Papers
Sound and Music Computing Conference 2005 (ed. 2)
Dates: from November 24 to November 26, 2005
Place: Salerno, Italy
Proceedings info: not available
2005.1
Analysis and Analyses of Electroacoustic Music
Zattra, Laura Department of Visual Arts and Music, Università di Padova; Padova, Italy
Abstract
Electroacoustic music analysis is a complex and heterogeneous discipline depending on one musical genre which includes a large typology of subgenres: from tape music to computer music, from concrete music, to mixed music, live electronic music, laptop music, etc. Even though there are personal approaches, which causes musical analysis to be a delicate and subjective discipline, some main trends can be outlined: some analysts skip the technological dimension and base their work on perceptual dimension; other ones deepen a genetic approach. Computer science applied to sound features’ extraction begins being interested to this music with promising perspectives. Any approach is worth being considered in order to create an interdisciplinary research area in electroacoustic music analysis. In this paper, the point of view is the musicological one. The goal is to outline a general survey of different musicological and computational approaches. Each of them is partial. What musicologists and scientists now need is to cooperate and share different competences. Interdisciplinary character of future studies is fundamental.
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DOI: 10.5281/zenodo.849253
Zenodo URL: https://zenodo.org/record/849253
2005.2
Artificial Singing With a Webcam Mouth-controller
Hapipis, Athanasios Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
We present a device to control a singing synthesiser with mouth movements captured with a mini web camera. The device comprises a mini web camera connected to a computer, which extracts a number of mouth movement parameters. These parameters are sent out as MIDI messages to another computer running a formant synthesiser, which produces singing according to the movements of the mouth of the subject in realtime. The paper gives a technical explanation of the vision system, the synthesiser and the control parameters. Our main motivation with this research is to enable people with speech or voice disorders to engage in singing activity.
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DOI: 10.5281/zenodo.849255
Zenodo URL: https://zenodo.org/record/849255
2005.3
A Study on Using the Mellin Transform for Vowel Recognition
De Sena, Antonio Department of Computer Science, Università di Verona; Verona, Italy
Rocchesso, Davide Department of Computer Science, Università di Verona; Verona, Italy
Abstract
In this paper we discuss the applicability of the Mellin transform for vowels recognition, focusing on spectral envelope scale distribution. The hypothesis used is that same vowels produced same spectral envelope shapes (same curves with different compression factor), so an energy, time and scale normalization can be used to map same vowels to same distributions. So, using fast algorithms, we study the applicability of this idea to build a realtime or quasi-realtime system capable of making vowel discrimination in a relatively straightforward way.
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DOI: 10.5281/zenodo.849245
Zenodo URL: https://zenodo.org/record/849245
2005.4
A Synthesizer Based on Square Waves
Vergara, Sossio Universidad ORT; Montevideo, Uruguay
Abstract
One of the most widely employed technique for the sound synthesis is based on the Fourier theorem that states that any signal can be obtained as a sum of sinusoids. Unfortunately this algorithm, when applied to synthesizers, requires some peculiar operations, as the addressing of a Look Up Table, that are not easily built-in in standard processors, thus requiring specially designed architectures. The aim of this paper is to show that, when using a new method for the analysis and polar coordinates, a much broader class of functions can be employed as a basis, and it turns out that the square wave is one of such functions. When the synthesis of signals is carried out by summing square waves, the additive synthesizer architecture results much more simplified, allowing for example to synthesize complex sounds simply in software, using general purpose microprocessors, even in real-time. Firstly it will be proven that the L2 function space admits a broad class of functions as a basis, and the requirements for a function, in order to be a basis, will be defined. A straightforward and computationally simple algorithm for the analysis of any function on such generic basis will be proposed. Finally the architecture for the square wave based synthesizer will be sketched and examples of synthesized waveforms will be given.
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DOI: 10.5281/zenodo.849247
Zenodo URL: https://zenodo.org/record/849247
2005.5
A Temporal Concurrent Constraint Calculus as an Audio Processing Framework
Rueda, Camilo Pontificia Universidad Javeriana de Cali; Cali, Colombia
Valencia, Frank École Polytechnique; Palaiseau, France
Abstract
Audio processing systems involve complex interactions of concurrent processes. These are usually implemented using domain specific visual languages and tools more concerned with providing practical solutions than with giving formal meaning to the supplied audio unit combinators. Concurrent constraint process calculi have proved to be effective in modeling with precision a wide variety of concurrent systems. We propose using ntcc , a non deterministic temporal concurrent constraint calculus, to model audio processing systems. We show how the concurrent constraint nature of the calculus greatly simplify specifying complex synchronization patterns. We illustrate ntcc as audio processing framework by modeling unit combinators and using them ina an audio processing example.
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DOI: 10.5281/zenodo.849251
Zenodo URL: https://zenodo.org/record/849251
2005.6
Audio Feedback in Predictive HCI Methods
De Götzen, Amalia Department of Computer Science, Università di Verona; Verona, Italy
Rocchesso, Davide Department of Computer Science, Università di Verona; Verona, Italy
Abstract
This paper is an attempt to study a well known HCI predictive model in an audio perspective: a derived law from the Fitts’ law model will be analyzed providing an audio interactive display in which the user has to perform a simple tuning task by hitting a button. The idea is to simplify as much as possible the interaction in order to find out its invariants when the feedback is just the audio one. An experiment is carried out in order to evaluate this conjecture.
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DOI: 10.5281/zenodo.849257
Zenodo URL: https://zenodo.org/record/849257
2005.7
Augmenting C-cards With Music Actions
Valente, Andrea Aalborg University Esbjerg; Esbjerg, Denmark
Lyon, Kirstin Aalborg University Esbjerg; Esbjerg, Denmark
Jensen, Kristoffer Aalborg University Esbjerg; Esbjerg, Denmark
Abstract
The paper proposes a new way of introducing music to classes of 8 to 10 years old pupils, by adopting a recent educational tool for teaching Computer Science. Our proposal builds in fact on computational cards (or c-cards), a playful and intuitive mind-tool, that has been applied to a variety of Computer Science concepts. Here a simple extension to c-cards is presented, that enables pupils to build and play with tangible musical machine.
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DOI: 10.5281/zenodo.849259
Zenodo URL: https://zenodo.org/record/849259
2005.8
Computer Music Analysis via a Multidisciplinary Approach
Nucibella, Francesca CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Porcelluzzi, Savino CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Zattra, Laura Department of Visual Arts, Università di Padova; Padova, Italy
Abstract
This multidisciplinary work aims to investigate the problem of the computer music analysis. It is based on the analysis of a computer music piece: Winter leaves, created in 1980 by Mauro Graziani at the CSC in Padova, using Music360 software. Listening, sonogram analysis and digital score analysis, represent the counterpart of the attempt to automatic analysing a fragment of computer music, a music which is characterized by “polyphony” of sound objects, any regular rhythm nor melody or timbre. Two researches (one with a Morphological Descriptor, the other with an algorithm which works via audio content and similarity computation) enlighten the practical problems analysis faces when it has to evaluate the difficult nature of this music.
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DOI: 10.5281/zenodo.849261
Zenodo URL: https://zenodo.org/record/849261
2005.9
Constrains on the Model for Self-sustained Sounds Generated by Organ Pipe Inferred by Independent Component Analysis
De Lauro, Enza Department of Physics, Università di Salerno; Salerno, Italy
De Martino, Salvatore Department of Physics, Università di Salerno; Salerno, Italy
Falanga, Mariarosaria Department of Physics, Università di Salerno; Salerno, Italy
Sarno, Giuseppe Department of Physics, Università di Salerno; Salerno, Italy
Abstract
We use Independent Component Analysis, an entropy based method to study self-sustained sound generated by organ pipe and recorded in an anechoic chamber. We recover a simple analogical model that can be ascribed to the same types of Woodhouse, Yoshikawa models [3,11]. Our model is able to reproduce in the listening the generated sound. Then we use self-sustained oscillators as a source for linear organ pipe models and we observe that the real signals can be reproduced only considering nonlinear interaction between the different constituents of an organ pipe.
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DOI: 10.5281/zenodo.849263
Zenodo URL: https://zenodo.org/record/849263
2005.10
Conversational Interactivity in Slow-motion: A Comparison of Phone Dialogues and Opera Scenes
Reichl, Peter Telecommunications Research Center Vienna (FTW); Vienna, Austria
Hammer, Florian Telecommunications Research Center Vienna (FTW); Vienna, Austria
Balinova, Marena doremi art management; Weissenburg, Germany
Abstract
Modeling the interactivity of conversations recently has gained increasing interest in the telecommunications community, especially with regard to the integration of multimedia applications over packet-based transmission technologies. A quantitative description of interactivity either relies on (subjective) user tests or on instrumental (objective) metrics which use appropriate signal parameters for deriving a scalar characterization of interactivity. Whereas traditional research in this area is based on examples of spontaneous conversations, our main focus is on “non-spontaneous conversations”, where structure and speakers’ actions are largely fixed a priori, e.g. by a movie script or a music score. As special examples, in this paper we investigate the characteristics of opera duets and larger ensemble scenes with respect to interactivity models like Parametric Conversation Analysis, Conversational Temperature or Conversational Entropy. After introducing the basic measurement framework and reviewing related experiments in the area of VoIP (Voice-over-IP), we present quantitative results for a series of representative opera excerpts. Having demonstrated the close relationship between these two types of conversations, we argue that opera scenes can formally be viewed as conversations in slow-motion. This may lead to important conclusions for telecommunication networks as well as for the design of interactive sound systems and the parametrization of algorithmic composition tools.
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DOI: 10.5281/zenodo.849265
Zenodo URL: https://zenodo.org/record/849265
2005.11
Digital Audio Effects and Physical Modeling
Kontogeorgakopoulos, Alexandros ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Cadoz, Claude ICA Laboratory, Association pour la Création et la Recherche sur les Outils d’Expression (ACROE), Grenoble Institute of Technology (Grenoble INP); Grenoble, France
Abstract
This article describes a research oriented in creating physical models that would transform and process sounds using the CORDIS-ANIMA formalism [1]. Basically the idea was to explore for the first time systematically the capabilities of this physical modeling language and more precisely the GENESIS [2] environment for the creation of Digital Audio Effects (DAFX). This presentation introduces some elementary signal processing operations and properties using the compositional blocks of CORDIS-ANIMA. Also two physical models will be described that they behave like some classical filters and time varying filters. The idea and the challenge is to give a physical meaning to these widely used algorithms.
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DOI: 10.5281/zenodo.849267
Zenodo URL: https://zenodo.org/record/849267
2005.12
Efficient Extraction of Closed Motivic Patterns in Multi-dimensional Symbolic Representations of Music
Lartillot, Olivier Department of Music, University of Jyväskylä; Jyväskylä, Finland
Abstract
In this paper, we present an efficient model for discovering repeated patterns in symbolic representations of music. Combinatorial redundancy inherent to the pattern discovery paradigm is usually filtered through global selective mechanisms, based on pattern frequency and length. Our approach is based instead on the concept of closed pattern, insuring lossless reduction by adaptively selecting most specific descriptions in the multi-dimensional parametric space. A notion of cyclic pattern is introduced, allowing the filtering of another form of combinatorial redundancy provoked by successive repetitions of patterns. The use of cyclic patterns implies a necessary chronological scanning of the piece, and the addition of mechanisms formalizing particular Gestalt principles. This study shows therefore that the automated analyses of music cannot rely on simple mathematical or statistical approaches, but need rather a complex and detailed modeling of the cognitive system ruling the listening processes. The resulting algorithm is able to offer for the first time compact and relevant motivic analyses of simple monodies, and may therefore be applied to automated indexing of symbolic music databases. Numerous additional mechanisms need to be added in order to consider all aspects of music expression, including polyphony and complex motivic transformations.
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DOI: 10.5281/zenodo.849269
Zenodo URL: https://zenodo.org/record/849269
2005.13
Event Synchronous Music Thumbnails: Experiments
Evangelista, Gianpaolo Università degli Studi di Napoli Federico II; Napoli, Italy
Cavaliere, Sergio Università degli Studi di Napoli Federico II; Napoli, Italy
Abstract
The paper presents a recently introduced method for the generation of Music Thumbnails [1], an active field of research [4, 5, 6, 7, 8]. The method aims to the construction of short music pieces, listening to which one can acquire partial knowledge or, at least, perceive the general flavor of the music content of the whole piece. Therefore, the introduced method should have its relevance from a psychoacoustical view-point, giving the opportunity of listening to a brief summary of the piece itself or of one of its parts. This will allow for enhanced navigation in large databases of music, where the thumbnail will give the flavor of the basic timbre features of the piece: only if it is of his/her interest the listener will proceed to acquire further acoustical details in order to confirm its choice. For this purpose, the method will be able to extract from a long piece of music common features that will be “condensed” in a shorter extract. Our method is synchronous with the basic phrase timing of the piece and it is therefore referred to as the Event Synchronous Thumbnailing (EST). Additionally, the method can be used as a means to navigate in large acoustical databases using thumbnailing for the purpose of collecting musical pieces having similar timbre flavors. The EST is therefore acting as a timbre signature to be searched for in the database.
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DOI: 10.5281/zenodo.849273
Zenodo URL: https://zenodo.org/record/849273
2005.14
Extended Waveform Segment Synthesis, a Nonstandard Synthesis Model for Microsound Composition
Valsamakis, Nikolas Department of Music Technology and Acoustics, Technological Educational Institute of Crete; Rethymno, Greece
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
This paper discusses a non-standard technique for time-domain waveform synthesis. In Extended Waveform Segment Synthesis sound is described as a structure of blocks of amplitude micro-fluctuations. These structures can be updated during synthesis or different structures can be combined generating dynamic evolving waveforms. This technique is intended to be: first, an extension of the existing linear segment synthesis techniques, second a generalized framework of various existing non-standard techniques - like stochastic waveform synthesis or pulsar synthesis - and third, the basis of new directions in composing the sound and in waveform transformation. The concept of a compositional structure that goes down to the microlevel is also presented.
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DOI: 10.5281/zenodo.849275
Zenodo URL: https://zenodo.org/record/849275
2005.15
GMU, a Flexible Granular Synthesis Environment in Max/MSP
Bascou, Charles Centre National de Creation Musicale (GMEM); Marseille, France
Pottier, Laurent Centre National de Creation Musicale (GMEM); Marseille, France
Abstract
Granular Synthesis has found to be a particularly rich framework to synthesize varieties of different sound colours and textures. Our goal at GMEM is to design and develop a flexible environment, called “GMU” (for GMEM Microsound Universe), dedicated to this synthesis method including analysis, transformations and synthesis algorithm. The proposal of intuitive control strategies is also an important part of the project. This paper will focus on the synthesis tool written for the Max/MSP Graphical Programming Environment and will present several applications.
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DOI: 10.5281/zenodo.849277
Zenodo URL: https://zenodo.org/record/849277
2005.16
Improvisation Planning and Jam Session Design Using Concepts of Sequence Variation and Flow Experience
Dubnov, Shlomo Center for Research in Computing and the Arts (CRCA), University California, San Diego (UCSD); San Diego, United States
Assayag, Gérard Institut de Recherche et Coordination Acoustique/Musique (IRCAM); Paris, France
Abstract
We describe a model for improvisation design based on Factor Oracle automation, which is extended to perform learning and analysis of incoming sequences in terms of sequence variation parameters, namely replication, recombination and innovation. These parameters describe the improvisation plan and allow designing new improvisations or analysis and modification of plans of existing improvisations. We further introduce an idea of flow experience that represents the various improvisation situations in a mental space that allows defining interactions between improvisers in terms of mental states and behavioural scripts.
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DOI: 10.5281/zenodo.849279
Zenodo URL: https://zenodo.org/record/849279
2005.17
Instrumental Gestures and Sonic Textures
Filatriau, Jehan-Julien Communications Laboratory, Université catholique de Louvain; Louvain-la-Neuve, Belgium
Arfib, Daniel Laboratoire de Mécanique et d'Acoustique (LMA); Marseille, France
Abstract
The making of textures is a field largely associated to the visual domain; sonic textures are less known and explored. Instrumental gestures, especially in digital musical instruments, are often seen from a pitchoriented point of view, and are rarely viewed as natural gestures linked to textures. Mapping between gestures and textures still remains a case per case experiment. This article is a contribution to a framework including instrumental gestures and sonic textures. First mapping between a gesture and a sonic process is defined. The specificity of textures is then examined; algorithms implementations and sensor technology help stay on the ground of possible things with a computer and are illustrated by examples taken from the literature. A large part of the article is then dedicated to personal experiments conducted in our labs. A discussion follows, which gives an occasion to set new perspectives dealing with the notion of ecological sounds and gestures.
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DOI: 10.5281/zenodo.849281
Zenodo URL: https://zenodo.org/record/849281
2005.18
Introduction to Computer-assited Music Analysis in PWGL
Laurson, Mikael Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Kuuskankare, Mika Sibelius Academy, University of the Arts Helsinki; Helsinki, Finland
Kuitunen, Kimmo Independent; Finland
Abstract
We present in this paper our recent developments dealing with computer-assisted music analysis. Our focus is in a new syntax that extends the patternmatching part of our constraint-based system called PWConstraints. PWConstraints can be used both to generate musical material or to analyze existing scores. The syntax allows to refer to more high-level entities in a score than before, resulting in compact analysis rules that use only a minimal set of primitives. Rules can return expression objects which can be used to visualize analytical information directly in a score. The compiler can be extended to support new score accessor keywords by special compiler methods. The new syntax and visualization of analysis data is explained and demonstrated with the help of several analysis examples.
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DOI: 10.5281/zenodo.849283
Zenodo URL: https://zenodo.org/record/849283
2005.19
Mathematical Structure and Sound Synthesis
Essl, Georg Deutsche Telekom Laboratories; Berlin, Germany
Abstract
How can looking for mathematical structure help us with sound synthesis? This question is at the core of this paper. First we review some past work where attention to various kinds of mathematical structure was employed in the context of physical modeling synthesis. Then we propose a first few steps towards algebraisation of abstract sound synthesis using very basic constructions of abstract algebra and category theory.
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DOI: 10.5281/zenodo.849287
Zenodo URL: https://zenodo.org/record/849287
2005.20
Multimodal and Cross-modal Processing in Interactive Systems Based on Tangible Acoustic Interfaces
Camurri, Antonio InfoMus Lab, Università di Genova; Genova, Italy
Canepa, Corrado InfoMus Lab, Università di Genova; Genova, Italy
Drioli, Carlo InfoMus Lab, Università di Genova; Genova, Italy
Massari, Alberto InfoMus Lab, Università di Genova; Genova, Italy
Mazzarino, Barbara InfoMus Lab, Università di Genova; Genova, Italy
Volpe, Gualtiero InfoMus Lab, Università di Genova; Genova, Italy
Abstract
This paper presents some recent developments at DISTInfoMus Lab on multimodal and cross-modal processing of multimedia data streams with a particular focus on interactive systems exploiting Tangible Acoustic Interfaces (TAIs). In our research multimodal and cross-modal algorithms are employed for enhancing the extraction and analysis of the expressive information conveyed by gesture in non-verbal interaction. The paper discusses some concrete examples of such algorithms focusing on the analysis of high-level features from expressive gestures of subjects interacting with TAIs. The features for explicit support of multimodal and cross-modal processing in the new EyesWeb 4 open platform (available at www.eyesweb.org) are also introduced. Results are exploited in a series of public events in which the developed techniques are applied and evaluated with experiments involving both experts and the general audience. Research is carried out in the framework of the EU-IST STREP Project TAI-CHI (Tangible Acoustic Interfaces for Computer-Human Interaction).
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DOI: 10.5281/zenodo.849291
Zenodo URL: https://zenodo.org/record/849291
2005.21
Multisensory Interactive Installation
Voto, Daniela Department of Animal and Genetic Biology, Università di Firenze; Firenze, Italy
Viñas Limonchi, Manuel University of Granada; Granada, Spain
D'Auria, Umberto Mozartstudios Association; Salerno, Italy
Abstract
This paper presents the “Multisensory Interactive Installation,” (MII) a musical interactive installation based on Kandinsky’s paintings, through which a user can become a painter and a composer simultaneously. The painting’s visual elements are synesthetically linked to musical elements: each color is linked to a specific instrument and chord while each shape is linked to a specific rhythm. Through “Multisensory Interactive Installation,”users can explore and manipulate visual elements, generating different musical outputs, constructing and deconstructing the art piece and/or creating a new work, and musical composition. The selection and organization of given visual-acoustic elements, determines the different musical atmosphere created by each user. The methodology implemented in the system/installation, explores the correspondence between color and sound, visual and acustic elements, and is based on the neuroscientific research of synesthesia, an involuntary physical experience of a cross-modal association.
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DOI: 10.5281/zenodo.849293
Zenodo URL: https://zenodo.org/record/849293
2005.22
Music Transformation in Cellular Spaces Triggered by Walsh Functions
da Silva, Patricio Spectrum Press; Los Angeles, United States
Maia Jr., Adolfo Instituto de Matemática, Estatística e Computação Científica (IMECC), University of Campinas (UNICAMP); Campinas, Brazil
Abstract
This paper introduces a new compositional process based on transformations of previously existing material by segmentation of information located in a 2-dimensional cellular-space, the use of Walsh Functions as triggers, and recombinancy by cyclic transposition. The process can produce a wide spectrum of results depending on the size of segmentation, the choice of the Walsh functions, the operation(s) used, and the parameters entered for each operation. These results can range from a simple variation of the input, to an output, holding little or no resemblance with the original.
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DOI: 10.5281/zenodo.849295
Zenodo URL: https://zenodo.org/record/849295
2005.23
MX Structural Metadata as MIR Tools
Haus, Goffredo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Pinto, Alberto Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Abstract
In this paper two main topics are covered: a new model for melodic fragments or indexes and its embedding in MX, the new XML-based format currently undergoing the IEEE standardization process, in order to take advantage of its structural layer in a MIR-oriented perspective. Our goal is to show how music information retrieval methods can be improved by the use of particular melodic invariants coming from graph theoretic tools applied to melodies in order to catch more musical transformations than other methods as, for example, permutations of subfragments. This approach to the melodic similarity problem leads to associate a musical graph to each melodic segment in order to extract MIR-useful invariant quantities.
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DOI: 10.5281/zenodo.849297
Zenodo URL: https://zenodo.org/record/849297
2005.24
On the Learning Stages of an Intelligent Rhythmic Generator
Gimenes, Marcelo Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Johnson, Chris Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
RGeme (Rhythmic Meme Generator) is an artificial intelligence system for the composition of rhythmic streams. The system is inspired by Richard Dawkin's theory of memes and is based on software agents. This paper focuses mainly on the first of two broad stages of the system, the learning stage, in which Agents are trained with examples of musical pieces in order to evolve a “musical worldview”. During the second stage, the production stage, Agents are able to learn from each other's "compositions" and capable of evolving a new rhythmic style by adapting to each other’s rhythms. The dynamics of this evolution is studied by analysing the behaviour of the memes logged during the learning and the interaction processes. In this paper we present the learning stage of a simulation of the system that uses rhythmic information taken from music compositions by three Brazilian composers, namely Chiquinha Gonzaga, Ernesto Nazareth and Jacob do Bandolim. Only the learning stage is discussed here. The production stage and its connexions with the learning stage will be introduced in a future paper.
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DOI: 10.5281/zenodo.849299
Zenodo URL: https://zenodo.org/record/849299
2005.25
Phonodeon: Controlling Synthetic Voices via MIDI-accordeon
Georgaki, Anastasia Department of Music, University of Athens; Athens, Greece
Zannos, Ioannis Department of Audiovisual Arts, Ionian University; Corfu, Greece
Valsamakis, Nikolas Department of Music Acoustics and Technology, Technological Educational Institute of Crete; Rethymno, Greece
Abstract
This paper presents research on controlling synthetic voice via a MIDI accordion. As motivation for this research served the goal of reviving "lost instruments", that is of using existing traditional instruments “lost” to new music genres as interfaces to control new types of sound generation in novel and future genres of music. We worked with a MIDI-accordion, because it provides expressive control similar to the human breath through the mechanism of the bellows. The control interface of the two hands is also suited for characteristics of the singing voice: The right hand controls the pitch of the voice as traditionally used, while the left hand chooses combinations of timbres, phonemes, longer phonetic units, and different kinds of vocal expression. We use a simple model of phonemes, diphones and timbre presets. We applied this to a combination of sample based synthesis and formant based synthesis. Our intention is to extend the work to physical models. A further goal of this research is to bridge the gap between ongoing research in the domain of synthesis of the singing voice with that of experimentation in novel forms of artistic performance, by examining different ways of interpreting synthesized voices via the MIDI accordion.
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DOI: 10.5281/zenodo.849301
Zenodo URL: https://zenodo.org/record/849301
2005.26
Physical Movement and Musical Gestures: A Multilevel Mapping Strategy
Fenza, Diego CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Mion, Luca CSC, Department of Information Engineering, Università di Padova; Padova, Italy
Canazza, Sergio MIRAGE Lab, Università di Udine; Udine, Italy
Rodà, Antonio MIRAGE Lab, Università di Udine; Udine, Italy
Abstract
Musical interpretations are often the result of a wide range of requirements on expressiveness rendering and technical skills. Aspects indicated by the term expressive intention and which refer to the communication of moods and feelings, are being considered more and more important in performer-computer interaction during music performance. Recent studies demonstrate the possibility of conveying different sensitive content like expressive intentions and emotions by opportunely modifying systematic deviations introduced by the musician. In this paper, we present a control strategy based on a multi-layer representation with three different stages of mapping, to explore the analogies between sound and movement spaces. The mapping between the performer (dancer and/or musician) movements and the expressive audio rendering engine resulting by two 3D ”expressive” spaces, one obtained by the Laban and Lawrence’s effort’s theory, the other by means of a multidimensional analysis of perceptual tests carried out on various professionally performed pieces ranging from western classical to popular music. As an example, an application based on this model is presented: the system is developed using the eMotion SMART motion capture system and the Eyesweb software.
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DOI: 10.5281/zenodo.849303
Zenodo URL: https://zenodo.org/record/849303
2005.27
Segmental Tempo Analysis of Performances in User-centered Experiments in the Distributed Immersive Performance Project
Chew, Elaine Integrated Media Systems Center, Viterbi School of Engineering, University of Southern California; Los Angeles, United States
Sawchuk, Alexander Integrated Media Systems Center, Viterbi School of Engineering, University of Southern California; Los Angeles, United States
Tanoue, Carley Integrated Media Systems Center, Viterbi School of Engineering, University of Southern California; Los Angeles, United States
Zimmermann, Roger Integrated Media Systems Center, Viterbi School of Engineering, University of Southern California; Los Angeles, United States
Abstract
In this paper we present a quantitative analysis of performer-based experiment data in the Distributed Immersive Performance Project. The experiments explore the effects of auditory latency on musical ensemble and interpretation in order to determine the thresholds for usability. We propose two measures – the segmental tempo difference and the segmental tempo ratio from a baseline performance – as objective quantifiers of performance strategies. Our earlier analyses of qualitative reports showed that the usability threshold lies between 50 and 75 ms. We demonstrate that the proposed analyses of the performance data, captured in MIDI format, lead to results similar to the reports. The tempo difference and tempo scaling across logical segments of the piece show marked increase in variability when the auditory delay is in the range of 50 to 100 ms (for two examples) and 50 to 75 ms (for the most rapid example). The span of the tempo difference and ratio values at latency 150 ms is less than that around the usability thresholds. We surmise that around the threshold, the users attempt numerous performance strategies to compensate for the delay; at latencies far above the threshold, such strategizing fails and the performers revert to more stable practiced norms. These findings indicate that segmental tempo difference and ratio analyses are useful indicators of performance decisions, and that quantitative analysis of performance data may be a viable way of evaluating the psychophysical effects of collaborative performance under various immersive conditions.
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DOI: 10.5281/zenodo.849305
Zenodo URL: https://zenodo.org/record/849305
2005.28
State of the Art and New Results in Direct Manipulation of MPEG Audio Codes
Haus, Goffredo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Vercellesi, Giancarlo Laboratorio di Informatica Musicale (LIM), Dipartimento di Informatica e Comunicazione (DICo), Università degli Studi di Milano; Milano, Italy
Abstract
In this paper we present several approaches to direct manipulation of MPEG1 audio codes. We discuss problems and solutions regarding aliases introduced by time to frequency transform block and NMR2 modification. We also discuss the limits in term of processing functions and give some consideration about computational costs.
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DOI: 10.5281/zenodo.849307
Zenodo URL: https://zenodo.org/record/849307
2005.29
Steering Generative Rules With the EEG: An Approach to Brain-computer Music Interfacing
Miranda, Eduardo Reck Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Boskamp, Bram Interdisciplinary Centre for Computer Music Research (ICCMR), School of Computing, Communications and Electronics, University of Plymouth; Plymouth, United Kingdom
Abstract
This paper introduces a system that uses brainwaves, or EEG (electroencephalogram), information to steer generative rules in order to compose and perform music on the fly. The paper starts by noting the various attempts at the design of systems to produce music from EEG, followed by a short technical introduction to EEG sensing and analysis. Next, it introduces the generative component of the system, which employs Artificial Intelligence techniques (e.g., ATN grammars) for computer-replication of musical styles. Then, it presents a demonstration system that constantly monitors the EEG of the subject and activates generative rules that are associated with the most prominent frequency band in the spectrum of the EEG signal. The system also measures the complexity of the EEG signal in order to modulate the tempo (beat) and dynamics (loudness) of the performance. The paper concludes with a brief discussion on the achievements and limitations of our research so far, and comments on its contribution for the development of assistive technology for severe physical and neurological disability, which is one of the main goals of this work.
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DOI: 10.5281/zenodo.849309
Zenodo URL: https://zenodo.org/record/849309
2005.30
Sustainable Live Electro-acoustic Music
Bernardini, Nicola Conservatorio di musica “Cesare Pollini” di Padova; Padova, Italy
Vidolin, Alvise Conservatorio Statale di Musica "Benedetto Marcello" di Venezia; Venezia, Italy
Abstract
Real–time/performed electro–acoustic music (also known as live electro–acoustic music) is currently facing a serious sustainability problem: while its production is indeed considered very recent from the music history point of view, several technological generations and revolutions have gone by in the meantime. Thus, most of these works can hardly be performed because the technologies used have gone lost since a long time and no long-standing notational precaution was taken. This paper presents some typical case studies and examples and introduces some techniques that might lead to a partial – when not completely adequate – solution to the sustainability problem.
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unknown
DOI: 10.5281/zenodo.849311
Zenodo URL: https://zenodo.org/record/849311
2005.31
The Croaker: Design and Evaluation of a New Multimodal Interface
Serafin, Stefania Department of Medialogy, Aalborg University Copenhagen; Copenhagen, Denmark
De Götzen, Amalia Department of Computer Science, Università di Verona; Verona, Italy
Abstract
In this paper we introduce the Croaker, a novel input device inspired by Russolo’s Intonarumori. We describe the motivations behind the design of this instrument, and its applications in human computer interaction (HCI) and music.
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unknown
DOI: 10.5281/zenodo.849313
Zenodo URL: https://zenodo.org/record/849313
2005.32
What Is the Essence of "Music"? A Case Study on a Japanese Audience
Miyashita, Homei Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Nishimoto, Kazushi Japan Advanced Institute of Science and Technology (JAIST); Nomi, Japan
Abstract
In this paper, we discuss what the essence of music is, based on an audience survey to evaluate musical performances with new interfaces. We composed ten pieces by introducing various types of uncertainty (chance operations), musical scores, and instruments, and performed them at a concert for a Japanese audience of 180. From the results of our survey, we concluded that the essential characteristics of music include the human element, or human-ness, and structure in addition to melody, rhythm and harmony. Moreover, we found that subjects with experience in music tend to be more open to new forms than subjects with little or no musical experience. They also are inclined to put much faith in human-ness when they estimate the worth of beauty, pleasure and liking as well as evaluating whether a piece is "music" or not.
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DOI: 10.5281/zenodo.849315
Zenodo URL: https://zenodo.org/record/849315