Map, Trigger, Score, Procedure: machine-listening paradigms in live-electronics

Autores

  • Vinícius Cesar de Oliveira Universidade Estadual de Campinas
  • José Henrique Padovani Universidade Federal de Minas Gerais

Palavras-chave:

live-electronics, machine listening, music composition, compositional paradigms

Resumo

Since the advent of real-time computer music environments, composers have increasingly incorporated DSP analysis, synthesis, and processing algorithms in their creative practices. Those processes became part of interactive systems that use real-time computational tools in musical compositions that explore diverse techniques to generate, spatialize, and process instrumental/vocal sounds. Parallel to the development of these tools and the expansion of DSP methods, new techniques focused on sound/musical information extraction became part of the tools available for music composition. In this context, this article discusses the creative use of Machine Listening and Musical Information Retrieval techniques applied in the composition of live-electronics works. By pointing out some practical applications and creative approaches, we aim to circumscribe, in a general way, the strategies for employing Machine Listening and Music Information Retrieval techniques observed in a set of live-electronics pieces, categorizing four compositional approaches, namely: mapping, triggering, scoring, and procedural paradigms of application of machine listening techniques in the context of live-electronics music compositions.

Downloads

Não há dados estatísticos.

Biografia do Autor

Vinícius Cesar de Oliveira, Universidade Estadual de Campinas

Viní­cius Cesar de Oliveira holds a bachelor's degree in music composition (2018) and a master's degree in creative processes (2022) from Unicamp. Currently, he is studying for a doctorate's degree in music at the Arts Institute (Unicamp), where he researches compositional strategies in the use of machine listening and music information retrieval associated with machine learning in the context of live-electronic music under the supervision of Prof. Dr. José Henrique Padovani. ORCID: https://orcid.org/0000-0002-7711-3949

José Henrique Padovani, Universidade Federal de Minas Gerais

José Henrique Padovani is Assistant Professor at the School of Music of the Federal University of Minas Gerais (UFMG), teaching Composition, Computer Music, and Music Theory. Padovani is a member of the Music Graduate Programs at the School of Music at UFMG and the Institute of Arts of the State University of Campinas (UNICAMP). More information at: http://josehenriquepadovani.com and http://musica.ufmg.br/padovani/. ORCID: https://orcid.org/0000-0002-8919-7393

Referências

BIGAND, Emmanuel; PARNCUTT, Richard; LERDAHL, Fred. Perception of musical tension in short chord sequences: The influence of harmonic function, sensory dissonance, horizontal motion, and musical training. Perception & psychophysics, v. 58, p. 124–41, 1 jan. 1996.

BREGMAN, Albert S. Auditory Scene Analysis. The MIT Press, 1990. Available at: <https://mitpress.mit.edu/books/auditory-scene-analysis>. Access: 9 jun. 2021.

BRENT, William. A timbre analysis and classification toolkit for pure data. 2010, 2010.

CHADABE, Joel. Interactive Composing: An Overview. Computer Music Journal, v. 8, n. 1, p. 22–27, 1984.

COLLINS, Nick. Automatic Composition of Electroacoustic Art Music Utilizing Machine Listening. Computer Music Journal, v. 36, n. 3, p. 8–23, 1 sept. 2012.

COLLINS, Nick. Machine Listening in SuperCollider. In: WILSON, S.; COLLINS, N.; COTTLE, D. The SuperCollider book. Cambridge, Mass: MIT Press, 2011. .

COLLINS, Nick. Towards Autonomous Agents for Live Computer Music: Realtime Machine Listening and Interactive Music Systems. 2006. Universoty of Cambridge, 2006.

CONT, Arshia. Antescofo: Anticipatory Synchronization and control of Interactive parameters in Computer Music. In: INTERNATIONAL COMPUTER MUSIC CONFERENCE, 2008, Belfast. Proceedings... Belfast, 2008. . Access: 1 mar. 2021.

COSTÈRE, Edmond. Entre l"™harmonie classique et les harmonies contemporaines, y a-t-il rupture, ou continuité? Revue de Musicologie, v. 36, p. 55–65, 1954.

COSTÈRE, Edmond. Mort: Transfiguration de l"™harmonie. Presses universitaires de France, 1962.

DE CHEVEIGNÉ, Alain; KAWAHARA, Hideki. YIN, a fundamental frequency estimator for speech and music. The Journal of the Acoustical Society of America, v. 111, n. 4, p. 1917–1930, apr. 2002.

EINARSSON, Anna. Experiencing Responsive Technology in a Mixed Work: Interactive music as embodied and situated activity. Organised Sound, v. 22, n. 3, p. 418–427, dec. 2017.

EINARSSON, Anna; FRIBERG, Anders. Using Singing Voice Vibrato as a Control Parameter in a Chamber Opera. In: ICMC, 25 sept. 2015, University of North Texas. Proceedings... University of North Texas, 25 sept. 2015. p. 18–21.

EMMERSON, Simon. Ring Modulation and Structure. Contact: A Journal for Contemporary Music (1971-1990), n. 17, 1 jun. 1977. Available at: <https://journals.gold.ac.uk/index.php/contactjournal/article/view/contactjournal17_p14-20>. Access: 3 apr. 2022.

FERNANDEZ, José Miguel; GIAVITTO, Jean-Louis; DONAT-BOUILLUD, Pierre. AntesCollider: Control and Signal Processing in the Same Score. In: ICMC 2019 - INTERNATIONAL COMPUTER MUSIC CONFERENCE, 16 jun. 2019, 16 jun. 2019. Available at: <https://hal.inria.fr/hal-02159629>. Access: 27 apr. 2021.

FERRAZ, Silvio. Criação musical com suporte tecnológico. . Salvador, 1999. Available at: <http://sferraz.mus.br/anp99.htm>. Access: 3 apr. 2022.

FRIBERG, Anders; SCHOONDERWALDT, Erwin; JUSLIN, Patrik. CUEX: An Algorithm for Automatic Extraction of Expressive Tone Parameters in Music Performance from Acoustic Signals. Acta Acustica united with Acustica, v. 93, p. 411–420, 1 may. 2007.

GARNETT, Guy E. The Aesthetics of Interactive Computer Music. Computer Music Journal, v. 25, n. 1, p. 21–33, 2001.

GUTSCHALK, Alexander; DYKSTRA, Andrew R. Functional imaging of auditory scene analysis. Hearing Research, Citation Key: gutschalk_functional_2014, v. 307, p. 98–110, 2014.

HELMHOLTZ, Hermann L. F. On the Sensations of Tone as a Physiological Basis for the Theory of Music. Translated by Alexander J. Ellis. 3. ed. Cambridge: Cambridge University Press, 2009. Available at: <https://www.cambridge.org/core/books/on-the-sensations-of-tone-as-a-physiological-basis-for-the-theory-of-music/6B5630E5D439286A8946CEB9D62BE6EC>. Access: 3 apr. 2022. (Cambridge Library Collection - Music).

HUNT, Andy et al. The Importance of Parameter Mapping in Electronic Instrument Design. Journal of New Music Research, v. 32, 5 may. 2002.

IAZZETTA, Fernando. Meaning in Musical Gesture. Trends in Gestural Control of Music [CD-ROM]. IRCAM, 2000. p. 259–268.

IRCAM. Raggi di stringhe, Lara Morciano. Available at: <https://brahms.ircam.fr/works/work/29525/>. Access: 3 apr. 2022.

IRCAM. Tensio, Philippe Manoury. Available at: <https://brahms.ircam.fr/works/work/28236/>. Access: 3 apr. 2022.

JOHNSON, Mark. The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. 1a edição ed. University of Chicago Press, 2013.

MALT, Mikhail. Khorwa: A musical experience with "autonomous agents". 2004, 2004.

MALT, Mikhail; GENTILUCCI, Marta. Real Time Vowel Tremolo Detection Using Low Level Audio Descriptors. arXiv:1511.07008 [cs], arXiv: 1511.07008, 22 nov. 2015. Available at: <http://arxiv.org/abs/1511.07008>. Access: 25 may. 2021.

MALT, Mikhail; JOURDAN, Emmanuel. Real-Time Uses of Low Level Sound Descriptors as Event Detection Functions Using the Max/MSP Zsa.Descriptors Library. p. 12, 2009.

MANOURY, Philippe. Compositional Procedures in Tensio. Contemporary Music Review, v. 32, n. 1, p. 61–97, 1 feb. 2013.

MANOURY, Philippe. La note et le son. Philippe Manoury» Blog Archive ». Available at: <http://www.philippemanoury.com/?p=330>. Access: 22 feb. 2021. , 1990

MANOURY, Philippe. Sur la synthèse 3F. . Available at: <http://www.philippemanoury.com/?p=7084>. Access: 11 jun. 2021. , 2020

MAY, Andrew. Philippe"™s Manoury Jupiter. Analytical Methods of Electroacoustic Music. Routledge, 2005. p. 145–185.

MIRANDA, Eduardo Reck; WANDERLEY, Marcelo. New Digital Musical Instruments: Control And Interaction Beyond the Keyboard. 1st edition ed. Middleton, Wis: A-R Editions, Inc., 2006.

MONTEIRO, Adriano Claro. Criação e performance musical no contexto dos instrumentos musicais digitais. 2012. [s.n.], 2012. Available at: <http://repositorio.unicamp.br/jspui/handle/REPOSIP/284418>. Access: 20 sept. 2020.

MORCIANO, Lara. Ecriture du son, du temps et de l"™espace dans l"™interaction entre instruments et dispositifs numériques synchrones. 2018. Theses – Université Paris sciences et lettres, 2018. Available at: <https://tel.archives-ouvertes.fr/tel-02270028>. Access: 3 apr. 2022.

PADOVANI, José Henrique. Representação, intuição e contato na composição com algoritmos. Dissertação de Mestrado. Universidade Estadual de Campinas, Campinas SP, 2009.

PESTOVA, Xenia. Models of interaction: performance strategies in works for piano and live electronics. Journal of Music, Technology and Education, v. 2, p. 113–126, 1 dec. 2009.

PLOMP, R.; LEVELT, W. J. M. Tonal Consonance and Critical Bandwidth. The Journal of the Acoustical Society of America, v. 38, n. 4, p. 548–560, oct. 1965.

POUSSEUR, Henri. Apoteose de Rameau e outros ensaios. 1. ed. 2009. Available at: <http://editoraunesp.com.br/catalogo/9788571399198,apoteose-de-rameau>. Access: 29 jun. 2021.

PUCKETTE, Miller. Max at seventeen. Computer Music Journal, v. 26, n. 4, p. 31–43, 2002.

PUCKETTE, Miller; APEL, Theodore; ZICARELLI, David. Real-time audio analysis tools for Pd and MSP. In: INTERNATIONAL COMPUTER MUSIC CONFERENCE, 21 oct. 1998, São Francisco. Proceedings... São Francisco, 21 oct. 1998.

REGIUS, Hélena; LANGER, Joakim. Kung Kalle av Kurrekurreduttön. Fórum Bokförlaget, 2002. Available at: <https://biblioteket.stockholm.se/titel/833558>. Access: 25 may. 2021.

RIMOLDI, Gabriel. Metaflauta : uma abordagem ecológica aplicada ao design e processos criativos a partir de um instrumento expandido. 2018. [s.n.], 2018. Available at: <http://repositorio.unicamp.br/jspui/handle/REPOSIP/332105>. Access: 7 apr. 2021.

ROWE, Robert. Interactive music systems: machine listening and composing. Cambridge: MIT press, 1993. Available at: <http://dl.acm.org/citation.cfm?id=530519>. Access: 16 jun. 2014.

ROWE, Robert. The aesthetics of interactive music systems. Contemporary Music Review, v. 18, n. 3, p. 83–87, jan. 1999.

TOFFOLO, Rael Bertarelli Gimenes [UNESP. As redes harmônicas de Pousseur aplicadas í composição musical em tempo real. 2014. Universidade Estadual Paulista, 2014. Available at: <https://repositorio.unesp.br/handle/11449/108808>. Access: 29 jun. 2021.

WANG, Song; WANDERLEY, Marcelo; SCAVONE, Gary. The Study of Mapping Strategies Between the Excitators of the Single-Reed Woodwind and the Bowed String. Proceedings of the 7th Conference on Sound and Music Technology (CSMT). Springer, 2020. p. 107–119.

WINKLER, István et al. Multistability in auditory stream segregation: a predictive coding view. Philosophical Transactions of the Royal Society B: Biological Sciences, Citation Key: winkler_multistability_2012tex.pmcid: PMC3282310, v. 367, n. 1591, p. 1001–1012, apr. 2012. Available at: <https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3282310/>. Access: 9 jun. 2021.

Downloads

Publicado

30.04.2022

Como Citar

de Oliveira, V. C., & Padovani, J. H. (2022). Map, Trigger, Score, Procedure: machine-listening paradigms in live-electronics. Revista Vórtex, 10(1). Recuperado de https://periodicos.unespar.edu.br/index.php/vortex/article/view/4691

Edição

Seção

Dossier "18th Brazilian Symposium on Computer Music"