Generative Processes for Audification
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Command-Line Sound Editing Wednesday, December 7, 2016
21m.380 Music and Technology Recording Techniques & Audio Production Workshop: Command-line sound editing Wednesday, December 7, 2016 1 Student presentation (pa1) • 2 Subject evaluation 3 Group picture 4 Why edit sound on the command line? Figure 1. Graphical representation of sound • We are used to editing sound graphically. • But for many operations, we do not actually need to see the waveform! 4.1 Potential applications • • • • • • • • • • • • • • • • 1 of 11 21m.380 · Workshop: Command-line sound editing · Wed, 12/7/2016 4.2 Advantages • No visual belief system (what you hear is what you hear) • Faster (no need to load guis or waveforms) • Efficient batch-processing (applying editing sequence to multiple files) • Self-documenting (simply save an editing sequence to a script) • Imaginative (might give you different ideas of what’s possible) • Way cooler (let’s face it) © 4.3 Software packages On Debian-based gnu/Linux systems (e.g., Ubuntu), install any of the below packages via apt, e.g., sudo apt-get install mplayer. Program .deb package Function mplayer mplayer Play any media file Table 1. Command-line programs for sndfile-info sndfile-programs playing, converting, and editing me- Metadata retrieval dia files sndfile-convert sndfile-programs Bit depth conversion sndfile-resample samplerate-programs Resampling lame lame Mp3 encoder flac flac Flac encoder oggenc vorbis-tools Ogg Vorbis encoder ffmpeg ffmpeg Media conversion tool mencoder mencoder Media conversion tool sox sox Sound editor ecasound ecasound Sound editor 4.4 Real-world -
Easter Eggs: Hidden Tracks and Messages in Musical Mediums
Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece Easter Eggs: Hidden Tracks and Messages in Musical Mediums Jonathan Weinel, Darryl Griffiths and Stuart Cunningham Creative & Applied Research for the Digital Society (CARDS) Glyndŵr University Plas Coch Campus, Mold Road, Wrexham, LL11 2AW, Wales +44 1978 293070 {j.weinel | Griffiths.d | s.cunningham}@glyndwr.ac.uk ABSTRACT the programmers’ office, in the style of the video game Doom [2]. The hidden game features credits and digital ‘Easter eggs’ are hidden components that can be found in images of the programmers. It is accessed by carrying computer software and various other media including out a particular series of actions on the 95th row of a music. In this paper the concept is explained, and various blank spreadsheet upon opening Excel. examples are discussed from a variety of mediums in- cluding analogue and digital audio formats. Through this discussion, the purpose of including easter eggs in musi- cal mediums is considered. We propose that easter eggs can serve to provide comic amusement within a work, but can also serve to support the artistic message of the art- work. Concealing easter eggs in music is partly depend- ent on the properties of the chosen medium; vinyl records Figure 1. Screenshots from the ‘hall of tortured souls’, in Mi- may use techniques such as double grooves, while digital crosoft Excel 95. formats such as CD may feature hidden tracks that follow long periods of empty space. Approaches such as these This paper will consider the purpose and realisation of and others are discussed. -
Visual Metaphors on Album Covers: an Analysis Into Graphic Design's
Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres by Vivian Le A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems (Honors Scholar) Presented May 29, 2020 Commencement June 2020 AN ABSTRACT OF THE THESIS OF Vivian Le for the degree of Honors Baccalaureate of Science in Accounting and Business Information Systems presented on May 29, 2020. Title: Visual Metaphors on Album Covers: An Analysis into Graphic Design’s Effectiveness at Conveying Music Genres. Abstract approved:_____________________________________________________ Ryann Reynolds-McIlnay The rise of digital streaming has largely impacted the way the average listener consumes music. Consequentially, while the role of album art has evolved to meet the changes in music technology, it is hard to measure the effect of digital streaming on modern album art. This research seeks to determine whether or not graphic design still plays a role in marketing information about the music, such as its genre, to the consumer. It does so through two studies: 1. A computer visual analysis that measures color dominance of an image, and 2. A mixed-design lab experiment with volunteer participants who attempt to assess the genre of a given album. Findings from the first study show that color scheme models created from album samples cannot be used to predict the genre of an album. Further findings from the second theory show that consumers pay a significant amount of attention to album covers, enough to be able to correctly assess the genre of an album most of the time. -
Sound-HOWTO.Pdf
The Linux Sound HOWTO Jeff Tranter [email protected] v1.22, 16 July 2001 Revision History Revision 1.22 2001−07−16 Revised by: jjt Relicensed under the GFDL. Revision 1.21 2001−05−11 Revised by: jjt This document describes sound support for Linux. It lists the supported sound hardware, describes how to configure the kernel drivers, and answers frequently asked questions. The intent is to bring new users up to speed more quickly and reduce the amount of traffic in the Usenet news groups and mailing lists. The Linux Sound HOWTO Table of Contents 1. Introduction.....................................................................................................................................................1 1.1. Acknowledgments.............................................................................................................................1 1.2. New versions of this document.........................................................................................................1 1.3. Feedback...........................................................................................................................................2 1.4. Distribution Policy............................................................................................................................2 2. Sound Card Technology.................................................................................................................................3 3. Supported Hardware......................................................................................................................................4 -
62 Years and Counting: MUSIC N and the Modular Revolution
62 Years and Counting: MUSIC N and the Modular Revolution By Brian Lindgren MUSC 7660X - History of Electronic and Computer Music Fall 2019 24 December 2019 © Copyright 2020 Brian Lindgren Abstract. MUSIC N by Max Mathews had two profound impacts in the world of music synthesis. The first was the implementation of modularity to ensure a flexibility as a tool for the user; with the introduction of the unit generator, the instrument and the compiler, composers had the building blocks to create an unlimited range of sounds. The second was the impact of this implementation in the modular analog synthesizers developed a few years later. While Jean-Claude Risset, a well known Mathews associate, asserts this, Mathews actually denies it. They both are correct in their perspectives. Introduction Over 76 years have passed since the invention of the first electronic general purpose computer,1 the ENIAC. Today, we carry computers in our pockets that can perform millions of times more calculations per second.2 With the amazing rate of change in computer technology, it's hard to imagine that any development of yesteryear could maintain a semblance of relevance today. However, in the world of music synthesis, the foundations that were laid six decades ago not only spawned a breadth of multifaceted innovation but continue to function as the bedrock of important digital applications used around the world today. Not only did a new modular approach implemented by its creator, Max Mathews, ensure that the MUSIC N lineage would continue to be useful in today’s world (in one of its descendents, Csound) but this approach also likely inspired the analog synthesizer engineers of the day, impacting their designs. -
EMEP/MSC-W Model Unofficial User's Guide
EMEP/MSC-W Model Unofficial User’s Guide Release rv4_36 https://github.com/metno/emep-ctm Sep 09, 2021 Contents: 1 Welcome to EMEP 1 1.1 Licenses and Caveats...........................................1 1.2 Computer Information..........................................2 1.3 Getting Started..............................................2 1.4 Model code................................................3 2 Input files 5 2.1 NetCDF files...............................................7 2.2 ASCII files................................................ 12 3 Output files 17 3.1 Output parameters NetCDF files..................................... 18 3.2 Emission outputs............................................. 20 3.3 Add your own fields........................................... 20 3.4 ASCII outputs: sites and sondes..................................... 21 4 Setting the input parameters 23 4.1 config_emep.nml .......................................... 23 4.2 Base run................................................. 24 4.3 Source Receptor (SR) Runs....................................... 25 4.4 Separate hourly outputs......................................... 26 4.5 Using and combining gridded emissions................................. 26 4.6 Nesting.................................................. 27 4.7 config: Europe or Global?........................................ 31 4.8 New emission format........................................... 32 4.9 Masks................................................... 34 4.10 Other less used options......................................... -
RFP Response to Region 10 ESC
An NEC Solution for Region 10 ESC Building and School Security Products and Services RFP #EQ-111519-04 January 17, 2020 Submitted By: Submitted To: Lainey Gordon Ms. Sue Hayes Vertical Practice – State and Local Chief Financial Officer Government Region 10 ESC Enterprise Technology Services (ETS) 400 East Spring Valley Rd. NEC Corporation of America Richardson, TX 75081 Cell: 469-315-3258 Office: 214-262-3711 Email: [email protected] www.necam.com 1 DISCLAIMER NEC Corporation of America (“NEC”) appreciates the opportunity to provide our response to Education Service Center, Region 10 (“Region 10 ESC”) for Building and School Security Products and Services. While NEC realizes that, under certain circumstances, the information contained within our response may be subject to disclosure, NEC respectfully requests that all customer contact information and sales numbers provided herein be considered proprietary and confidential, and as such, not be released for public review. Please notify Lainey Gordon at 214-262-3711 promptly upon your organization’s intent to do otherwise. NEC requests the opportunity to negotiate the final terms and conditions of sale should NEC be selected as a vendor for this engagement. NEC Corporation of America 3929 W John Carpenter Freeway Irving, TX 75063 http://www.necam.com Copyright 2020 NEC is a registered trademark of NEC Corporation of America, Inc. 2 Table of Contents EXECUTIVE SUMMARY ................................................................................................................................... -
Sox Examples
Signal Analysis Young Won Lim 2/17/18 Copyright (c) 2016 – 2018 Young W. Lim. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is included in the section entitled "GNU Free Documentation License". Please send corrections (or suggestions) to [email protected]. This document was produced by using LibreOffice. Young Won Lim 2/17/18 Based on Signal Processing with Free Software : Practical Experiments F. Auger Audio Signal Young Won Lim Analysis (1A) 3 2/17/18 Sox Examples Audio Signal Young Won Lim Analysis (1A) 4 2/17/18 soxi soxi s1.mp3 soxi s1.mp3 > s1_info.txt Input File Channels Sample Rate Precision Duration File Siz Bit Rate Sample Encoding Audio Signal Young Won Lim Analysis (1A) 5 2/17/18 Generating signals using sox sox -n s1.mp3 synth 3.5 sine 440 sox -n s2.wav synth 90000s sine 660:1000 sox -n s3.mp3 synth 1:20 triangle 440 sox -n s4.mp3 synth 1:20 trapezium 440 sox -V4 -n s5.mp3 synth 6 square 440 0 0 40 sox -n s6.mp3 synth 5 noise Audio Signal Young Won Lim Analysis (1A) 6 2/17/18 stat Sox s1.mp3 -n stat Sox s1.mp3 -n stat > s1_info_stat.txt Samples read Length (seconds) Scaled by Maximum amplitude Minimum amplitude Midline amplitude Mean norm Mean amplitude RMS amplitude Maximum delta Minimum delta Mean delta RMS delta Rough frequency Volume adjustment Audio Signal Young Won -
The Computational Attitude in Music Theory
The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program. -
Name Synopsis Description Options
SoXI(1) Sound eXchange SoXI(1) NAME SoXI − Sound eXchange Information, display sound file metadata SYNOPSIS soxi [−V[level]] [−T][−t|−r|−c|−s|−d|−D|−b|−B|−p|−e|−a] infile1 ... DESCRIPTION Displays information from the header of a givenaudio file or files. Supported audio file types are listed and described in soxformat(7). Note however, that soxi is intended for use only with audio files with a self- describing header. By default, as much information as is available is shown. An option may be giventoselect just a single piece of information (perhaps for use in a script or batch-file). OPTIONS −V Set verbosity.See sox(1) for details. −T Used with multiple files; changes the behaviour of −s, −d and −D to display the total across all givenfiles. Note that when used with −s with files with different sampling rates, this is of ques- tionable value. −t Showdetected file-type. −r Showsample-rate. −c Shownumber of channels. −s Shownumber of samples (0 if unavailable). −d Showduration in hours, minutes and seconds (0 if unavailable). Equivalent to number of samples divided by the sample-rate. −D Showduration in seconds (0 if unavailable). −b Shownumber of bits per sample (0 if not applicable). −B Showthe bitrate averaged overthe whole file (0 if unavailable). −p Showestimated sample precision in bits. −e Showthe name of the audio encoding. −a Showfile comments (annotations) if available. BUGS Please report anybugs found in this version of SoX to the mailing list ([email protected]). SEE ALSO sox(1), soxformat(7), libsox(3) The SoX web site at http://sox.sourceforge.net LICENSE Copyright 2008−2013 by Chris Bagwell and SoX Contributors. -
LAC-07 Proceedings
LINUX AUDIO CONFERENCE BERLIN Lectures/Demos/Workshops Concerts/LinuxSoundnight P roceedin G S TU-Berlin 22.-25.03.07 www.lac.tu-berlin.de5 Published by: Technische Universität Berlin, Germany March 2007 All copyrights remain with the authors www.lac.tu-berlin.de Credits: Cover design and logos: Alexander Grüner Layout: Marije Baalman Typesetting: LaTeX Thanks to: Vincent Verfaille for creating and sharing the DAFX’06 “How to make your own Proceedings” examples. Printed in Berlin by TU Haus-Druckerei — March 2007 Proc. of the 5th Int. Linux Audio Conference (LAC07), Berlin, Germany, March 22-25, 2007 LAC07-iv Preface The International Linux Audio Conference 2007, the fifth of its kind, is taking place at the Technis- che Universität Berlin. We are very glad to have been given the opportunity to organise this event, and we hope to have been able to put together an interesting conference program, both for developers and users, thanks to many submissions of our participants, as well as the support from our cooperation partners. The DAAD - Berliner Künstlerprogramm has supported us by printing the flyers and inviting some of the composers. The Cervantes Institute has given us support for involving composers from Latin America and Spain. Tesla has been a generous host for two concert evenings. Furthermore, Maerz- Musik and the C-Base have given us a place for the lounge and club concerts. The Seminar für Medienwissenschaften of the Humboldt Universität zu Berlin have contributed their Signallabor, a computer pool with 6 Linux audio workstations and a multichannel setup, in which the Hands On Demos are being held. -
2016-Program-Book-Corrected.Pdf
A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue.