Read Book Microsound
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Real-Time Programming and Processing of Music Signals Arshia Cont
Real-time Programming and Processing of Music Signals Arshia Cont To cite this version: Arshia Cont. Real-time Programming and Processing of Music Signals. Sound [cs.SD]. Université Pierre et Marie Curie - Paris VI, 2013. tel-00829771 HAL Id: tel-00829771 https://tel.archives-ouvertes.fr/tel-00829771 Submitted on 3 Jun 2013 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Realtime Programming & Processing of Music Signals by ARSHIA CONT Ircam-CNRS-UPMC Mixed Research Unit MuTant Team-Project (INRIA) Musical Representations Team, Ircam-Centre Pompidou 1 Place Igor Stravinsky, 75004 Paris, France. Habilitation à diriger la recherche Defended on May 30th in front of the jury composed of: Gérard Berry Collège de France Professor Roger Dannanberg Carnegie Mellon University Professor Carlos Agon UPMC - Ircam Professor François Pachet Sony CSL Senior Researcher Miller Puckette UCSD Professor Marco Stroppa Composer ii à Marie le sel de ma vie iv CONTENTS 1. Introduction1 1.1. Synthetic Summary .................. 1 1.2. Publication List 2007-2012 ................ 3 1.3. Research Advising Summary ............... 5 2. Realtime Machine Listening7 2.1. Automatic Transcription................. 7 2.2. Automatic Alignment .................. 10 2.2.1. -
Miller Puckette 1560 Elon Lane Encinitas, CA 92024 [email protected]
Miller Puckette 1560 Elon Lane Encinitas, CA 92024 [email protected] Education. B.S. (Mathematics), MIT, 1980. Ph.D. (Mathematics), Harvard, 1986. Employment history. 1982-1986 Research specialist, MIT Experimental Music Studio/MIT Media Lab 1986-1987 Research scientist, MIT Media Lab 1987-1993 Research staff member, IRCAM, Paris, France 1993-1994 Head, Real-time Applications Group, IRCAM, Paris, France 1994-1996 Assistant Professor, Music department, UCSD 1996-present Professor, Music department, UCSD Publications. 1. Puckette, M., Vercoe, B. and Stautner, J., 1981. "A real-time music11 emulator," Proceedings, International Computer Music Conference. (Abstract only.) P. 292. 2. Stautner, J., Vercoe, B., and Puckette, M. 1981. "A four-channel reverberation network," Proceedings, International Computer Music Conference, pp. 265-279. 3. Stautner, J. and Puckette, M. 1982. "Designing Multichannel Reverberators," Computer Music Journal 3(2), (pp. 52-65.) Reprinted in The Music Machine, ed. Curtis Roads. Cambridge, The MIT Press, 1989. (pp. 569-582.) 4. Puckette, M., 1983. "MUSIC-500: a new, real-time Digital Synthesis system." International Computer Music Conference. (Abstract only.) 5. Puckette, M. 1984. "The 'M' Orchestra Language." Proceedings, International Computer Music Conference, pp. 17-20. 6. Vercoe, B. and Puckette, M. 1985. "Synthetic Rehearsal: Training the Synthetic Performer." Proceedings, International Computer Music Conference, pp. 275-278. 7. Puckette, M. 1986. "Shannon Entropy and the Central Limit Theorem." Doctoral dissertation, Harvard University, 63 pp. 8. Favreau, E., Fingerhut, M., Koechlin, O., Potacsek, P., Puckette, M., and Rowe, R. 1986. "Software Developments for the 4X real-time System." Proceedings, International Computer Music Conference, pp. 43-46. 9. Puckette, M. -
The Spherical Glitch Studies
The Spherical Glitch Studies Timothy Schmele Multimedia Technologies Unit Eurecat. Centre technòlogic de Catalonia Barcelona, Spain Institut für Musikwissenschaft and Musikinformation (IMWI) Hochschule für Musik Karlsruhe, Germany Contents • Spherical Glitch Study I (2016) & II (2018) • Spatial sound synthesis techniques • Spatial Synthesizer “Spatial composition” • Primary focus on external physical space • Compositions that incorporate related aspects of sound into the compositions process: direction, location, extent, envelopment, room acoustics, etc… • Varèse’s Poeme électronique • Stockhausen’s Gesang der Jünglinge • Nono’s Prometeo Spherical • Full listening sphere around the listener • Ambisonics & VBAP Glitch • Taken from “popular music” culture • Kim Cascone: post-digital, focus on failure and looking behind a technology: “The medium is no longer the message in glitch music: the tool has become the message.” • Feedback loops to amplify a system’s specific characteristics Study • Most famously used in Stockhausen’s Studie I & II • A title that suggests that the piece was done with the purpose of practice and investigation of a particular technique or approach Spherical Glitch Studies • Intended to investigate space as a compositional parameter and the technologies associated with it • Basic starting sound material: sine tone, noise,… • Sound design through spatial manipulation • Space (sensation) creation through feedback • Performative or installation pieces (drone aspects) Background • Hemispherical Glitch Study (2013) • Indirect -
University of Birmingham from Microsound to Vaporwave
University of Birmingham From Microsound to Vaporwave Born, Georgina; Haworth, Christopher DOI: 10.1093/ml/gcx095 Document Version Peer reviewed version Citation for published version (Harvard): Born, G & Haworth, C 2018, 'From Microsound to Vaporwave: internet-mediated musics, online methods, and genre', Music and Letters, vol. 98, no. 4, pp. 601–647. https://doi.org/10.1093/ml/gcx095 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked for eligibility: 30/03/2017 This is a pre-copyedited, author-produced version of an article accepted for publication in Music and Letters following peer review. The version of record Georgina Born, Christopher Haworth; From Microsound to Vaporwave: Internet-Mediated Musics, Online Methods, and Genre, Music and Letters, Volume 98, Issue 4, 1 November 2017, Pages 601–647 is available online at: https://doi.org/10.1093/ml/gcx095 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. -
On Audio Culture
W&M ScholarWorks Articles 9-2006 Review: On Audio Culture Christopher DeLaurenti College of William and Mary, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/articles Part of the Audio Arts and Acoustics Commons, and the Music Commons Recommended Citation DeLaurenti, C.A. (2006). “On Audio Culture: Readings in Modern Music.” eContact!. 8(4) This Article is brought to you for free and open access by W&M ScholarWorks. It has been accepted for inclusion in Articles by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. On Audio Culture: Readings in Modern Music By Christopher DeLaurenti Published in eContact, the electronic journal of electroacoustics, vol. 8, issue 4. September 2006 “Beethoven and Wagner have stirred our hearts and nerves for many years,” wrote Luigi Russolo in his 1913 manifesto, The Art of Noises. “Now we have had enough of them…” Indeed, music in the 20th century effloresced and then exploded with new ideas and techniques as well as into countless subgenres through new social, technological, and political relations. Audio Culture: Readings in Modern Music (Continuum) attempts to corral the major and minor trends in adventurous music—and generally succeeds. This cannily collected anthology of seminal music writing includes the obligatory pioneers and almost-pop icons: Luigi Russolo’s The Art of Noises: Futurist Manifesto and John Cage’s The Future of Music: Credo, along with probing pieces by Karlheinz Stockhausen, media theorist Marshall McLuhan, musique concrète inventor Pierre Schaeffer, Brian Eno, Glenn Gould, William S. Burroughs, and others. -
MUS421–571.1 Electroacoustic Music Composition Kirsten Volness – 20 Mar 2018 Synthesizers
MUS421–571.1 Electroacoustic Music Composition Kirsten Volness – 20 Mar 2018 Synthesizers • Robert Moog – Started building Theremins – Making new tools for Herb Deutsch – Modular components connected by patch cables • Voltage-controlled Oscillators (multiple wave forms) • Voltage-controlled Amplifiers • AM / FM capabilities • Filters • Envelope generator (ADSR) • Reverb unit • AMPEX tape recorder (2+ channels) • Microphones Synthesizers Synthesizers • San Francisco Tape Music Center • Morton Subotnick and Ramon Sender • Donald Buchla – “Buchla Box”– 1965 – Sequencer – Analog automation device that allows a composer to set and store a sequence of notes (or a sequence of sounds, or loudnesses, or other musical information) and play it back automatically – 16 stages (16 splices stored at once) – Pressure-sensitive keys • Subotnick receives commission from Nonesuch Records (Silver Apples of the Moon, The Wild Bull, Touch) Buchla 200 Synthesizers • CBS buys rights to manufacture Buchlas • Popularity surges among electronic music studios, record companies, live performances – Wendy Carlos – Switched-on Bach (1968) – Emerson, Lake, and Palmer, Stevie Wonder, Mothers of Invention, Yes, Pink Floyd, Herbie Hancock, Chick Corea – 1968 Putney studio presents sold-out concert at Elizabeth Hall in London Minimoog • No more patch cables! (Still monophonic) Polyphonic Synthesizers • Polymoog • Four Voice (Oberheim Electronics) – Each voice still patched separately • Prophet-5 – Dave Smith at Sequential Circuits – Fully programmable and polyphonic • GROOVE -
Interactive Electroacoustics
Interactive Electroacoustics Submitted for the degree of Doctor of Philosophy by Jon Robert Drummond B.Mus M.Sc (Hons) June 2007 School of Communication Arts University of Western Sydney Acknowledgements Page I would like to thank my principal supervisor Dr Garth Paine for his direction, support and patience through this journey. I would also like to thank my associate supervisors Ian Stevenson and Sarah Waterson. I would also like to thank Dr Greg Schiemer and Richard Vella for their ongoing counsel and faith. Finally, I would like to thank my family, my beautiful partner Emma Milne and my two beautiful daughters Amelia Milne and Demeter Milne for all their support and encouragement. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. …………………………………………… Table of Contents TABLE OF CONTENTS ..................................................................................................................I LIST OF TABLES..........................................................................................................................VI LIST OF FIGURES AND ILLUSTRATIONS............................................................................ VII ABSTRACT..................................................................................................................................... X CHAPTER ONE: INTRODUCTION............................................................................................. -
Workshop > Sonic Process > Kim Cascone
Workshop > Sonic Process > Kim Cascone "Emergent Content Creation Using Simple Genetic Algorithms" 15th to 17th Nov, 2004 at Espaço Atmosferas in Lisbon A workshop. A process. A working model for open source material. The creation of an experimental emergent sonic piece. In this workshop each participant acts as an active node in a creative network. Using software you normally use we will embark on an experiment to breed a piece of audio art. We will evolve a sound piece starting with a library of sound files provided by the .microsound list and then will mutate and cross-breed them until a work of sonic art emerges. The final piece will then be performed for the public by the group at the end of the workshop. Kim Cascone is a central figure in the development of electronic music. Collaborated with David Lynch and Staccato Systems as a Sound Designer. As an author, he has over 30 editions and collaborated with names such as Merzbow, Scanner, Keith Rowe, Tony Conrad. Has published articles in Computer Music Journal (MIT Press), Parachute Journal and is the founder of the microsound.org list. 17th November 19h - public presentation of the workshop results - and at 22h - concert with Kim Cascone at ZDB Gallery, in Lisbon. An iniciative Atmosferas with Diogo Valério > Overview The concept for this workshop was inspired by John Maeda’s “Human Powered Computer Experiment”. In this experiment Maeda recreated the internal operations of a simple computer using people to physically transport handwritten instructions and data to and from the CPU, RAM, FPU, etc. -
UNIVERSITY of CALIFORNIA, SAN DIEGO Unsampled Digital Synthesis and the Context of Timelab a Dissertation Submitted in Partial S
UNIVERSITY OF CALIFORNIA, SAN DIEGO Unsampled Digital Synthesis and the Context of Timelab A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by David Medine Committee in charge: Professor Miller Puckette, Chair Professor Anthony Burr Professor David Kirsh Professor Scott Makeig Professor Tamara Smyth Professor Rand Steiger 2016 Copyright David Medine, 2016 All rights reserved. The dissertation of David Medine is approved, and it is acceptable in quality and form for publication on micro- film and electronically: Chair University of California, San Diego 2016 iii DEDICATION To my mother and father. iv EPIGRAPH For those that seek the knowledge, it's there. But you have to seek it out, do the knowledge, and understand it on your own. |The RZA Always make the audience suffer as much as possible. —Aflred Hitchcock v TABLE OF CONTENTS Signature Page.................................. iii Dedication..................................... iv Epigraph.....................................v Table of Contents................................. vi List of Supplemental Files............................ ix List of Figures..................................x Acknowledgements................................ xiii Vita........................................ xv Abstract of the Dissertation........................... xvi Chapter 1 Introduction............................1 1.1 Preamble...........................1 1.2 `Analog'...........................5 1.3 Digitization.........................7 1.4 -
Noise on the Grid: Rhythmic Pulse in Experimental And
NOISE ON THE GRID: RHYTHMIC PULSE IN 2.1. Noise as Irregular Vibrations While Russolo’s distribution was the incorporation of EXPERIMENTAL AND ELECTRONIC NOISE MUSIC extra-musical sound in music, John Cage took a step In the first chapter of his classic writing on the further by exhausting this idea and “extending the physiological basis of the music theory, The Sensations process of incorporation” to everything potentially Mo H. Zareei Ajay Kapur Dale A. Carnegie of Tone, Herman Helmholtz argues that the differences audible [12]. In other words, if Luigi Russolo and the between noises and musical tones are rooted in our aural Futurists ‘brought incidental noise to the foreground, Victoria University of California Institute of the Arts Victoria University of John Cage would give permission to all composers to Wellington Valencia CA, USA Wellington perceptions, stating that musical tones are perceived as periodic, and noises are perceived as non-periodic use any sound in composing music’[3]. Nevertheless, New Zealand School of Music Wellington, New Zealand motions [11]. However, in Russolo’s view, although Cage himself credits Varese, who at the same time was leading the European front, “for having fathered irregularity of motions in terms of time and intensity still vouches for the difference between “sound” and noise”[12]. Varese, who called music “organized ABSTRACT his Futurist Manifesto in 1913. Calling for integration of “noise”, it is not ‘sufficient enough to make a sharp sound”, found “electronics” a new “liberating medium” more dissonant, stranger and harsher sounds into music, distinction’ [16]. As Trevor Wishart suggests, this that would help liberate sound from “the arbitrary, This paper presents a discussion on the effect of metric Russolo tried to ‘conquer the infinite variety of noise- distinction ‘is a property of the way we hear rather than paralyzing tempered system” [24]. -
The Sampling Theorem and Its Discontents
The Sampling Theorem and Its Discontents Miller Puckette Department of Music University of California, San Diego [email protected] After a keynote talk given at the 2015 ICMC, Denton, Texas. August 28, 2016 The fundamental principle of Computer Music is usually taken to be the Nyquist Theorem, which, in its usually cited form, states that a band-limited function can be exactly represented by sampling it at regular intervals. This paper will not quarrel with the theorem itself, but rather will test the assump- tions under which it is commonly applied, and endeavor to show that there are interesting approaches to computer music that lie outside the framework of the sampling theorem. As we will see in Section 3, sampling violations are ubiquitous in every- day electronic music practice. The severity of these violations can usually be mitigated either through various engineering practices and/or careful critical lis- tening. But their existence gives the lie to the popular understanding of digital audio practice as being \lossless". This is not to deny the power of modern digital signal processing theory and its applications, but rather to claim that its underlying assumption|that the sampled signals on which we are operating are to be thought of as exactly rep- resenting band-limited continuous-time functions|sheds light on certain digital operations (notably time-invariant filtering) but not so aptly on others, such as classical synthesizer waveform generation. Digital audio practitioners cannot escape the necessity of representing contin- uous-time signals with finite-sized data structures. But the blanket assumption that such signals can only be represented via the sampling theorem can be unnecessarily limiting. -
Music Program of the 14Th Sound and Music Computing Conference 2017
Music Program of the 14th Sound and Music Computing Conference 2017 SMC 2017 July 5-8, 2017 Espoo, Finland Edited by Koray Tahiroğlu and Tapio Lokki Aalto University School of Science School of Electrical Engineering School of Arts, Design, and Architecture http://smc2017.aalto.fi Committee Chair Prof. Vesa Välimäki Papers Chair Prof. Tapio Lokki Music Chair Dr. Koray Tahiroğlu Treasurer Dr. Jukka Pätynen Web Manager Mr. Fabian Esqueda Practicalities Ms. Lea Söderman Ms. Tuula Mylläri Sponsors ii Reviewers for music program Chikashi Miyama Miriam Akkermann Claudia Molitor James Andean Ilkka Niemeläinen Newton Armstrong Eleonora Oreggia Andrew Bentley Miguel Ortiz John Bischoff Martin Parker Thomas Bjelkeborn Kevin Patton Joanne Cannon Lorah Pierre Lamberto Coccioli Sébastien Piquemal Nicolas Collins Afroditi Psarra Carl Faia Miller Puckette Nick Fells Heather Roche Heather Frasch Robert Rowe Richard Graham Tim Shaw Thomas Grill Jeff Snyder Michael Gurevich Julian Stein Kerry Hagan Malte Steiner Louise Harris Kathleen Supove Lauren Hayes Koray Tahiroğlu Anne Hege Kalev Tiits Enrique Hurtado Enrique Tomás Andy Keep Pierre Alexandre Chris Kiefer Tremblay Juraj Kojs Dan Trueman Petri Kuljuntausta Tolga Tuzun Hans Leeuw Juan Vasquez Thor Magnusson Simon Waters Christos Michalakos Anna Weisling Matthew Yee-King Johannes Zmölnig iii Table of Contents Concerning the Size of the Sun 5 Spheroid 6 Astraglossa or first steps in celestial syntax 7 Machine Milieu 8 RAW Live Coding Audio/Visual Performance 9 The First Flowers of the Year Are Always Yellow 10 Shankcraft 11 The Mark on the Mirror (Made by Breathing) 12 [sisesta pealkiri] 13 Synaesthesia 15 Cubed II 16 The Counting Sisters 17 bocca:mikro 18 revontulet (2017) 20 The CM&T Dome@SMC-17 21 Lightscape-Masquerade 22 Raveshift 24 ImproRecorderBot.