DOCSLIB.ORG

Anuário 2009 • the Yearbook 2009 120 Conjuntos Musicais • Musical Ensembles 2009) E Esther Medina (Estagiária)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anuário 2009 • the Yearbook 2009 120 Conjuntos Musicais • Musical Ensembles 2009) E Esther Medina (Estagiária) AN UÁRIO 2009 O GUIA DE NEGÓCIOS DA MÚSICA CLÁSSICA DO BRASIL Organização Heloisa Fischer Apoio sumáriosumário contents 5 Apresentação • Foreword 116 Concursos • Competitions Direção Heloisa Fischer (conteúdo) e Luiz Alfredo Moraes (comercial). Conteúdo Eduardo Carvalho, Julia Wiltgen, Natassja Menezes e Rafael Morello (apuração); Irineu Franco Perpétuo (comentário Temporada 8 O Anuário 2009 • The Yearbook 2009 120 Conjuntos musicais • Musical ensembles 2009) e Esther Medina (estagiária). Comercial Alessandra Corrêa (executiva de vendas). Administrativo 10 Sobre VivaMúsica! • VivaMúsica!, the company 130 Discos • Recordings Adriana Barros, Renata Ferreira e Deyvid Telles. 14 Especial Compositores • Special Composers 138 Ensino • Instruction 16 Compositores e seu universo: presente e 154 Espaços musicais • Musical spaces Arte Mila Waldeck (projeto gráfi co e capa), ô de casa (pré-impressão). Revisão Karine Fajardo (português) e futuro • Composers and their universe: present and future 176 Espaços musicais – Recursos técnicos e Gratia Domingues (inglês). Versões para o inglês Tom Moore. 46 Compositores e seus intérpretes • Composers mapas • Musical spaces – technical information and maps and their interpreters O Anuário VivaMúsica! é um periódico editado ininterruptamente desde 1998 por VivaMúsica! Edições. 196 Festivais • Festivals ISSN 1806-4728. Av. Rio Branco, 45/1.1113 – Centro – Rio de Janeiro – RJ – CEP 20090-003 – Brasil. www. 56 Compositores e seu público • Composers and 202 Instrumentos musicais • Instruments vivamusica.com.br. ©VivaMúsica! 2009. Todos os direitos reservados. Tiragem desta edição: 8 mil the audience 210 Mídia especializada • Media exemplares. Impressão: Gráfi ca Minister. 60 Compositores – contatos • Composers – listings 216 Órgãos estatais de cultura •State departments 64 Temporada Brasil 2009 de concertos • for culture Cadastramento padronizado gratuito e reservas de espaços publicitários no Anuário 2010 Telefax: (21) Brazilian concert season 2009 2233- 8393 e 2296-8245 222 Orquestras • Orchestras [email protected] (cadastramento) 66 Aniversários musicais 2009 • Musical 234 Partituras • Scores [email protected] (publicidade) anniversaries 2009 240 Prêmios • Prizes 68 Brasil clássico 2009 • Classical Brazil 2009 Para Clara, música em vida. 242 Produtores • Producers 70 Roteiro mês a mês em 47 cidades • Concert listings in 47 cities 250 Projetos sociais • Social projects 254 Realizadores • Presenters 96 Cadastros • Listings 262 Revistas acadêmicas • Academic journals 98 Agentes • Agents 264 Sociedades musicais • Musical societies 100 Aperfeiçoamento • Improvement 268 Versões em inglês • English versions 104 Associações musicais • Associations l 110 Centros de Documentação e Acervos 297 Índice de anunciantes • Index of advertisers (CEDCOS) •Centers for documentation and research 304 Mapa do Brasil • Brazilian map “Uma surpresa comovente” por Alceo Bocchino O dossiê sobre composição preparado pelo ANUÁRIO VIVAMÚ- SICA! (a partir da página 14) me comoveu especialmente. Foi uma surpresa agradável. Sendo o veterano entre os compositores em atividade em nosso País, aos noventa anos, fi co feliz em ver tanta música sendo feita por brasileiros e para brasileiros. Sou completamente autodidata em composição e regência. Recebi infl uências e diretrizes de Camargo Guarnieri, Francisco Mignone e Villa-Lobos. Aulas mesmo, não tive, mas eles me de- ram orientação e informação. Em minha carreira de regente, a música nacional sempre ocupou um espaço especial. Fiz primei- ras audições de Radamés Gnattali, Camargo Guarnieri e Heitor O dossiê sobre Villa-Lobos, este um grande amigo com quem tive convivência composição me muito próxima. Certa vez perguntei a Guarnieri: “Você acha que vale a pena eu deixou feliz por haver estudar composição?” Ele disse: “Não é questão de valer a pena, tanta música sendo você tem o dever!” Em outra ocasião, Mignone me disse: “Deixa a regência, o piano, e vai compor. A música é o que fi ca.” Confesso feita por brasileiros desconhecer o número exato de minhas obras, mas não são mui- e para brasileiros. tas. Destaco a “Sonatina” e a “Sinfonia”. Quando comecei, ainda no Paraná, a orquestração de um “Bailado do trigo” chegou a me tomar Também me fez um mês! Depois, fui trabalhar na rádio Tupi de São Paulo e lá tinha recordar momentos de fazer duas orquestrações por semana – imagine como foi difícil no começo. Quando me mudei para o Rio de Janeiro, trabalhei em marcantes do rádio e também dirigi orquestras. Nos anos 1960, conheci Luciano passado Berio, no Rio, e discuti com ele de igual para igual. Fui professor de composição – dei aulas para Tom Jobim, uma cabeça formidável – e continuo ativo hoje, mas de outra forma. Digo que sou “professor de plantão”. Vou para a Escola Villa-Lobos, no Rio, e fi co à disposição dos professores. Dou aula para um, informação para outro. Aos jovens talentos da composição, os que já constam das pá- ginas deste ANUÁRIO e os que ainda estão iniciando sua jornada, algumas palavras: Estudem muito, não apenas nos livros, mas, sobretudo, nas grandes obras dos grandes compositores. E se- jam humildes. Sem humildade, não se vai avante. (leia em www. vivamusica.com.br, a íntegra do depoimento de Alceo Bocchino, em que ele relembra também passagens marcantes de sua car- reira como regente.) 5 ANUÁRIO 2009 O Anuário 2009 Esta 11ª primeira edição do ANUÁRIO VIVAMÚSICA! repete a fórmula de sucesso de anos anteriores. Aos contatos de organi- zações e pessoas do meio musical clássico brasileiro, somem-se recursos técnicos e mapas das principais salas de concerto; temporada nacional de clássicos; aniversários musicais do ano e textos que estimulam a refl exão sobre o próprio meio. Este ano temos os melhores números de nossa história: o ANUÁRIO publica um dossiê com mais de trinta páginas sobre o mundo da composição clássica contemporânea brasileira, mostra a presença da música clássica na temporada de 47 cidades, supera os 2.500 cadastros publicados em 21 capítulos e detalha recur- A 11ª edição sos de 33 salas de concerto. Como 25% de nossa tiragem de oito mantém mil exemplares destina-se à circulação internacional, todos os textos são versados para o inglês, na seção fi nal deste livro. Nas a fórmula de últimas páginas, está o índice de anunciantes comerciais. sucesso e traz O dossiê dos compositores vem celebrar uma importante adição ao conteúdo do guia de negócios da música clássica do números recordes. Brasil a partir de 2009: listagem de contatos de compositores A principal clássicos contemporâneos. A partir de agora, esses importantes criadores passam a fazer parte das listagens do ANUÁRIO. inovação são Todos os cadastros publicados a partir da página 96 foram os contatos de checados e atualizados entre dezembro de 2008 e fevereiro de 2009. O processo de apuração se dá inicialmente pela Internet: compositores as organizações acessam seus registros em nosso banco de brasileiros dados on-line e verifi cam se precisam de atualização. Finda esta primeira etapa, a equipe de apuradores contata por telefone as organizações restantes e faz a conferência dos dados. Este ano, adicionamos os capítulos “Associações de Classe” e “Revistas Acadêmicas” e chegamos à maior quantidade de cadastros: são 2.505 registros. Importante frisar que o objetivo das listagens é compor um panorama do Brasil clássico. Todos os cadastros são publicados de forma gratuita e não indicam recomendação por parte de VivaMúsica!. O capítulo “Espaços Musicais” traz, além dos cadastros, uma seção extra com os recursos técnicos e ma- pas de plateia das principais salas de concerto do Brasil, também publicados gratuitamente. VIVAMÚSICA! 8 Sobre A VivaMúsica! Em 15 anos Em 2009, VivaMúsica! completa 15 anos de atividades. Somos a “Agenda” reúne a programação de concertos e eventos musi- um sistema de comunicação especializado em divulgar a música cais – em média, 120 opções todos os meses –, além de trazer os de atividades, clássica no Brasil, com presença nas mídias impressa, digital e destaques recomendados e notícias curtas sobre o meio clássico. divulgamos a eletrônica. Além deste ANUÁRIO (leia mais na página 8), edita- Tamanha é sua identifi cação com a vida cultural da cidade que foi mos uma revista mensal e publicamos um site. Estamos presen- mencionada cinco vezes na novela da TV Globo “Páginas da Vida” música clássica do tes na rede CBN de rádio e na MEC FM do Rio de Janeiro, além de (2006–2007), de Manoel Carlos, como referência cultural carioca. Brasil em várias produzirmos o canal clássico a bordo dos aviões TAM. Por nossa Se os primeiros programas de rádio nos anos 1990 tratavam iniciativa, foi criado o Dia Nacional da Música Clássica, em 5 de apenas de lançamentos fonográfi cos, no começo dos anos 2000 frentes. Estamos março, aniversário de Villa-Lobos. Também objetivamos conhe- estabeleceu-se o novo formato de VivaMúsica! no dial: comen- presentes nas cer e alcançar novos públicos que ainda não têm contato com a tários da jornalista Heloisa Fischer, fundadora e diretora edito- música de concerto, por meio do Instituto VivaMúsica!. rial de VivaMúsica! (e também organizadora deste ANUÁRIO). mídias impressa, Tudo começou uma década e meia atrás, quando surgiu nos- Ela foi comentarista da Cultura FM de São Paulo por três anos. digital e eletrônica sa primeira publicação. O ano era 1994. Poucos meses após o Desde 2004, tem um programete de segunda a sexta-feira, às lançamento do Plano Real, que estabilizou a economia do País, 13h, na MEC FM do Rio, destacando as opções de programação VivaMúsica! lançava uma revista pioneira destinada a amantes na cidade. Em 2006, estreou na CBN. Seus comentários entram dos clássicos, vendida somente por assinatura. A publicação em rede nacional às terças e quintas no programa “CBN Total”, às começou a circular em novembro e, dois meses depois, já ultra- 16h10. Heloisa conversa ao vivo com o âncora Adalberto Piotto, passava os mil assinantes. Aquela primeira iniciativa jornalística apresentando discoteca básica e noticiário em geral. É a voz de foi veiculada durante três anos e abriu caminho para todas as de- Heloisa que está a bordo dos aviões da TAM, no canal de áudio mais frentes atualmente em curso.
Load more

Recommended publications
  • Discovering the Neuroanatomical Correlates of Music with Machine Learning
    Discovering the Neuroanatomical Correlates of Music with Machine Learning In Eduardo Reck Miranda (Eds.). Handbook of Artificial Intelligence for Music. Part 1. Springer Tatsuya Daikoku 1 International Research Center for Neurointelligence, The University of Tokyo, 7-3-1 Hongo, Bunkyo-ku, Tokyo, Japan 2 Centre for Neuroscience in Education, Department of psychology, University of Cambridge, Cambridge, United Kingdom [email protected] Please cite as: Daikoku T. Discovering the Neuroanatomical Correlates of Music with Machine Learning. In Eduardo Reck Miranda (Eds.). Handbook of Artificial Intelligence for Music. Part 1. Springer (in press). 6.1 Introduction 1 Music is ubiquitous in our lives yet unique to humans. The interaction between music and the brain is complex, engaging a variety of neural circuits underlying sensory perception, learning and memory, action, social communication, and creative activities. Over the past decades, a growing body of literature has revealed the neural and computational underpinnings of music processing including not only sensory perception (e.g., pitch, rhythm, and timbre), but also local/non-local structural processing (e.g., melody and harmony). These findings have also influenced Artificial Intelligence and Machine Learning systems, enabling computers to possess human-like learning and composing abilities. Despite the plenty of evidence, more study is required for complete account of music knowledge and creative mechanisms in human brain. This chapter reviews the neural correlates of unsupervised learning with regard to the computational and neuroanatomical architectures of music processing. Further, we offer a novel theoretical perspective on the brain’s unsupervised learning machinery that considers computational and neurobiological constraints, highlighting the connections between neuroscience and machine learning.
    [Show full text]
  • Computer Sound Design : Synthesis Techniques and Programming
    Computer Sound Design Titles in the Series Acoustics and Psychoacoustics, 2nd edition (with website) David M. Howard and James Angus The Audio Workstation Handbook Francis Rumsey Composing Music with Computers (with CD-ROM) Eduardo Reck Miranda Digital Audio CD and Resource Pack Markus Erne (Digital Audio CD also available separately) Digital Sound Processing for Music and Multimedia (with website) Ross Kirk and Andy Hunt MIDI Systems and Control, 2nd edition Francis Rumsey Network Technology for Digital Audio Andrew Bailey Computer Sound Design: Synthesis techniques and programming, 2nd edition (with CD-ROM) Eduardo Reck Miranda Sound and Recording: An introduction, 4th edition Francis Rumsey and Tim McCormick Sound Synthesis and Sampling Martin Russ Sound Synthesis and Sampling CD-ROM Martin Russ Spatial Audio Francis Rumsey Computer Sound Design Synthesis techniques and programming Second edition Eduardo Reck Miranda Focal Press An imprint of Elsevier Science Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn MA 01801-2041 First published as Computer Sound Synthesis for the Electronic Musician 1998 Second edition 2002 Copyright © 1998, 2002, Eduardo Reck Miranda. All rights reserved The right of Eduardo Reck Miranda to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP.
    [Show full text]
  • Chapter 10. BCI for Music Making: Then, Now, and Next
    University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture 2018-01-24 BCI for Music Making: Then, Now, and Next Williams, D http://hdl.handle.net/10026.1/10978 CRC Press All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. This is the authors’ original unrevised version of the manuscript. The final version of this work (the version of record) is published in the book Brain-Computer Interfaces Handbook, by CRC Press/Taylor & Francis Group, ISBN 9781498773430. This text is made available on-line in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. Chapter 10. BCI for Music Making: Then, Now, and Next Duncan A.H. Williams and Eduardo R. Miranda Interdisciplinary Centre for Computer Music Research (ICCMR) Plymouth University, UK Abstract Brain–computer music interfacing (BCMI) is a growing field with a history of experimental applications derived from the cutting edge of BCI research as adapted to music making and performance. BCMI offers some unique possibilities over traditional music making, including applications for emotional music selection and emotionally driven music creation for individuals as communicative aids (either in cases where users might have physical or mental disabilities that otherwise preclude them from taking part in music making or in music therapy cases where emotional communication between a therapist and a patient by means of traditional music making might otherwise be impossible).
    [Show full text]
  • Handbook of Artificial Intelligence for Music Foundations, Advanced Approaches, and Developments for Creativity
    Handbook of Artificial Intelligence for Music Eduardo Reck Miranda Editor Handbook of Artificial Intelligence for Music Foundations, Advanced Approaches, and Developments for Creativity 123 Editor Eduardo Reck Miranda Interdisciplinary Centre for Computer Music Research (ICCMR) University of Plymouth Plymouth, UK ISBN 978-3-030-72115-2 ISBN 978-3-030-72116-9 (eBook) https://doi.org/10.1007/978-3-030-72116-9 © Springer Nature Switzerland AG 2021 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Springer imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland Foreword: From Audio Signals to Musical Meaning In 1957, Lejaren Hiller and Leonard Isaacson stunned the world of music by presenting the first composition constructed by an AI system, called Illiac Suite (Hiller and Isaacson 1959).
    [Show full text]
  • Enhancing the Social Impact of Contemporary Music with Neurotechnology
    Extended Abstract Enhancing the Social Impact of Contemporary Music with Neurotechnology Eduardo Reck Miranda Interdisciplinary Centre for Computer Music Research (ICCMR), Faculty of Arts and Humanities, Plymouth University, The House, Plymouth, PL4 8AA, United Kingdom E-mail: [email protected]; Website: http://neuromusic.soc.plymouth.ac.uk/; Tel.: +44-1752-586255 Accepted: 4 March 2015 Introduction I am a contemporary classical music composer interested in developing new technologies to aid musical creativity and harness the role of music in social development. After having worked as a research scientist for Sony for a number of years, I moved to Plymouth University in 2003, where I founded the Interdisciplinary Centre for Computer Music Research (ICCMR) to conduct research into these topics. ICCMR is one of the main contributors to the development of a new discipline, which I refer to as Music Neurotechnology [1]. Research into Music Neurotechnology is truly interdisciplinary: it combines musical research with artificial intelligence, bioengineering, neurosciences and medicine. ICCMR’s research outcomes have been published in learned journals of all these fields; for example [2, 3, 4, 5, 6]. This paper introduces one of ICCMR’s most successful projects to date, which demonstrates the social impact of Music Neurotechnology research: the brain-computer music interfacing (BCMI) project. This project is aimed at the development of assistive music technology to enable people with severe physical disabilities to make music controlled with brain signals. In addition to building the technology, I am particularly interested in developing approaches to compose music with it and creating new kinds of contemporary music.
    [Show full text]
  • Composing Music with Computers Titles in the Series
    Composing Music with Computers Titles in the series Acoustics and Psychoacoustics, 2nd edition (with accompanying website: http://www-users.york.ac.uk/~dmh8/AcPsych/acpsyc.htm) David M. Howard and James Angus The Audio Workstation Handbook Francis Rumsey Composing Music with Computers (with CD-ROM) Eduardo Reck Miranda Computer Sound Synthesis for the Electronic Musician (with CD-ROM) Eduardo Reck Miranda Digital Audio CD and Resource Pack Markus Erne (Digital Audio CD also available separately) Network Technology for Digital Audio Andy Bailey Digital Sound Processing for Music and Multimedia (with accompanying website: http://www.York.ac.uk/inst/mustech/dspmm.htm) Ross Kirk and Andy Hunt MIDI Systems and Control, 2nd edition Francis Rumsey Sound and Recording: An introduction, 3rd edition Francis Rumsey and Tim McCormick Sound Synthesis and Sampling Martin Russ Sound Synthesis and Sampling CD-ROM Martin Russ Spatial Audio Francis Rumsey Composing Music with Computers Eduardo Reck Miranda First published 2002 by Focal Press Published 2014 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY, 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © 2001, Eduardo Reck Miranda. All rights reserved The right of Eduardo Reck Miranda to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1T 4LP.
    [Show full text]
  • CHAPTER 1 Brain-Computer Music Interfacing
    University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture 2014-01-01 Brain-Computer Music Interfacing: Interdisciplinary Research at the Crossroads of Music, Science and Biomedical Engineering Miranda, ER http://hdl.handle.net/10026.1/10980 Springer-Verlag London All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. 1 This is the authors’ original unrevised version of the manuscript. The final version of this work (the version of record) is published by Springer in the book Guide to Brain-Computer Music Interfacing, ISBN 9781447165835. This text is made available on-line in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. CHAPTER 1 Brain-Computer Music Interfacing: Interdisciplinary Research at the Crossroads of Music, Science and Biomedical Engineering Eduardo Reck Miranda1 Abstract: Research into Brain-Computer Music Interfacing (BCMI) involves three major challenges: the extraction of meaningful control information from signals emanating from the brain, the design of generative music techniques that respond to such information and the definition of ways in which such technology can effectively improve the lives of people with special needs and address therapeutic needs. This chapter discussed the first two challenges, in particularly the music technology side of BCMI research, which has been largely overlooked by colleagues working in this field.
    [Show full text]
  • Steering Generative Rules with the Eeg: an Approach to Brain-Computer Music Interfacing
    STEERING GENERATIVE RULES WITH THE EEG: AN APPROACH TO BRAIN-COMPUTER MUSIC INTERFACING Eduardo Reck Miranda and Bram Boskamp Computer Music Research School of Computing, Communications and Electronics University of Plymouth United Kingdom http://cmr.soc.plymouth.ac.uk ABSTRACT refer to the special issue of IEEE Transactions on Biomedical Engineering published in June 2004 (Vol. This paper introduces a system that uses brainwaves, or 51). EEG (electroencephalogram), information to steer We are devoted to the development of BCI systems generative rules in order to compose and perform music for musical applications and we pay special attention to on the fly. The paper starts by noting the various the development of generative music techniques tailored attempts at the design of systems to produce music from for such systems. We might call such systems Brain- EEG, followed by a short technical introduction to EEG Computer Musical Interfaces (BCMI) and we are sensing and analysis. Next, it introduces the generative primarily interested in BCMI as assistive technology to component of the system, which employs Artificial enable people with severe physical and neurological Intelligence techniques (e.g., ATN grammars) for disabilities to have the opportunity to make music. computer-replication of musical styles. Then, it presents The idea of using EEG to produce music is by no a demonstration system that constantly monitors the means new. Essentially, what is new in our work is the EEG of the subject and activates generative rules that use of EEG information to steer generative rules. are associated with the most prominent frequency band As early as 1934, a paper in the journal Brain had in the spectrum of the EEG signal.
    [Show full text]
  • Audio Engineering Society Convention Paper
    Audio Engineering Society Convention Paper AES Presented at the 128th Convention 2010 May 22–25 London, UK The papers at this Convention have been selected on the basis of a submitted abstract and extended precis that have been peer reviewed by at least two qualified anonymous reviewers. This convention paper has been reproduced from the author's advance manuscript, without editing, corrections, or consideration by the Review Board. The AES takes no responsibility for the contents. Additional papers may be obtained by sending request and remittance to Audio Engineering Society, 60 East 42nd Street, New York, New York 10165-2520, USA; also see www.aes.org. All rights reserved. Reproduction of this paper, or any portion thereof,is not permitted without direct permission from the Journal of the Audio Engineering Society. A low-end device to convert EEG waves to music Adrian Attard Trevisan 1,,Lewis Jones 2 1 St Martins Institute of Information Technology , Hamrun , Malta , E-mail : [email protected] 2 London Metropolitan University , London , United Kingdom , E-mail : [email protected] ABSTRACT This research provides a simple and portable system that is able to generate MIDI output based data collected through an EEG collecting device. The uses of such a device are beneficial in many ways, where the therapeutic effects of listening to the music created by the brain waves documents many cases of treating health problems. The approach is influenced by the interface described in the article “Brain-Computer music interface for composition and performance” by Eduardo Reck Miranda, where different frequency bands trigger corresponding piano notes through, and the complexity of the signal represents the tempo of the sound.
    [Show full text]
  • Downloaded and Copied for Non-Commercial Private Study Or Research Purposes
    Evaluating BCI for musical expression : historical approaches, challenges and benefits Williams, DAH http://dx.doi.org/10.1007/978-3-030-14323-7_5 Title Evaluating BCI for musical expression : historical approaches, challenges and benefits Authors Williams, DAH Type Book Section URL This version is available at: http://usir.salford.ac.uk/id/eprint/55632/ Published Date 2019 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. Chapter n. Evaluating BCI for musical expression: historical approaches, challenges and benefits Duncan A.H. Williams (orcid.org/0000-0003-4793-8330), University of York, UK. Keywords: Music, sound, sonification, multi-criteria decision aid Abstract A recurring challenge in the use of BCI (and more generally HCI) for musical expression is in the design and conduct of appropriate evaluation strategies when considering BCI systems for music composition or performance. Assessing the value of computationally assisted creativity is challenging in most artistic domains, and the assessment of computer assisted (or entirely computer generated) music is no different. BCI provides two unique possibilities over traditional evaluation strategies: firstly, the possibility of devising evaluations which do not require conscious input from the listener (and therefore do not detract from the immersive experience of performing, creating, or listening to music), and secondly in devising neurofeedback loops to actively maneuver the creator or listener through an expressive musical experience.
    [Show full text]
  • An Interview with Eduardo Reck Miranda
    Miriam Richter From Radios to Falmouth University Academy of Music and Theatre Arts Treliever Road, Penryn Biocomputers: An Interview Cornwall, TR10 9FE, UK [email protected] with Eduardo Reck Miranda Eduardo Reck Miranda (see Figure 1) is a classi- the exception of Konserto de Muzika´ Eletroplastika´ , cally trained composer and artificial intelligence for which no recording exists. (AI) scientist with an early involvement in electro- acoustic and avant-garde pop music. He studied computer science and music in his native Brazil Coming to Composition and Improvisation and subsequently took post-graduate degrees at the University of York and the University of Edinburgh Miriam Richter: Please tell me about your history in the United Kingdom. He held academic positions in composing. Where did it all begin? at universities in Glasgow, Paris, Barcelona, Berlin, Eduardo Reck Miranda: Music was prominent and Bordeaux, and worked for several years at the in my upbringing. My grandfather played the Sony Computer Science Laboratory in Paris as a sousaphone, and his brother ran a luthier’s workshop research scientist in the fields of AI, speech, and only a few blocks from home. I started taking piano evolution of language. Currently he is Professor of lessons when I was seven years old, but I must Computer Music at Plymouth University in the confess that I did not enjoy practicing. I often found UK, where he founded the Interdisciplinary Centre it more exciting to improvise and create my own for Computer Music Research (ICCMR) and is the tunes. artistic director of the Peninsula Arts Contemporary I had not considered music as a career option Music Festival.
    [Show full text]
  • Singing Cells, Art, Science and the Noise in Between
    Singing cells, art, science and the noise in between Anne Niemetz MFA Thesis 2004 UCLA Department of Design|Media Arts Thesis Committee: Prof. Victoria Vesna Prof. Christian Moeller Prof. Machiko Kusahara Prof. Uwe Laysiepen Acknowledgements My thesis project, The dark side of the cell was a large undertaking that could not have been achieved without an army of well-intentioned helpers, coworkers, supporters and friends. I owe a debt of gratitude to all, in particular of course to Andrew Pelling, in whom I not just found a fair and respectful collaborator, but also a genuine friend. My special thanks go to my main advisor Prof. Victoria Vesna, who supported this project throughout critical times, and to my mother, who probably learned more about cell sound research, thesis writing and the stress of a graduating student than she ever wished for. Synopsis My investigations focus on the artistic, scientific and cultural context of The dark side of the cell project, as well as on the larger context of art-science collaboration in which this project is situated. The dark side of the cell is an audio-visual event treating what I consider to be one of the most interesting recent discoveries in nano-biotechnology: cellular sounds. The dark side of the cell takes this scientific discovery and places it in an artistic context. The act of claiming the tool of the scientist – the Atomic Force Microscope - as a new musical instrument and introducing the sound of cells in the form of a concert is performed as a cultural act. It is another step in extending the repertory of music, and shifting the borders of art.
    [Show full text]