Processes and Systems in Computer Music
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Autechre Confield Mp3, Flac, Wma
Autechre Confield mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Confield Country: UK Released: 2001 Style: Abstract, IDM, Experimental MP3 version RAR size: 1635 mb FLAC version RAR size: 1586 mb WMA version RAR size: 1308 mb Rating: 4.3 Votes: 182 Other Formats: AU DXD AC3 MPC MP4 TTA MMF Tracklist 1 VI Scose Poise 6:56 2 Cfern 6:41 3 Pen Expers 7:08 4 Sim Gishel 7:14 5 Parhelic Triangle 6:03 6 Bine 4:41 7 Eidetic Casein 6:12 8 Uviol 8:35 9 Lentic Catachresis 8:30 Companies, etc. Phonographic Copyright (p) – Warp Records Limited Copyright (c) – Warp Records Limited Published By – Warp Music Published By – Electric And Musical Industries Made By – Universal M & L, UK Credits Mastered By – Frank Arkwright Producer [AE Production] – Brown*, Booth* Notes Published by Warp Music Electric and Musical Industries p and c 2001 Warp Records Limited Made In England Packaging: White tray jewel case with four page booklet. As with some other Autechre releases on Warp, this album was assigned a catalogue number that was significantly ahead of the normal sequence (i.e. WARPCD127 and WARPCD129 weren't released until February and March 2005 respectively). Some copies came with miniature postcards with a sheet a stickers on the front that say 'autechre' in the Confield font. Barcode and Other Identifiers Barcode (Sticker): 5 021603 128125 Barcode (Printed): 5021603128125 Matrix / Runout (Variant 1 to 3): WARPCD128 03 5 Matrix / Runout (Variant 1 to 3, Etched In Inner Plastic Hub): MADE IN THE UK BY UNIVERSAL M&L Mastering SID Code -
Interpretação Em Tempo Real Sobre Material Sonoro Pré-Gravado
Interpretação em tempo real sobre material sonoro pré-gravado JOÃO PEDRO MARTINS MEALHA DOS SANTOS Mestrado em Multimédia da Universidade do Porto Dissertação realizada sob a orientação do Professor José Alberto Gomes da Universidade Católica Portuguesa - Escola das Artes Julho de 2014 2 Agradecimentos Em primeiro lugar quero agradecer aos meus pais, por todo o apoio e ajuda desde sempre. Ao orientador José Alberto Gomes, um agradecimento muito especial por toda a paciência e ajuda prestada nesta dissertação. Pelo apoio, incentivo, e ajuda à Sara Esteves, Inês Santos, Manuel Molarinho, Carlos Casaleiro, Luís Salgado e todos os outros amigos que apesar de se encontraram fisicamente ausentes, estão sempre presentes. A todos, muito obrigado! 3 Resumo Esta dissertação tem como foco principal a abordagem à interpretação em tempo real sobre material sonoro pré-gravado, num contexto performativo. Neste caso particular, material sonoro é entendido como música, que consiste numa pulsação regular e definida. O objetivo desta investigação é compreender os diferentes modelos de organização referentes a esse material e, consequentemente, apresentar uma solução em forma de uma aplicação orientada para a performance ao vivo intitulada Reap. Importa referir que o material sonoro utilizado no software aqui apresentado é composto por músicas inteiras, em oposição às pequenas amostras (samples) recorrentes em muitas aplicações já existentes. No desenvolvimento da aplicação foi adotada a análise estatística de descritores aplicada ao material sonoro pré-gravado, de maneira a retirar segmentos que permitem uma nova reorganização da informação sequencial originalmente contida numa música. Através da utilização de controladores de matriz com feedback visual, o arranjo e distribuição destes segmentos são alterados e reorganizados de forma mais simplificada. -
Musique Algorithmique
[Version adaptée pour un cours commun ATIAM/CURSUS d’un article à paraître dans N. Donin and L. Feneyrou (dir.), Théorie de la composition musicale au XXe siècle, Symétrie, 2012] Musique algorithmique Moreno Andreatta . La plupart des études sur la musique algorithmique soulignent, à juste titre, le caractère systématique et combinatoire de certaines démarches compositionnelles qui ont accompagné l’évolution de la musique occidentale. De l’isorythmie du Moyen Âge aux musikalische Würfelspiele ou « jeux musicaux » attribués à Johann Philipp Kirnberger, Wolfgang Amadeus Mozart, Josef Haydn ou Carl Philipp Emmanuel Bach, l’utilisation de méthodes combinatoires et algorithmiques n’a pas dû attendre l’« implémentation » informatique pour voir le jour1. Fig 0.1 : « Jeux musicaux » (générés par http://sunsite.univie.ac.at/Mozart/dice/) 1 En attendant un article sur la musique algorithmique dans le Grove Music Online, nous renvoyons le lecteur à l’étude de Karlheinz ESSL, « Algorithmic Composition » (The Cambridge Companion to Electronic Music (Nick COLLINS et Julio D’ESCRIVAN, éds.), Cambridge : Cambridge University Press, 2007, p. 107-125) pour une analyse plus large des procédés algorithmiques. On pourrait penser, et c’est l’hypothèse le plus souvent proposée, que c’est l’artifice de l’écriture qui rend possible l’exploration de la combinatoire. Cela est sans doute vrai dans plusieurs répertoires, des polyphonies complexes de Philippe de Vitry ou Guillaume de Machaut aux œuvres sérielles intégrales de la seconde moitié du XXe siècle. Cependant, comme l’ont bien montré certains travaux d’ethnomusicologie et d’ethnomathématique (voir Marc CHEMILLIER, Les Mathématiques naturelles, Paris : Odile Jacob, 2007), l’utilisation d’algorithmes est également présente dans les musiques de tradition orale – une problématique que nous n’aborderons cependant pas ici, car elle dépasse le cadre de cette étude. -
Implementing Stochastic Synthesis for Supercollider and Iphone
Implementing stochastic synthesis for SuperCollider and iPhone Nick Collins Department of Informatics, University of Sussex, UK N [dot] Collins ]at[ sussex [dot] ac [dot] uk - http://www.cogs.susx.ac.uk/users/nc81/index.html Proceedings of the Xenakis International Symposium Southbank Centre, London, 1-3 April 2011 - www.gold.ac.uk/ccmc/xenakis-international-symposium This article reflects on Xenakis' contribution to sound synthesis, and explores practical tools for music making touched by his ideas on stochastic waveform generation. Implementations of the GENDYN algorithm for the SuperCollider audio programming language and in an iPhone app will be discussed. Some technical specifics will be reported without overburdening the exposition, including original directions in computer music research inspired by his ideas. The mass exposure of the iGendyn iPhone app in particular has provided a chance to reach a wider audience. Stochastic construction in music can apply at many timescales, and Xenakis was intrigued by the possibility of compositional unification through simultaneous engagement at multiple levels. In General Dynamic Stochastic Synthesis Xenakis found a potent way to extend stochastic music to the sample level in digital sound synthesis (Xenakis 1992, Serra 1993, Roads 1996, Hoffmann 2000, Harley 2004, Brown 2005, Luque 2006, Collins 2008, Luque 2009). In the central algorithm, samples are specified as a result of breakpoint interpolation synthesis (Roads 1996), where breakpoint positions in time and amplitude are subject to probabilistic perturbation. Random walks (up to second order) are followed with respect to various probability distributions for perturbation size. Figure 1 illustrates this for a single breakpoint; a full GENDYN implementation would allow a set of breakpoints, with each breakpoint in the set updated by individual perturbations each cycle. -
The Evolution of the Performer Composer
CONTEMPORARY APPROACHES TO LIVE COMPUTER MUSIC: THE EVOLUTION OF THE PERFORMER COMPOSER BY OWEN SKIPPER VALLIS A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2013 Supervisory Committee Dr. Ajay Kapur (New Zealand School of Music) Supervisor Dr. Dugal McKinnon (New Zealand School of Music) Co-Supervisor © OWEN VALLIS, 2013 NEW ZEALAND SCHOOL OF MUSIC ii ABSTRACT This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance. This diversity leads to the development of new models of performance, and the evolution of established approaches to live instrumental music. This research was conducted in several parts. The first section examines how online communities are iteratively developing interfaces for computer music. -
Instruments Numériques Et Performances Musicales: Enjeux
Instruments numériques et performances musicales : enjeux ontologiques et esthétiques Madeleine Le Bouteiller To cite this version: Madeleine Le Bouteiller. Instruments numériques et performances musicales : enjeux ontologiques et esthétiques. Musique, musicologie et arts de la scène. Université de Strasbourg, 2020. Français. NNT : 2020STRAC002. tel-02860790 HAL Id: tel-02860790 https://tel.archives-ouvertes.fr/tel-02860790 Submitted on 8 Jun 2020 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. UNIVERSITÉ DE STRASBOURG ÉCOLE DOCTORALE DES HUMANITÉS – ED 520 ACCRA (Approches Contemporaines de la Création et de la Réflexion Artistique) GREAM (Groupe de Recherches Expérimentales sur l’Acte Musical) THÈSE présentée par : Madeleine LE BOUTEILLER soutenue le : 13 janvier 2020 pour obtenir le grade de : Docteur de l’université de Strasbourg Discipline/ Spécialité : Musicologie INSTRUMENTS NUMÉRIQUES ET PERFORMANCES MUSICALES Enjeux ontologiques et esthétiques THÈSE dirigée par : M. Alessandro ARBO Professeur, université de Strasbourg RAPPORTEURS : M. Philippe LE GUERN Professeur, université de Rennes 2 M. Bernard SÈVE Professeur émérite, université de Lille AUTRES MEMBRES DU JURY : Mme Anne SÈDES Professeur, université de Paris 8 M. Thomas PATTESON Professeur, Curtis Institute of Music 2 Remerciements Mes remerciements vont d’abord à Alessandro Arbo, mon directeur de thèse, sans qui ce travail n’aurait pas été possible. -
Eastman Computer Music Center (ECMC)
Upcoming ECMC25 Concerts Thursday, March 22 Music of Mario Davidovsky, JoAnn Kuchera-Morin, Allan Schindler, and ECMC composers 8:00 pm, Memorial Art Gallery, 500 University Avenue Saturday, April 14 Contemporary Organ Music Festival with the Eastman Organ Department & College Music Department Steve Everett, Ron Nagorcka, and René Uijlenhoet, guest composers 5:00 p.m. + 7:15 p.m., Interfaith Chapel, University of Rochester Eastman Computer Wednesday, May 2 Music Cente r (ECMC) New carillon works by David Wessel and Stephen Rush th with the College Music Department 25 Anniversa ry Series 12:00 pm, Eastman Quadrangle (outdoor venue), University of Rochester admission to all concerts is free Curtis Roads & Craig Harris, ecmc.rochester.edu guest composers B rian O’Reilly, video artist Thursday, March 8, 2007 Kilbourn Hall fire exits are located along the right A fully accessible restroom is located on the main and left sides, and at the back of the hall. Eastman floor of the Eastman School of Music. Our ushers 8:00 p.m. Theatre fire exits are located throughout the will be happy to direct you to this facility. Theatre along the right and left sides, and at the Kilbourn Hall back of the orchestra, mezzanine, and balcony Supporting the Eastman School of Music: levels. In the event of an emergency, you will be We at the Eastman School of Music are grateful for notified by the stage manager. the generous contributions made by friends, If notified, please move in a calm and orderly parents, and alumni, as well as local and national fashion to the nearest exit. -
Newslist Drone Records 31. January 2009
DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes. -
Critic-2013-7.Pdf
Student Tickets $79 (+BF) WIN YOURSELF SOME TICKETS! TWO AWESOME CHANCES TO GET YOURSELF TO THE GIG THETHE QUESTQUEST FORFOR. THETHE ULTIMATEULTIMATE AEROGUITARSMITHAEROGUITARSMITH Thursday 18th April 12pm at Market Day RECREATERECREATE ANAN AEROSMITHAEROSMITH ANTHEMANTHEM and win your at tickets to the concert check out OUSA Facebook for details on how to win. STUDENT TICKETS $79(+BF) LIMITED NUMBERS AVAILABLE AT THIS PRICE, BOOK NOW AT FORSYTH BARR 2 | STADIUM, fb.com/critictearohi REGENT THEATRE OR THE EDGAR CENTER WITH STUDENT ID. EDITOR Callum Fredric [email protected] Issue 07 | April 15, 2013 | critic.co.nz DEPUTY EDITOR Zane Pocock [email protected] TECHNICAL EDITOR Sam Clark DESIGNER Dan Blackball 16 FEATURE WRITERS Loulou Callister-Baker, Maddy Phillipps NEWS FEATURES NEWS TEAM Zane Pocock, Claudia Herron, 06 | Anonymous Jerk Knocks 16 | Evidence of a Mid-Life Crisis Bella Macdonald Over Cones Loulou Callister-Baker discovers boxes in the attic containing evidence of a SECTION EDITORS 07 | Lord Monckton man’s mid-life crisis, complete with nude Sam McChesney, Basti Menkes, sketches and low-quality weed. Baz Macdonald, Josef Alton, 08 | Racist Danish Runs Gus Gawn, Tristan Keillor Rampant 20 | Three Fables of Dunedin’s Forgotten Flatters 09 | Driver admits liability in Shamelessly stealing Loulou’s idea, CONTRIBUTORS cycle death Callum Fredric tells three untold stories Thomas Stevenson, Josie Cochrane, from Dunedin’s past based on books and Sarah Bayly, Thomas Raethel, documents found at a friend’s flat. Sara Lamb-Miller, Jamie Breen, Catherine Poon, Nick Jolly, 26 | The Little Foetus in the Lucy Hunter, Gerard Barbalich, Pink Knitted Cap Campbell Ecklein, Jess Cole, A poem by Maddy Phillipps in memory Phoebe Harrop, Elsie Stone, of the little foetus in the pink knitted cap. -
43558913.Pdf
! ! ! Generative Music Composition Software Systems Using Biologically Inspired Algorithms: A Systematic Literature Review ! ! ! Master of Science Thesis in the Master Degree Programme ! !Software Engineering and Management! ! ! KEREM PARLAKGÜMÜŞ ! ! ! University of Gothenburg Chalmers University of Technology Department of Computer Science and Engineering Göteborg, Sweden, January 2014 The author grants Chalmers University of Technology and University of Gothenburg the non-exclusive right to publish the work electronically and in a non-commercial purpose and to make it accessible on the Internet. The author warrants that he/she is the author of the work, and warrants that the work does not contain texts, pictures or other material that !violates copyright laws. The author shall, when transferring the rights of the work to a third party (like a publisher or a company), acknowledge the third party about this agreement. If the author has signed a copyright agreement with a third party regarding the work, the author warrants hereby that he/she has obtained any necessary permission from this third party to let Chalmers University of Technology and University of Gothenburg store the work electronically and make it accessible on the Internet. ! ! Generative Music Composition Software Systems Using Biologically Inspired Algorithms: A !Systematic Literature Review ! !KEREM PARLAKGÜMÜŞ" ! !© KEREM PARLAKGÜMÜŞ, January 2014." Examiner: LARS PARETO, MIROSLAW STARON" !Supervisor: PALLE DAHLSTEDT" University of Gothenburg" Chalmers University of Technology" Department of Computer Science and Engineering" SE-412 96 Göteborg" Sweden" !Telephone + 46 (0)31-772 1000" ! ! ! Department of Computer Science and Engineering" !Göteborg, Sweden, January 2014 Abstract My original contribution to knowledge is to examine existing work for methods and approaches used, main functionalities, benefits and limitations of 30 Genera- tive Music Composition Software Systems (GMCSS) by performing a systematic literature review. -
CD Program Notes
CD Program Notes Contents tique du CEMAMu), the graphic mu- the final tape version was done at sic computer system developed by the Stichting Klankscap and the Xenakis and his team of engineers at Sweelinck Conservatory in Am- Part One: James Harley, Curator the Centre d’Etudes de Mathe´ma- sterdam. I would like to thank tique et Automatique Musicales (CE- Paul Berg and Floris van Manen for MAMu). The piece by Cort Lippe, their support in creating this work. completed in 1986, is mixed, for bass Sound material for the tape was Curator’s Note clarinet and sounds created on the limited to approximate the con- It probably would not be too far computer. My own piece, from 1987, fines one normally associates with wrong to state that most composers is also mixed, for flute and tape; in individual acoustic instruments in of the past 40 years have been influ- the excerpt presented here, the pre- order to create a somewhat equal enced in one way or another by the produced material, a mixture of re- relationship between the tape and music or ideas of Iannis Xenakis. corded flute and computer-generated the bass clarinet. Although con- The composers presented on this sounds, is heard without the live trasts and similarities between the disc have been touched more directly flute part. Richard Barrett’s piece tape and the instrument are evi- than most. It was my intention to was entirely produced on the UPIC. dent, musically a kind of intimacy gather a disparate collection of music The sound-world Xenakis created was sought, not unlike our to show the extent to which that in- in his music owes much to natural present-day ‘‘sense’’ of intimacy fluence has crossed styles. -
A Tabletop Waveform Editor for Live Performance
Proceedings of the 2008 Conference on New Interfaces for Musical Expression (NIME08), Genova, Italy A tabletop waveform editor for live performance Gerard Roma Anna Xambo´ Music Technology Group Music Technology Group Universitat Pompeu Fabra Universitat Pompeu Fabra [email protected] [email protected] ABSTRACT We present an audio waveform editor that can be oper- ated in real time through a tabletop interface. The system combines multi-touch and tangible interaction techniques in order to implement the metaphor of a toolkit that allows di- rect manipulation of a sound sample. The resulting instru- ment is well suited for live performance based on evolving loops. Keywords tangible interface, tabletop interface, musical performance, interaction techniques 1. INTRODUCTION The user interface of audio editors has changed relatively little over time. The standard interaction model is centered on the waveform display, allowing the user to select portions Figure 1: Close view of the waveTable prototype. of the waveform along the horizontal axis and execute com- mands that operate on those selections. This model is not very different to that of the word processor, and its basics Barcelona 2005) which inspired this project. The use of a are usually understood by computer users even with little standard audio editor on a laptop computer as a sophisti- or no experience in specialized audio tools. As a graphical cated looper served the performers’ minimalist glitch aes- representation of sound, the waveform is already familiar thetics. Perhaps more importantly, the projected waveform for many people approaching computers for audio and mu- provided a visual cue that helped the audience follow the sic composition.