN SOUND SYNTHESIS
Baldan, Stefano IUAV University of Venice; Venezia, Italy
Delle Monache, Stefano IUAV University of Venice; Venezia, Italy
Rocchesso, Davide IUAV University of Venice; Venezia, Italy
Lachambre, Hélène Genesis Acoustics; Marseille, France
Abstract
Sketching is at the core of every design activity. In visual design, pencil and paper are the preferred tools to produce sketches for their simplicity and immediacy. Analogue tools for sonic sketching do not exist yet, although voice and gesture are embodied abilities commonly exploited to communicate sound concepts. The EU project SkAT-VG aims to support vocal sketching with computer-aided technologies that can be easily accessed, understood and controlled through vocal and gestural imitations. This imitation-driven sound synthesis approach is meant to overcome the ephemerality and timbral limitations of human voice and gesture, allowing to produce more refined sonic sketches and to think about sound in a more designerly way. This paper presents two main outcomes of the project: The Sound Design Toolkit, a palette of basic sound synthesis models grounded on ecological perception and physical description of sound-producing phenomena, and SkAT-Studio, a visual framework based on sound design workflows organized in stages of input, analysis, mapping, synthesis, and output. The integration of these two software packages provides an environment in which sound designers can go from concepts, through exploration and mocking-up, to prototyping in sonic interaction design, taking advantage of all the possibilities offered by vocal and gestural imitations in every step of the process.
Keywords
Imitation-driven, Sketching, Sonic Interaction Design, Sound synthesis
Paper topics
Computer environments for sound/music processing, Sonic interaction design
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851181
Zenodo URL: https://zenodo.org/record/851181
2016.53
Smart Instruments: Towards an Ecosystem of Interoperable Devices Connecting Performers and Audiences
Turchet, Luca Department of Automatic Control, KTH Royal Institute of Technology; Stockholm, Sweden
McPherson, Andrew P. Centre for Digital Music (C4DM), Queen Mary University of London; London, United Kingdom
Fischione, Carlo Department of Automatic Control, KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper proposes a new class of augmented musical instruments, ``Smart Instruments'', which are characterized by embedded computational intelligence, bidirectional wireless connectivity, an embedded sound delivery system, and an onboard system for feedback to the player. Smart Instruments bring together separate strands of augmented instrument, networked music and Internet of Things technology, offering direct point-to-point communication between each other and other portable sensor-enabled devices, without need for a central mediator such as a laptop. This technological infrastructure enables an ecosystem of interoperable devices connecting performers as well as performers and audiences, which can support new performer-performer and audience-performer interactions. As an example of the Smart Instruments concept, this paper presents the Sensus Smart Guitar, a guitar augmented with sensors, onboard processing and wireless communication.
Keywords
augmented instruments, Internet of Things, New Interfaces for Musical Expression, Smart Instruments
Paper topics
New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851325
Zenodo URL: https://zenodo.org/record/851325
2016.54
SONIFICATION AS CATALYST IN TRAINING MANUAL WHEELCHAIR OPERATION FOR SPORTS AND EVERYDAY LIFE
Almqvist Gref, Andreas KTH Royal Institute of Technology; Stockholm, Sweden
Elblaus, Ludvig KTH Royal Institute of Technology; Stockholm, Sweden
Hansen, Kjetil Falkenberg KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
In this paper, a study on sonification of manual wheelchair movements is presented. The aim was to contribute to both rehabilitation contexts and in wheelchair sports contexts, by providing meaningful auditory feedback for training of manual wheelchair operation. A mapping approach was used where key parameters of manual wheelchair maneuvering were directly mapped to different sound models. The system was evaluated with a qualitative approach in experiments. The results indicate that there is promise in utilizing sonification for training of manual wheelchair operation but that the approach of direct sonification, as opposed to sonification of the deviation from a predefined goal, was not fully successful. Participants reported that there was a clear connection between their wheelchair operation and the auditory feedback, which indicates the possibility of using the system in some, but not all, wheelchair training contexts.
Keywords
Motion Capture, Sonification, Training, Wheelchair
Paper topics
Auditory displays and data sonification, Sonic interaction design
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851169
Zenodo URL: https://zenodo.org/record/851169
2016.55
Sonification of Dark Matter: Challenges and Opportunities
Bonet, Nuria Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Kirke, Alexis Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), University of Plymouth; Plymouth, United Kingdom
Abstract
A method for the sonification of dark matter simulations is presented. The usefulness of creating sonifications to accompany and complement the silent visualisations of the simulation data is discussed. Due to the size and complexity of the data used, a novel method for analyz-ing and sonifying the data sets is presented. A case is made for the importance of aesthetical considerations, for example musical language used. As a result, the sonifications are also musifications; they have an artistic value beyond their information transmitting value. The work has produced a number of interesting conclusions which are discussed in an effort to propose an improved solution to complex sonifications. It has been found that the use primary and secondary data parameters and sound mappings is useful in the compositional process. Finally, the possibilities for public engagement in science and music through audiences’ exposure to sonification is discussed.
Keywords
Dark Matter, Electroacoustic Music, Sonification
Paper topics
Auditory displays and data sonification
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851185
Zenodo URL: https://zenodo.org/record/851185
2016.56
SOUND FOREST/LJUDSKOGEN: A LARGE-SCALE STRING-BASED INTERACTIVE MUSICAL INSTRUMENT
Bresin, Roberto KTH Royal Institute of Technology; Stockholm, Sweden
Elblaus, Ludvig KTH Royal Institute of Technology; Stockholm, Sweden
Frid, Emma KTH Royal Institute of Technology; Stockholm, Sweden
Favero, Federico KTH Royal Institute of Technology; Stockholm, Sweden
Annersten, Lars Musikverket (Swedish Performing Arts Agency); Sweden
Berner, David Musikverket (Swedish Performing Arts Agency); Sweden
Morreale, Fabio Queen Mary University of London; London, United Kingdom
Abstract
In this paper we present a string-based, interactive, large-scale interface for musical expression that will constitute the main element of an installation for a new museum dedicated to performing arts, Scenkonstmuseet, which will be inaugurated in 2017 in Stockholm, Sweden. The installation will occupy an entire room that measures 10x5 meters. A key concern is to create a digital musical instrument (DMI) that facilitates intuitive musical interaction, thereby enabling visitors to quickly start creating music either alone or together. The interface should be able to serve as a pedagogical tool; visitors should be able to learn about concepts related to music and music making by interacting with the DMI. Since the lifespan of the installation will be approximately five years, one main concern is to create an experience that will encourage visitors to return to the museum for continued instrument exploration. In other words, the DMI should be designed to facilitate long-term engagement. An important aspect in the design of the installation is that the DMI shall be accessible and provide a rich experience for all museum visitors, regardless of age or abilities.
Keywords
haptics, large-scale interactive musical instrument, museum installation, sensor technology, string-based interaction
Paper topics
Auditory displays and data sonification, Instrument building and virtuosity in Computer Music, Interactive performance systems, Multi-modal perception and emotion, Music cognition and creativity, New interfaces for musical expression, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851191
Zenodo URL: https://zenodo.org/record/851191
2016.57
Soundscape Preference Rating Using Semantic Differential Pairs and the Self-assessment Manikin
Stevens, Francis University of York; York, United Kingdom
Murphy, Damian University of York; York, United Kingdom
Smith, Stephen University of York; York, United Kingdom
Abstract
This paper presents the findings of a soundscape preference rating study designed to assess the suitability of the self-assessment manikin (SAM) for measuring an individual's subjective response to a soundscape. The use of semantic differential (SD) pairs for this purpose is a well established method, but one that can be quite time consuming and not immediately intuitive to the non-expert. The SAM is a questionnaire tool designed for the measurement of emotional response to a given stimulus. Whilst the SAM has seen some limited use in a soundscape context, it has yet to be explicitly compared to the established SD pairs methodology. This study makes use of B-format soundscape recordings, made at a range of locations including rural, suburban, and urban environments, presented to test participants over a 16-speaker surround-sound listening setup. Each recording was rated using the SAM and set of SD pairs chosen following a survey of previous studies. Results show the SAM to be a suitable method for the evaluation of soundscapes that is more intuitive and less time-consuming than SD pairs.
Keywords
emotion, preference rating, self assessment manikin, semantic differential, soundscape, spatial audio
Paper topics
Multi-modal perception and emotion, Room acoustics and spatial audio, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851311
Zenodo URL: https://zenodo.org/record/851311
2016.58
SoundScavenger: An Interactive Soundwalk
Bosse, Naithan University of Calgary; Calgary, Canada
Abstract
SoundScavenger is an open-form, networked soundwalk composition for iOS devices. Embedded GPS sensors are used to track user positions within a series of regions. Each region is associated with a different series of soundfiles. The application supports networked interactions, allowing multiple users to explore and communicate within a semi-shared soundscape.
Keywords
interactivity, mobile-music, network music
Paper topics
Computer environments for sound/music processing, New interfaces for musical expression, Social interaction in sound and music computing, Sonic interaction design
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851189
Zenodo URL: https://zenodo.org/record/851189
2016.59
Speculative Digital Sound Synthesis
Nishino, Hiroki Imagineering Institute; Iskandar Puteri, Malaysia
Cheok, Adrian David Imagineering Institute; Iskandar Puteri, Malaysia
Abstract
In this paper, we propose a novel technique, speculative digital sound synthesis. Our technique first optimistically assumes that there will be no change to the control parameters for sound synthesis and compute by audio vectors at the beginning of a DSP cycle, and then recomputes only the necessary amount of the output when any change is made in the same cycle after the speculation. As changes to control parameters are normally quite sporadic in most situations, the recomputation is rarely performed. Thus, the computational efficiency can be maintained mostly equivalent to the computation by audio vectors, without any speculation when no changed is made to control parameters. Even when any change is made, the additional overhead can be minimized since the recomputation is only applied to those sound objects that had their control parameters updated. Thus, our speculative digital sound synthesis technique can provide both better performance efficiency by the audio vectors and sample-rate accurate control in sound synthesis at once; in other words, we provided a practical solution to one of the most well-known long-standing problems in computer music software design.
Keywords
digital sound synthesis, performance efficiency, samle-rate acuracy, software framework, speculative execution
Paper topics
Digital signal processing, High performance computing for audio, Software / computer music languages
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851281
Zenodo URL: https://zenodo.org/record/851281
2016.60
STATISTICAL GENERATION OF TWO-VOICE FLORID COUNTERPOINT
Padilla, Víctor University of the Basque Country (UPV/EHU); San Sebastián, Spain
Conklin, Darrell University of the Basque Country (UPV/EHU); San Sebastián, Spain
Abstract
In this paper, we explore a method for statistical generation of music based on the style of Palestrina. First, we find patterns in one piece that are selected and organized according to a probabilistic distribution, using horizontal viewpoints to describe melodic properties of events. Once the template is chosen and covered, two-voice counterpoint in a florid style is generated using a first-order Markov model with constraints obtained from the template. For constructing the model, vertical slices of pitch and rhythm are compiled from a corpus of Palestrina masses. The template enforces different restrictions that filter the possible paths through the generation process. A double backtracking algorithm is implemented to handle cases where no solutions are found at some point within a path.
Keywords
machine learning, musical patterns, Palestrina counterpoint, statistical model
Paper topics
Computational musicology and mathematical music theory, Computer-based music analysis, Music information retrieval
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851287
Zenodo URL: https://zenodo.org/record/851287
2016.61
SYNCHRONIZATION IN CHAINS OF VAN DER POL OSCILLATORS
Henrici, Andreas ZHAW Zurich University of Applied Sciences; Zurich, Switzerland
Neukom, Martin Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
In this paper we describe some phenomena arising in the dynamics of a chain of coupled van der Pol oscillators, mainly the synchronisation of the frequencies of these oscillators, and provide some applications of these phenomena in sound synthesis.
Keywords
Coupled Oscillators, Sound Sythesis, Synchronization, Van der Pol Oscillator
Paper topics
Digital signal processing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851233
Zenodo URL: https://zenodo.org/record/851233
2016.62
Teaching Audio Programming using the Neonlicht Engine
Milde, Jan-Torsten Fulda University of Applied Sciences (Hochschule Fulda); Fulda, Germany
Abstract
In this paper we describe the ongoing development of an efficient, easily programmable, scalable synthesizer engine: Neonlicht. Neonlicht serves as the basis for teaching in the field of audio programming as part of a bachelor's degree program in Digital Media.
Keywords
building synthesizers, builduing audio effects, synthesizer engine on Raspberry 3, teaching audio programming
Paper topics
Instrument building and virtuosity in Computer Music, Software / computer music languages, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851267
Zenodo URL: https://zenodo.org/record/851267
2016.63
The Hyper-Hurdy-Gurdy
Turchet, Luca Department of Automatic Control, KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper describes the concept, design, implementation, and evaluation of the Hyper-Hurdy-Gurdy, which is the augmentation of the conventional hurdy-gurdy musical instrument. The augmentation consists of the enhancement of the instrument with different types of sensors and microphones, as well as of novel types of real-time control of digital effects during the performer's act of playing. The placing of the added technology is not a hindrance to the acoustic use of the instrument and is conveniently located. Audio and sensors data processing is accomplished by an application coded in Max/MSP and running on an external computer. Such an application also allows the use of the instrument as a controller for digital audio workstations. On the one hand, the rationale behind the development of the instrument was to provide electro-acoustic hurdy-gurdy performers with an interface able to achieve radically novel types for musical expression without disrupting the natural interaction with the traditional instrument. On the other hand, this research aimed to enable composers with a new instrument capable of allowing them to explore novel pathways for musical creation.
Keywords
Augmented Instruments, hurdy-gurdy, New Interfaces for Musical Expression
Paper topics
New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851323
Zenodo URL: https://zenodo.org/record/851323
2016.64
The Hyper-Zampogna
Turchet, Luca Department of Automatic Control, KTH Royal Institute of Technology; Stockholm, Sweden
Abstract
This paper describes a design for the Hyper-Zampogna, which is the augmentation of the traditional Italian zampogna bagpipe. The augmentation consists of the enhancement of the acoustic instrument with various microphones used to track the sound emission of the various pipes, different types of sensors used to track some of the player's gestures, as well as novel types of real-time control of digital effects. The placing of the added technology is not a hindrance to the acoustic use of the instrument and is conveniently located. Audio and sensors data processing is accomplished by an application coded in Max/MSP and running on an external computer. Such an application also allows for the use of the instrument as a controller for digital audio workstations. On the one hand, the rationale behind the development of such augmented instrument was to provide electro-acoustic zampogna performers with an interface capable of achieving novel types of musical expression without disrupting the natural interaction with the traditional instrument. On the other hand, this research aimed to provide composers with a new instrument enabling the exploration of novel pathways for musical creation.
Keywords
Augmented Instruments, New Interfaces for Musical Expression, zampogna bagpipe
Paper topics
New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851321
Zenodo URL: https://zenodo.org/record/851321
2016.65
THE LOOP ENSEMBLE - OPEN SOURCE INSTRUMENTS FOR TEACHING ELECTRONIC MUSIC IN THE CLASSROOM
Schultz, Christof Martin Technische Universität Berlin (TU Berlin); Berlin, Germany
Seedorf, Marten Technische Universität Berlin (TU Berlin); Berlin, Germany
Abstract
The electronic production, processing and dissemination of music is an essential part of the contemporary, di\-gi\-ta\-lized music culture. Digital media play an important role for children and adolescents in their everyday handling of music. These types of media call for an active participation instead of mere reception and thus offer new ways of musical socialization. Despite their cultural relevance and being lively discussed in German music education, these aspects still are marginalized in the educational practice in German classrooms. In the context of the interdisciplinary research project 3DMIN, we developed the loop ensemble. It consists of three virtual instruments and is designed for the practical pedagogical dissemination of electronic music and its technical basics. The ensemble is released as an Open Educational Resource. We evaluated the instruments' usability in three ways. They were cross-checked with relevant ISO standards, three workshops were held and the participants interviewed and, finally, an accompanying analysis using the GERD model was performed, focusing gender and diversity aspects. The results show a distinct practical suitability of the ensemble, yet further empirical research is needed for a profound evaluation.
Keywords
Instruments, Media Literacy, Open Educational Resource, Open Source, Sound Synthesis
Paper topics
Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851299
Zenodo URL: https://zenodo.org/record/851299
2016.66
The Perceptual Similarity of Tone Clusters: An Experimental Approach to the Listening of Avant-garde Music
Ong, Arvid Hanover University of Music, Drama and Media (HMTM); Hannover, Germany
Kopiez, Reinhard Hanover University of Music, Drama and Media (HMTM); Hannover, Germany
Abstract
This study examines the musical tone cluster as a prototypical sound of avant-garde music in the 20th and 21st century. Tone clusters marked a turning point from pitch-related techniques of composing in earlier epochs to the sound-based materials used in avant-garde music. Henry Cowell offered the first theoretical reflection about the structure of clusters with a focus on tone density which relies on the number of tones and the ambitus of the cluster. In this paper we show first results of a sound discrimination experiment when participants had to rate sound similarity of prototypical cluster sounds varying in density. The results show congruency between theoretical features of the cluster structure, results of the timbre feature analysis, and perceptual evaluation of stimuli. The correlation between tone cluster density and psychoacoustical roughness was r = .95 and between roughness and similarity ratings r = .74. Overall, the similarity ratings of cluster sounds can be grouped into two classes of sounds: (a) those clusters with a high grade of perceptual discrimination depending on the cluster density and (b) those clusters of a more aurally saturated structure making it difficult to separate and evaluate them. Additionally, the relation between similarity ratings and psychoacoustic features was also examined. Our findings can provide valuable insights into aural training methods for avant-garde music.
Keywords
avant-garde music, Henry Cowell, perception, sound, tone cluster
Paper topics
Music cognition and creativity, Other
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851285
Zenodo URL: https://zenodo.org/record/851285
2016.67
The SelfEar Project: A Mobile Application for Low-cost Pinna-related Transfer Function Acquisition
Geronazzo, Michele Department of Neurological & Movement Sciences, Università di Verona; Verona, Italy
Fantin, Jacopo Università di Padova; Padova, Italy
Sorato, Giacomo Università di Padova; Padova, Italy
Baldovino, Guido Università di Padova; Padova, Italy
Avanzini, Federico Università di Padova; Padova, Italy
Abstract
Virtual and augmented reality are expected to become more and more influential even in everyday life in the next future; the role of spatial audio technologies over headphones will be pivotal for application scenarios which involve mobility. This paper faces the issue of head-related transfer function (HRTF) acquisition with low-cost mobile devices, affordable to anybody, anywhere and possibly in a faster way than the existing measurement methods. In particular, the proposed solution, called the SelfEar project, focuses on capturing individual spectral features included in the pinna-related transfer function (PRTF) guiding the user in collecting non-anechoic HRTFs through a self-adjustable procedure. Acoustic data are acquired by an audio augmented reality headset which embedded a pair of microphones at listener ear-canals. The proposed measurement session captures PRTF spectral features of KEMAR mannequin which are consistent to those of anechoic measurement procedures. In both cases, the results would be dependent on microphone placement, minimizing subject movements which would occur with human users. Considering quality and variability of the reported results as well as the resources needed, the SelfEar project proposes an attractive solution for low-cost HRTF personalization procedure.
Keywords
audio augmented reality, head-related transfer function, mobile, personalization, spatial audio
Paper topics
Auditory displays and data sonification, Digital signal processing, Room acoustics and spatial audio
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851219
Zenodo URL: https://zenodo.org/record/851219
2016.68
The Sound Bubble: An Aesthetic Additive Design Approach to Actively Enhance Acoustic Office Environments
Ljungdahl Eriksson, Martin University West; Trollhättan, Sweden
Atienza, Ricardo University of Arts, Crafts and Design (Konstfack); Stockholm, Sweden
Pareto, Lena University West; Trollhättan, Sweden
Abstract
Moving towards more open and collaborative workplaces has been an emerging trend in the last decades. This change has led to workers sharing a common open space, with seating’s based on current activity. This makes it difficult to design sonic environments that cater to different needs in the same space. In this study we explored the possibility of adding adaptive sound environments to enhance the experience of an activity-based office workplace. For this purpose, we developed the concept of the “sound bubble,” a micro-space in which the user is embedded by a semi-transparent added sound environment. This makes it possible for the user to stay in “everyday listening” mode, i.e., not focusing on anything particular in the surrounding environment while being able to keep the link with it. A total of 43 test subjects participated in an experience-based test, conducting their usual work tasks in an office landscape. Our results show that the sound bubble can enhance auditory work conditions for individual work requiring concentration.
Keywords
acoustic design, place-specific designed ambience, sonic interactive design, sonic micro-milieu, sound bubble, sound design
Paper topics
Room acoustics and spatial audio, Sonic interaction design, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851247
Zenodo URL: https://zenodo.org/record/851247
2016.69
The state of the art on the educational software tools for electroacoustic composition
Anatrini, Alessandro Hochschule für Musik und Theater Hamburg; Hamburg, Germany
Abstract
In the past twenty years technological development has led to an increasing interest in the employment of the information and communication technology (ICT) in music education. Research still indicates that most music teachers use technology to facilitate working in traditional composing contexts, such as score writing or MIDI keyboard sequencing, revealing a common and unhealthy conception of ICT as mere “toolkit” with limited application. Despite this, the exploration of the electroacoustic practices and their techniques, that are at the core of sound-based music, have led to valuable composition projects thanks to ad hoc created educational pieces of software. In this paper I first give a short overview of the significant premises for an effective curriculum for middle and secondary education that can authentically include the electroacoustic techniques, then I summarise the state of the art in the development of the most significant educational software packages pointing out to possible future developments.
Keywords
development, education, electroacoustic music, software
Paper topics
Computer environments for sound/music processing, Social interaction in sound and music computing, Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851171
Zenodo URL: https://zenodo.org/record/851171
2016.70
This is an important message for Julie Wade: Emergent Performance Events in an Interactive Installation
Lee, Brent University of Windsor; Windsor, Canada
Abstract
This is an important message for Julie Wade exists both as a multimedia performance piece and as an interactive audiovisual installation. Each version of the work was publicly presented between 2013 and 2015; a recent 2016 version seeks to incorporate elements of both of the earlier performance and installation versions. Currently, the work may be installed in a gallery space and controlled by Max/Jitter patches that randomly generate related audio and visual events; at the same time, this new installation remains open to interactive musical performance, responding to such interventions with extra layers of sound and revealing an extra set of video clips. This hybrid environment raises a number of ontological questions. In what ways are these musical interactions with the installation “performances”? Is a musician interacting with the installation a “performer” in the conventional sense, and does this interaction impose a different role on a casual gallery visitor witnessing this interaction? Can this mode of presentation of an audiovisual work transcend the limitations of conventional performance and installation? This paper explores these questions within the context of the evolution and 2016 presentation of This is an important message for Julie Wade.
Keywords
audience studies, audiovisual installation, interactivity, performance
Paper topics
Interactive performance systems, Social interaction in sound and music computing
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851243
Zenodo URL: https://zenodo.org/record/851243
2016.71
Towards a Virtual-Acoustic String Instrument
Mehes, Sandor Queen's University Belfast; Belfast, United Kingdom
van Walstijn, Maarten Queen's University Belfast; Belfast, United Kingdom
Stapleton, Paul Queen's University Belfast; Belfast, United Kingdom
Abstract
In acoustic instruments, the controller and the sound producing system often are one and the same object. If virtual-acoustic instruments are to be designed to not only simulate the vibrational behaviour of a real-world counterpart but also to inherit much of its interface dynamics, it would make sense that the physical form of the controller is similar to that of the emulated instrument. The specific physical model configuration discussed here reconnects a (silent) string controller with a modal synthesis string resonator across the real and virtual domains by direct routing of excitation signals and model parameters. The excitation signals are estimated in their original force-like form via careful calibration of the sensor, making use of adaptive filtering techniques to design an appropriate inverse filter. In addition, the excitation position is estimated from sensors mounted under the legs of the bridges on either end of the prototype string controller. The proposed methodology is explained and exemplified with preliminary results obtained with a number of off-line experiments.
Keywords
adaptive filtering, interaction design, inverse filtering, modal synthesis, physical model, position estimation, sensor calibration, synthesis control, vibrating string, virtual-acoustic instrument
Paper topics
Digital signal processing, Instrument building and virtuosity in Computer Music, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851257
Zenodo URL: https://zenodo.org/record/851257
2016.72
"Trees": An Artistic-scientific Observation System
Maeder, Marcus Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Zweifel, Roman Swiss Federal Institute for Forest, Snow and Landscape Research (WSL); Birmensdorf, Switzerland
Abstract
In our research project «trees: Rendering eco-physiological processes audible» we connected acoustic emissions of plants with ecophysiological processes and rendered audible natural phenomena that aren’t normally noticeable in an artistic way. The acoustic emissions of a tree in the Swiss Alps were recorded with special sensors, and all other non-auditory ecophysiological measurement data (e.g. the trunk and branch diameters that change depending on water content, the sap flow rate in the branches, the water present in the soil, air moisture, solar radiation, etc.) were sonified, i.e. translated into sounds. The recordings and sonified measurements were implemented in a number of different media art installations, which at the same time served as a research environment, in order to examine and experiment artistically with the temporal and spatial connections between plant sounds, physiological processes and environmental conditions in an artistic-scientific observation system.
Keywords
Climate Change, Data Sonification, Plant Ecophysiology, Soundscapes/Environmental Arts
Paper topics
Auditory displays and data sonification, Sound and Music computing in the processing and composition of Soundscapes/Environmental Arts
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851249
Zenodo URL: https://zenodo.org/record/851249
2016.73
TSAM: A TOOL FOR ANALYZING, MODELING, AND MAPPING THE TIMBRE OF SOUND SYNTHESIZERS
Fasciani, Stefano University of Wollongong in Dubai; Dubai, United Arab Emirates
Abstract
Synthesis algorithms often have a large number of adjustable parameters that determine the generated sound and its psychoacoustic features. The relationship between parameters and timbre is valuable for end users, but it is generally unknown, complex, and difficult to analytically derive. In this paper we introduce a strategy for the analysis of the sonic response of synthesizers subject to the variation of an arbitrary set of parameters. We use an extensive set of sound descriptors which are ranked using a novel metric based on statistical analysis. This enables study of how changes to a synthesis parameter affect timbre descriptors, and provides a multidimensional model for the mapping of the synthesis control through specific timbre spaces. The analysis, modeling and mapping are integrated in the Timbre Space Analyzer & Mapper (TSAM) tool, which enables further investigation on synthesis sonic response and on perceptually related sonic interactions.
Keywords
generative mapping, open source software, synthesis analysis, timbre spaces
Paper topics
Computer environments for sound/music processing, Digital signal processing, New interfaces for musical expression, Software / computer music languages
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851209
Zenodo URL: https://zenodo.org/record/851209
2016.74
Using EarSketch to Broaden Participation in Computing and Music
Freeman, Jason Georgia Institute of Technology; Atlanta, United States
Magerko, Brian Georgia Institute of Technology; Atlanta, United States
Edwards, Doug Georgia Institute of Technology; Atlanta, United States
Miller, Morgan SageFox Consulting; Amherst, United States
Moore, Roxanne Georgia Institute of Technology; Atlanta, United States
Xambó, Anna Georgia Institute of Technology; Atlanta, United States
Abstract
EarSketch is a STEAM learning intervention that com- bines a programming environment and API for Python and JavaScript, a digital audio workstation, an audio loop library, and a standards-aligned curriculum to teach in- troductory computer science together with music tech- nology and composition. It seeks to address the imbal- ance in contemporary society between participation in music-making and music-listening activities and a paral- lel imbalance between computer usage and computer programming. It also seeks to engage a diverse popula- tion of students in an effort to address long-standing is- sues with underrepresentation of women and minorities in both computing and music composition. This paper introduces the core motivations and design principles behind EarSketch, distinguishes the project from related computing and music learning interventions, describes the learning environment and its deployment contexts, and summarizes the results of a pilot study.
Keywords
computer science, diversity, education, music
Paper topics
Sound and Music Computing in Education
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851217
Zenodo URL: https://zenodo.org/record/851217
2016.75
Using Multidimensional Sequences For Improvisation In The OMax Paradigm
Déguernel, Ken Institut national de recherche en informatique et en automatique (INRIA); France
Vincent, Emmanuel Institut national de recherche en informatique et en automatique (INRIA); France
Assayag, Gérard UMR STMS, Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
Automatic music improvisation systems based on the OMax paradigm use training over a one-dimensional sequence to generate original improvisations. Different systems use different heuristics to guide the improvisation but none of these benefits from training over a multidimensional sequence. We propose a system creating improvisation in a closer way to a human improviser where the intuition of a context is enriched with knowledge. This system combines a probabilistic model taking into account the multidimensional aspect of music trained on a corpus, with a factor oracle. The probabilistic model is constructed by interpolating sub-models and represents the knowledge of the system, while the factor oracle (structure used in OMax) represents the context. The results show the potential of such a system to perform better navigation in the factor oracle, guided by the knowledge on several dimensions.
Keywords
Automatic improvisation, Factor Oracle, Interpolation, Machine Learning, Probabilistic Models
Paper topics
improvisation and notation, Real-time composition
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851205
Zenodo URL: https://zenodo.org/record/851205
2016.76
VIRTUAL RECONSTRUCTION OF AN ANCIENT GREEK PAN FLUTE
Avanzini, Federico Università di Padova; Padova, Italy
Canazza, Sergio Università di Padova; Padova, Italy
De Poli, Giovanni Department of Information Engineering, Università di Padova; Padova, Italy
Fantozzi, Carlo Università di Padova; Padova, Italy
Micheloni, Edoardo Università di Padova; Padova, Italy
Pretto, Niccolò Università di Padova; Padova, Italy
Rodà, Antonio Università di Padova; Padova, Italy
Gasparotto, Silvia IUAV University of Venice; Venezia, Italy
Salemi, Giuseppe Università di Padova; Padova, Italy
Abstract
This paper presents ongoing work aimed at realizing an interactive museum installation that aids museum visitors learn about a musical instrument that is part of the exhibit: an exceptionally well preserved ancient pan flute, most probably of greek origins. The paper first discusses the approach to non-invasive analysis on the instrument, which was based on 3D scanning using computerized tomography (CT scan), and provided the starting point to inspect the geometry and some aspects of the construction of the instrument. A tentative reconstruction of the instrument tuning is then presented, which is based on the previous analysis and on elements of theory of ancient Greek music. Finally, the paper presents the design approach and the first results regarding the interactive museum installation that recreates the virtual flute and allows intuitive access to several related research facets.
Keywords
Interactive Museum Installations, Mobile applications, Virtual instruments
Paper topics
Interactive performance systems, New interfaces for musical expression, Virtual environments for music
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851179
Zenodo URL: https://zenodo.org/record/851179
2016.77
VISA3: REFINING THE VOICE INTEGRATION/SEGREGATION ALGORITHM
Makris, Dimos Department of Informatics, Ionian University; Corfu, Greece
Karydis, Ioannis Department of Informatics, Ionian University; Corfu, Greece
Cambouropoulos, Emilios Department of Music Studies, Aristotle University of Thessaloniki; Thessaloniki, Greece
Abstract
Human music listeners are capable of identifying multiple ‘voices’ in musical content. This capability of grouping notes of polyphonic musical content into entities is of great importance for numerous processes of the Music Information Research domain, most notably for the better understanding of the underlying musical content’s score. Accordingly, we present the VISA3 algorithm, a refinement of the family of VISA algorithms for integration/segregation of voice/streams focusing on musical streams. VISA3 builds upon its previous editions by introduction of new characteristics that adhere to previously unused general perceptual principles, address assignment errors that accumulate affecting the precision and tackle more generic musical content. Moreover, a new small dataset with human expert ground-truth quantised symbolic data annotation is utilised. Experimental results indicate the significant performance amelioration the proposed algorithm achieves in relation to its predecessors. The increase in precision is evident for both the dataset of the previous editions as well as for a new dataset that includes musical content with characteristics such that of non-parallel motion that are common and have not yet been examined.
Keywords
Auditory Streaming, Computational Modeling, General Perceptual Principles, Stream Segregation, Voice Separation
Paper topics
Computational musicology and mathematical music theory, Music cognition and creativity, Music information retrieval
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851251
Zenodo URL: https://zenodo.org/record/851251
2016.78
Visually Representing and Interpreting Multivariate Data for Audio Mixing
Mycroft, Josh Queen Mary University of London; London, United Kingdom
Reiss, Joshua Daniel Queen Mary University of London; London, United Kingdom
Stockman, Tony Queen Mary University of London; London, United Kingdom
Abstract
The majority of Digital Audio Workstation designs represent mix data using a channel strip metaphor. While this is a familiar design based on physical mixing desk layout, it can lead to a visually complex interface incorporating a large number of User Interface objects which can increase the need for navigation and disrupt the mixing workflow. Within other areas of data visualisation, multivariate data objects such as glyphs are used to simultaneously represent a number of parameters within one graphical object by assigning data to specific visual variables. This can reduce screen clutter, enhance visual search and support visual analysis and interpretation of data. This paper reports on two subjective evaluation studies that investigate the efficacy of different design strategies to visually encode mix information (volume, pan, reverb and delay) within a stage metaphor mixer using multivariate data objects and a channel strip design using faders and dials. The analysis of the data suggest that compared to channels strip designs, multivariate objects can lead to quicker visual search without any subsequent reduction in search accuracy.
Keywords
Audio Mixing, DAWs, Human Computer Interaction
Paper topics
Computer environments for sound/music processing, Multi-modal perception and emotion, New interfaces for musical expression
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851273
Zenodo URL: https://zenodo.org/record/851273
2016.79
VR 'Space Opera': Mimetic Spectralism in an Immersive Starlight Audification System
Carey, Benedict Hochschule für Musik und Theater Hamburg; Hamburg, Germany
Ulas, Burak İzmir Ozel Turk College Planetarium; Izmir, Turkey
Abstract
This paper describes a system designed as part of an interactive VR opera, which immerses a real-time composer and an audience (via a network) in the historical location of Göbekli Tepe, in southern Turkey during an imaginary scenario set in the Pre-Pottery Neolithic period (8500-5500 BCE), viewed by some to be the earliest example of a temple, or observatory. In this environment music can be generated through user interaction, where the harmonic material is determined based on observations of light variation from pulsating stars, that would have theoretically been overhead on the 1st of October 8000 BC at 23:00 and animal calls based on the reliefs in the temple. Based on theoretical observations of the stars V465 Per, HD 217860, 16 Lac, BG CVn, KIC 6382916 and KIC6462033, frequency collections were derived and applied to the generation of musical sound and notation sequences within a custom VR environment using a novel method incorporating spectralist techniques. Parameters controlling this ‘resynthesis’ can be manipulated by the performer using a Leap Motion controller and Oculus Rift HMD, yielding both sonic and visual results in the environment. The final opera is to be viewed via Google Cardboard and delivered over the Internet. This entire process aims to pose questions about real-time composition through time distortion and invoke a sense of wonder and meaningfulness through a ritualistic experience.
Keywords
ASTRONOMY, AUDIFICATION, GÖBEKLI TEPE, SONIFICATION, SPECTRALISM, VIRTUAL REALITY
Paper topics
Auditory displays and data sonification, Computer environments for sound/music processing, improvisation and notation, Instrument building and virtuosity in Computer Music, Interactive performance systems, Multi-modal perception and emotion, New interfaces for musical expression, Real-time composition, Sound and music for virtual reality and games, Virtual environments for music
Easychair keyphrases
not available
Paper type
Position paper / Poster
DOI: 10.5281/zenodo.851201
Zenodo URL: https://zenodo.org/record/851201
2016.80
Zirkonium, SpatDIF, and mediaartbase.de; an archiving strategy for spatial music at ZKM
Miyama, Chikashi Center for Art and Media Karlsruhe (ZKM); Karlsruhe, Germany
Dipper, Götz Center for Art and Media Karlsruhe (ZKM); Karlsruhe, Germany
Krämer, Robert Center for Art and Media Karlsruhe (ZKM); Karlsruhe, Germany
Schacher, Jan C. Institute for Computer Music and Sound Technology (ICST), Zurich University of the Arts (ZHdK); Zurich, Switzerland
Abstract
ZKM | Institute for Music and Acoustics has been contributing to the production and realization of spatial music for more than 20 years. This paper introduces how the institute archives the spatial compositions, maximizing the universality, reusability, and accesibility for performances and research in the future by combining three key elements: Zirkonium, SpatDIF, and mediaartbase.de.
Keywords
3D audio, archive, fixed-media, Klangdom, mediaartbase.de, multi channel, SpatDIF, spatialization, Zirkonium
Paper topics
History and aesthetics of electronic media, Room acoustics and spatial audio, Software / computer music languages
Easychair keyphrases
not available
Paper type
Full paper
DOI: 10.5281/zenodo.851269
Zenodo URL: https://zenodo.org/record/851269