Idiosyncratic Audio Feedback Networks for Music Creation
DOI:
https://doi.org/10.33871/23179937.2022.10.1.1Palavras-chave:
audio feedback systems, generative music, electroacoustic composition, electronic music, digital music instrumentsResumo
This article presents practical and artistic contributions to the field of computer music systems based on audio feedback networks. The ideas that oriented the conception of two digital music instruments and examples of their use in the author's music practice are discussed. The article begins with a general conceptualization of feedback systems as well as a brief historical review of its use in experimental music. Later, a more specific contextualization of its application in recent computer music research and artwork is made, and two contributions are presented: the first is a network of cross-modulated sinusoidal oscillators (by frequency modulation), and the second is a network of algorithms for playing and transforming pre-recorded sound samples. In conclusion, examples of the artistic usage of the described systems to the creation of electroacoustic music are discussed.Downloads
Referências
ASHBY. W. Ross. An Introduction to Cybernetics. London: Chapman and Hall, 1956.
BEYLS, Peter. Musical morphologies from self-organizing systems. Interface, v.19, pp.205-218, 1990.
BERTALANFFY, Ludiwg von. General System Theory: Foundations, Development, Applications. New York: Braziller, 1968.
BITTENCOURT, Pedro S. The Performance of Agostino Di Scipio"™s Modes of Interference n.2: A Collaborative Balance. Contemporary Music Review, Vol. 33, No. 1, pp. 46–58, 2014
BONER, Charles P.; BONER, C. R. Behavior of Sound System Response Immediately Below Feedback. Journal of the Audio Engineering Society ,14(3):200– 203, 1966.
BULLOCK, Jamie. Implementing audio feature extraction in live electronic music. PhD Thesis, Birmingham City University, Birmingham, 2008
CHOWNING, John M. The Synthesis of Complex Audio Spectra by Means of Frequency Modulation, Journal of the Audio Engineering Society, 21(7): 526-534, 1973.
COLLINS, Nicholas M. Towards autonomous agents for live computer music: Realtime machine listening and interactive music systems. PhD dissertation, University of Cambridge, 2007.
DI SCIPIO, Agostino. Compostion by Exploration of Non-linear Dynamic Systems. IN: Proceedings of the International Computer Music Conference, Glasgow, UK, 1990.
DI SCIPIO, Agostino. The Synthesis of Environmental Sound Textures by Iterated Nonlinear Functions, and its Ecological Relevance to Perceptual Modeling. Journal of New Music Research. vol. 31, No. 2, pp. 109–117, 2002.
DI SCIPIO, Agostino. Sound Is the Interface: From Interactive to Ecosystemic Signal Processing. Organised Sound, 8(3):269–277, 2003.
DI SCIPIO, Agostino (2006). Using PD for live interactions in sound. An exploratory approach. Lecture at the Linux Audio Conference, ZKM Karlsruhe. Available in: https://www.ak.tu-berlin.de/fileadmin/a0135/Unterrichtsmaterial/Di_Scipio/PD_for_live_interactions_in_sound.pdf. Accessed in April, 2, 2022.
DI SCIPIO, Agostino. Listening to Yourself Through the Otherself: On background Noise Study and Other Works. Organised Sound, 16(2) 97"”108, 2011.
DI SCIPIO, Agostino. Qu"™est-ce qui est « vivant »dans la performance live electronics ? Une perspective eÌcosysteÌmique des pratiques de creÌation sonore et musicale. PhD Dissertation. Saint-Denis: UniversiteÌ Paris 8 Vincennes, 2020.
DI SCIPIO, Agostino; SANFILIPPO. Dario. Defining Ecosystemic Agency in Live Performance. The Machine Milieu Project as Practice-Based Research. Array: The Journal of International Computer Music Association, p. 28-43, 2019.
ELDRIDGE, Alice. Collaborating with the Behaving Machine: Simple Adaptive Systems for Generative and Interactive Music. Ph.D. Thesis, School of Cognitive Science, University of Sussex, 2007.
ELDRIDGE, Alice; KIEFER, Chris. The Self-resonating Feedback Cello: Interfacing gestural and generative processes in improvised performance. IN: Proceedings of the International Conference on New Interfaces for Musical Expression, Aalborg University, Denmark, 2017.
HOLOPAINEN, Risto. Self-organised Sound with Autonomous Instruments: Aesthetics and experiments. PhD dissertation, University of Oslo, 2012.
HOLMES, Thom. Electronic and Experimental Music: Technology, Music and Culture. (3rd Ed.). New York: Routledge, 2008.
KELLER, Damian; CAPASSO, Ariadna. New concepts and techniques in eco-composition. Organised Sound, 11:1, pp. 55-62, 2006.
KIEFER, Chris; OVERHOLT, Dan.; ELDRIDGE, Alice.Shaping the behaviour of feedback instruments with complexity- controlled gain dynamics. IN: Proceedings of the New Interfaces for Musical Expression, Birmingham, UK, 2020.
KIM, Seunghun; WAKEFIELD, Graham; NAM, Juhan. Augmenting environmental interaction in audio feedback systems. Applied Sciences 6, 5: 125, 2016.
KOLLIAS, Phivos-Angelos. Ephemeron: Control over Self-Organised Music. In: Proceedings of the Fifth Sound and Music Computing Conference, pp. 138– 146, 2008.
KOLLIAS, Phivos-Angelos. The Self-Organized work of Music. Organised Sound, 16(2), pp. 192–199, Cambridge University Press, 2011.
KOLLIAS, Phivos-Angelos. Vers une penseÌe musicale orienteÌe-systeÌ€me: l"™Å“uvre musicale autoorganisante. PhD dissertation. University of Paris VIII, Paris, France, 2017.
KOLLIAS, Phivos-Angelos. Overviewing a Field of Self-Organising Music Interfaces: Autonomous, Distributed, Environmentally Aware, Feedback Systems. Proceedings of the 23rd Annual Conference on Intelligent User Interfaces – ACM IUI Workshops, Tokyo, 2018.
KOLLIAS, Phivos-Angelos. Ambient Intelligence in Electroacoustic Music: Towards a Future of Self-Organising Music. IN: Proceedings of the Electroacoustic Music Studies Network Conference, Leicester, November 2021,
MAES, Pattie. Modeling adaptive autonomous agents. Artificial life, 1:135-164, 1994.
MATURANA, Humberto; VARELA, Francisco. Autopoiesis and Cognition. The realization of the living. Dordrecht: Reidel Publishing Company, 1980.
MITCHELL, Melanie. Complexity: A guided tour. Oxford University Press, 2009.
MUMMA, Robert: Two Cybersonic Works: Horn and Hornpipe (1970-71/2012In: Cybersonic Arts: Adeventures in American New Music (Ed. Michelle Fillion), Urbana, Chicago and Springfield: University of Illinois Press, pp.54-62., 2015.
PATTESON, Thomas W. The Time of Roland Kayn"™s Cybernetic Music. Travelling Time, Sonic Acts XIV. Amsterdam: Sonic Acts Press, pp. 47–67, 2012.
OVERHOLT, Dan. The Overtone Fiddle: an Actuated Acoustic Instrument. IN: Proceedings of the International Conference on New Interfaces for Musical Expression, Oslo, Norway, 2011.
OVERHOLT, Dan; BERDAHL, Edgar ; HAMILTON, Robert. Advancements in Actuated Musical Instruments. Organised Sound, 16:2, pp .154 – 165, 2011.
SANFILIPPO, Dario. Turning Perturbation Into Emergent Sound, and Sound into Perturbation Interference: A Journal of Audio Culture, no. 3, 2013. Available in: http://www.interferencejournal.org/turning-perturbation-into-emergent-sound/. Consulted in April, 02, 2022.
SANFILIPPO, Dario. Time-variant infrastructures and dynamical adaptivity for higher degrees of complexity in autonomous music feedback systems: the Order from noise (2017) project. Musica/Tecnologia, 12(1), pp. 119-129, 2018.
SANFILIPPO, Dario. Complex Musical Behaviors via Time-Variant Audio Feedback Networks and Distributed Adaptation: a Study of Autopoietic Infrastructures for Real-Time Performance Systems. PhD Dissertation. Edinburgh: University of Edinburgh, 2019.
SANFILIPPO, Dario; VALLE, Andrea. Feedback Systems: an Analytical Framework. Computer Music Journal, 37:2, pp. 12–27, 2013
SMALLEY, Denis. Spectro-morphology and Structuring Processes. In: EMMERSON, Simon. The Language of Electroacoustic Music. The Macmillan Press Ltd, 1986.
SMALLEY, Denis. Spectromorphology: explaning sound-shapes. Organized Sound. v.2, n. 2, pp. 107-126, 1997.
SNYDER, Jeff; ERRAMILLI, Rajjev; MULSHINE, Mike. The Feedback Trombone: Controlling Feedback in Brass Instruments. IN: Proceedings of the International Conference on New Interfaces for Musical Expression, Blacksburg, USA, 2018.
SURGES, Greg; Generative Audio Systems: Musical Applications of Time-Varying Feedback Networks and Computational Aesthetics. PhD Dissertation. San Diego: University of California, Sand Diego, 2015.
SURGES, Greg; SMYTH, Tamara; PUCKETTE, Miller. Generative audio systems using power- preserving all-pass filters. Computer Music Journal. 40:1, p.54-69, 2016.
TRUAX. Barry. Discovering inner complexity: Time-shifting and transposition with a real-time granulation technique. Computer Music Journal, 18(2), pp. 38-48, 1994.
ÚLFARSSON, Halldór. Feedback Mayhem: Compositional affordances of the halldorophone discussed by its users. IN: Proceedings of the International Computer Music Conference, New York, 2019.
VALSAMAKIS, Nikolas; MIRANDA, Eduardo Reck. Interactive Sound Synthesis by means of cross-coupled digital oscillators. Digital Creativity, v. 16, n. 2, pp. 79-92, 2005.
WATERS, Simon. Performance Ecosystems: Ecological Approaches to Musical Interaction. In: Proceedings of the Electroacoustic Music Studies Network, 2007.
WATERS, Simon. Performance Ecosystems. Organised Sound, 16:2, pp. 95-96, 2011
WIENER, Norbert. Cybernetics; or Control and Communication in the Animal and the Machine. New York: Wiley, 1948.
Downloads
Publicado
Como Citar
Edição
Seção
Licença
Copyright (c) 2022 Adriano Claro Monteiro

Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.
Autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Licença Creative Commons Attribution que permite o compartilhamento do trabalho com reconhecimento da autoria e publicação inicial nesta revista.