Idiosyncratic Audio Feedback Networks for Music Creation

Visualizações: 338

Authors

  • Adriano Claro Monteiro Universidade Federal de Goiás

DOI:

https://doi.org/10.33871/23179937.2022.10.1.1

Keywords:

audio feedback systems, generative music, electroacoustic composition, electronic music, digital music instruments

Abstract

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

Download data is not yet available.

Author Biography

Adriano Claro Monteiro, Universidade Federal de Goiás

Adriano Claro Monteiro is a Professor of Composition and Music Theory at the Escola de Música e Artes Cênicas (School of Music and Drama) of the Universidade Federal de Goiás. Doctor in Music by the University of Campinas (UNICAMP), he works in areas such as music composition, computer music, analysis of 20th and 21st century music, interactive music systems, multimedia installations and performance, systematic musicology. ORCID: https://orcid.org/0000-0002-6629-0317

References

ASHBY. W. Ross. An Introduction to Cybernetics. London: Chapman and Hall, 1956. DOI: https://doi.org/10.5962/bhl.title.5851

BEYLS, Peter. Musical morphologies from self-organizing systems. Interface, v.19, pp.205-218, 1990. DOI: https://doi.org/10.1080/09298219008570567

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 DOI: https://doi.org/10.1080/07494467.2014.906697

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. DOI: https://doi.org/10.1076/jnmr.31.2.109.8090

DI SCIPIO, Agostino. Sound Is the Interface: From Interactive to Ecosystemic Signal Processing. Organised Sound, 8(3):269–277, 2003. DOI: https://doi.org/10.1017/S1355771803000244

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. DOI: https://doi.org/10.1017/S1355771811000033

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. DOI: https://doi.org/10.25370/array.v20192655

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. DOI: https://doi.org/10.4324/9780203929599

KELLER, Damian; CAPASSO, Ariadna. New concepts and techniques in eco-composition. Organised Sound, 11:1, pp. 55-62, 2006. DOI: https://doi.org/10.1017/S1355771806000082

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. DOI: https://doi.org/10.3390/app6050125

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. DOI: https://doi.org/10.1017/S1355771811000148

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. DOI: https://doi.org/10.1162/artl.1993.1.1_2.135

MATURANA, Humberto; VARELA, Francisco. Autopoiesis and Cognition. The realization of the living. Dordrecht: Reidel Publishing Company, 1980. DOI: https://doi.org/10.1007/978-94-009-8947-4

MITCHELL, Melanie. Complexity: A guided tour. Oxford University Press, 2009. DOI: https://doi.org/10.1093/oso/9780195124415.001.0001

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. DOI: https://doi.org/10.1017/S1355771811000100

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. DOI: https://doi.org/10.1155/2018/2178031

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 DOI: https://doi.org/10.1162/COMJ_a_00176

SMALLEY, Denis. Spectro-morphology and Structuring Processes. In: EMMERSON, Simon. The Language of Electroacoustic Music. The Macmillan Press Ltd, 1986. DOI: https://doi.org/10.1007/978-1-349-18492-7_5

SMALLEY, Denis. Spectromorphology: explaning sound-shapes. Organized Sound. v.2, n. 2, pp. 107-126, 1997. DOI: https://doi.org/10.1017/S1355771897009059

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. DOI: https://doi.org/10.1162/COMJ_a_00344

TRUAX. Barry. Discovering inner complexity: Time-shifting and transposition with a real-time granulation technique. Computer Music Journal, 18(2), pp. 38-48, 1994. DOI: https://doi.org/10.2307/3680442

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. DOI: https://doi.org/10.1080/14626260500173062

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 DOI: https://doi.org/10.1017/S1355771811000021

WIENER, Norbert. Cybernetics; or Control and Communication in the Animal and the Machine. New York: Wiley, 1948.

Downloads

Published

2022-04-30

How to Cite

Monteiro, A. C. (2022). Idiosyncratic Audio Feedback Networks for Music Creation. Vortex Music Journal, 10(1). https://doi.org/10.33871/23179937.2022.10.1.1

Issue

Vol. 10 No. 1 (2022): Vortex Music Journal

Section

Dossier "18th Brazilian Symposium on Computer Music"

License

Copyright (c) 2022 Adriano Claro Monteiro

Creative Commons License

This work is licensed under a 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.

Metrics