Musique Algorithmique
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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. -
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. -
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. -
Processes and Systems in Computer Music
Processes Processes and systems and systems in computer in computer music; from music; from meta to matter meta to matter DR TONY MYATT DR TONY MYATT 05 2 The use of the terms ‘system’ and ‘process’ to generate works of music are often applied to the output of composers such as Steve Reich or Philip Glass, and also to Serial composers [1]2 from Schoenberg to Stockhausen, or to the works of experimentalists like John Cage. This may be where these terms are most clearly expressed, in either the material of the work or in the discourse that surrounds it, but few composers would not claim that systematic processes lie at the root of their work, in the methods they use to generate, manipulate, or control sound. The grand narrative of twentieth century classical music to move away from the tonal system of harmony has prompted experimental composers to push at the boundaries of music to discover approaches that create original musics. With the advent of the computer age and the use of computers to control and generate sound, it appeared to many that it was inevitable this new technology might take forward the concept of music. Computers, as we will see, were initially employed as tools that sustained traditional concepts of music, but as Cage hinted in 1959, and maybe for the same reason, perhaps this is now changing. In this essay, I will discuss how these early approaches to systematic process developed a canon of computer music, and in particular algorithmic systems and processes that reflected an underlying vision of what computer technologies were thought to hold in store, from a utopian and rationalist perspective. -
Musique Acousmatique Und Ihre Parallelen Im Pop
Musique acousmatique und ihre Parallelen im Pop Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Geisteswissenschaftlichen Fakultät der Karl-Franzens-Universität Graz vorgelegt von Christian TSCHINKEL am Institut für Musikwissenschaft Begutachter: Ao.Univ.-Prof. Priv.-Doz. Dr. Werner Jauk Graz, 2008 Vorwort und Danksagung Mit seiner charismatischen Vermittlung der systematischen Musikwissenschaft und ihrer psychologischen Relevanz, die unter anderem das Gebiet der elektronischen Medien gleicher- maßen wie das der populären Musikkulturen und Avantgarden umfasst, hat Werner Jauk vor vielen Jahren für mich die Funktion eines Mentors übernommen. Ohne es zu wissen, war ich wohl genau nach solchen Inhalten auf der Suche. Sein Unterricht sowie einige Gastvorträge innerhalb seiner Lehrveranstaltungen übten auf mich eine große Faszination aus, obwohl ich bei weitem nicht immer verstanden habe, was zeitgenössische Komponisten denn „eigentlich so tun“. Im Zuge der Auseinandersetzung mit diesen Themen habe ich den von Dieter Kaufmann ins Leben gerufenen Lehrgang für Computermusik und elektronische Medien an der Universität für Musik und darstellende Kunst Wien für mich entdeckt, dessen Lehrinhalte ich im dreijährigen Studium „wie ein trockener Schwamm“ aufgesogen habe. Zu meiner großen Überraschung brachte mich dieser Unterricht schon bald nach Paris, wo ich das IRCAM, die GRM und das CCMIX besuchen durfte. Viele dieser Erfahrungen fließen heute in meine eigene Musik sowie in diese Diplomarbeit mit ein, weswegen ich meinen herzlichen Dank gegenüber meinem Betreuer Werner Jauk und im Nachhinein auch allen meinen ehemaligen Lehrern der „ELAK-Wien“ für ihren inspirierenden Unterricht aussprechen möchte. Namentlich sind das Igor Lintz-Maues, Peter Mechtler, Wolfgang Musil, Germán Toro-Pérez, Günther Rabl und Tamas Ungvary. -
Computer Music (So Far)
Computer Music (So Far) Part I. Mainframes Computers have made noises since Eniac was rolled out in 1947. It seems one of the problems with programming the early systems was knowing that everything was operating properly. That's why you see computers in 50s science fiction movies covered in lights. A common trick was to connect a loudspeaker to a key component in the main processor -- this would give tones of various pitches as data moved in and out of the accumulator. As long as a program was running, the tones would change in a random sort of way. A steady pitch meant the program was caught in a loop and needed to be shut down. That's how beedle beep became the signifier of computer operation. The first real music program was written by Max Mathews in the early 1960s. He was working at Bell labs, a research center run by AT&T when they were the phone company. Max was primarily developing more practical things for the phone company (he invented the little square plug, for instance). But he worked on music software in his spare time. He called his software MUSIC, with the different versions indicated by Roman numerals. MUSIC made its first sound in 1957, playing single line tunes. MUSIC II, a year later, had four part polyphony. These ran on the most powerful computer of the day, and took something like an hour of computing time to generate a minute of music. The sound was similar to the tunes played by some wristwatches today. In 1960, MUSIC III introduced the concept of a "unit generator", a subroutine that would create a specific kind of sound and only needed a few numbers from the composer. -
02 Whole.Pdf (3.027Mb)
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. 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. -
Origins of the Experimental Music Studios at Illinois: the Urbana School from the Dean
WINTER 2009 The News Magazine of the University of Illinois School of Music origins of the experimental music studios at illinois: the urbana school From the Dean The School of Music is one of the most respected and visible units in the College of Fine and WINTER 2009 Applied Arts at the University of Illinois, and it is Published for alumni and friends of the School of Music also a vital component of what we are calling the at the University of Illinois at Urbana-Champaign new arts at Illinois, our vision of the college as a The School of Music is a unit of the College of Fine and Applied Arts at the University of Illinois at Urbana- leader in the arts of the future. Champaign and has been an accredited institutional member of the National Association of Schools of Music Throughout the college, we are exploring new since 1933. disciplinary combinations, new definitions of art, and new ways of thinking Karl Kramer, director Edward Rath, associate director and creating. At the same time, we maintain a profound commitment to the Paul Redman, assistant director, business Joyce Griggs, assistant director, enrollment management historical traditions of our art forms. We embrace the notion that the knowl- and public engagement Marlah Bonner-McDuffie, director, development edge arising from the study, interpretation, and creation of art is central to Philip Yampolsky, director, Robert E. Brown Center for World Music the intellectual enterprise of a great university and to the advancement of a David Allen, coordinator, outreach and public engagement great society. Michael Cameron, coordinator, graduate studies B. -
Bibliographie Sculpture Grecque
CHRONOLOGIE SONORE - DIMENSION PLASTIQUE DU SON SONS – BRUITS – MUSIQUE – ARTS PLASTIQUES (Antoine Parlebas) Début du VIe siècle : Boèce, De Institutione Musicae, texte. VIIe siècle : fondation à Rome de la Schola Cantorum. VIIIe siècle : 1ère notation par des neumes. Début du XIe siècle : Guido d’Arezzo invente une nouvelle méthode de notation musicale. Vers 1260-1280 : Albert le Grand, la mécanique de la phonation et sa tête parlante. 1321 Philippe de Vitry, Ars nova, texte (isorythmie, polyphonie). 1436 Guillaume DUFAY, Nuper rosarum flores, motet. Vers 1450 : Domenico da Piacenza, De arte saltandi et choreas ducendi, traité sur la danse (accord des mouvements du corps sur la musique). Vers 1480 : L'abbé de BAIGNÉ et son orgue à cochons à la cour de Louis XI (Plessis-lès-Tours). 1528 Baldassar CASTIGLIONE, Il Libro del cortegiano [Le Livre du courtisan] (avec ses paroles gelées puis dégelées). 1548 François RABELAIS, Quart Livre (avec ses paroles, cris et bruits gelés et entendus bien après, à la fonte). 1549 Ghiselin DANCKERTS, Ave Maria Stella, partition-échiquier. MATTHIJS DE CASTELEIN, Ballade, « rhétorique extraordinaire » en tableau. 1558 ZARLINO, Institutioni harmoniche, texte (théorie de l’accord parfait). 1559 Pieter BRUEGEL l’Ancien, Le Combat de Carnaval et de Carême, peinture. 1570 Jean-Antoine de BAÏF fonde son Académie de poésie et de musique. 1588 Le chanoine THOINOT ARBEAU et l’orchésographie. Vers 1589 : TABOUROT et l’orchésographie. 1600 Jacopo PERI, Euridice, le 1er opéra. 1607 Claudio MONTEVERDI, La Favola d’Orfeo [La Légende d’Orphée], opéra. 1608 Claudio MONTEVERDI, Lamento d’Arianna [Lamento d’Ariane], madrigal. 1610 Hans HAIDEN et son Geigenwerk, clavier permettant la modulation et la modération du son. -
To Graphic Notation Today from Xenakis’S Upic to Graphic Notation Today
FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY PREFACES 18 PETER WEIBEL 24 LUDGER BRÜMMER 36 SHARON KANACH THE UPIC: 94 ANDREY SMIRNOV HISTORY, UPIC’S PRECURSORS INSTITUTIONS, AND 118 GUY MÉDIGUE IMPLICATIONS THE EARLY DAYS OF THE UPIC 142 ALAIN DESPRÉS THE UPIC: TOWARDS A PEDAGOGY OF CREATIVITY 160 RUDOLF FRISIUS THE UPIC―EXPERIMENTAL MUSIC PEDAGOGY― IANNIS XENAKIS 184 GERARD PAPE COMPOSING WITH SOUND AT LES ATELIERS UPIC/CCMIX 200 HUGUES GENEVOIS ONE MACHINE— TWO NON-PROFIT STRUCTURES 216 CYRILLE DELHAYE CENTRE IANNIS XENAKIS: MILESTONES AND CHALLENGES 232 KATERINA TSIOUKRA ESTABLISHING A XENAKIS CENTER IN GREECE: THE UPIC AT KSYME-CMRC 246 DIMITRIS KAMAROTOS THE UPIC IN GREECE: TEN YEARS OF LIVING AND CREATING WITH THE UPIC AT KSYME 290 RODOLPHE BOUROTTE PROBABILITIES, DRAWING, AND SOUND TABLE SYNTHESIS: THE MISSING LINK OF CONTENTS COMPOSERS 312 JULIO ESTRADA THE UPIC 528 KIYOSHI FURUKAWA EXPERIENCING THE LISTENING HAND AND THE UPIC AND UTOPIA THE UPIC UTOPIA 336 RICHARD BARRETT 540 CHIKASHI MIYAMA MEMORIES OF THE UPIC: 1989–2019 THE UPIC 2019 354 FRANÇOIS-BERNARD MÂCHE 562 VICTORIA SIMON THE UPIC UPSIDE DOWN UNFLATTERING SOUNDS: PARADIGMS OF INTERACTIVITY IN TACTILE INTERFACES FOR 380 TAKEHITO SHIMAZU SOUND PRODUCTION THE UPIC FOR A JAPANESE COMPOSER 574 JULIAN SCORDATO 396 BRIGITTE CONDORCET (ROBINDORÉ) NOVEL PERSPECTIVES FOR GRAPHIC BEYOND THE CONTINUUM: NOTATION IN IANNIX THE UNDISCOVERED TERRAINS OF THE UPIC 590 KOSMAS GIANNOUTAKIS EXPLORING -
CMJ 42-3 28-46.Pdf (5.256Mb)
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Composing with Biomemristors: Is Biocomputing the New Technology of Computer Music? Miranda, ER http://hdl.handle.net/10026.1/12704 10.1162/comj_a_00469 Computer Music Journal Massachusetts Institute of Technology Press (MIT 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. Miranda, Braund and Venkatesh 1 This is the authors’ own edited version of the accepted version manuscript. It is a prepublication version and some errors and inconsistencies may be present. The full published version of this work appeared in Computer Music Journal 42(3):28-46 after amendments and revisions in liaison with the editorial and publication team. This version is made available here in accordance with the publisher’s policies. Computer Music Journal Miranda, Braund and Venkatesh 2 Music and Biocomputing: Is Music Biotech the New Computer Music? Eduardo Reck Miranda*, Edward Braund* and Satvik Venkatesh* *Interdisciplinary Centre for Computer Music Research (ICCMR) Plymouth University The House Plymouth PL4 8AA United Kingdom {eduardo.miranda, edward.braund}@plymouth.ac.uk [email protected] Abstract: Our research concerns the development of biocomputers using electronic components grown out of biological material. This paper reports the development of an unprecedented biological memristor and an approach to using such a biomemristors to build interactive generative music systems. -
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http://dx.doi.org/10.14236/ewic/RESOUND19.7 Deep Listening: Early Computational Composition and its Influence on Algorithmic Aesthetics Tiffany Funk University of Illinois at Chicago Chicago, Illinois 60607 [email protected] The popularity of the program DeepDream, created by Google engineer Alexander Mordvintsev, exploded due to the open source availability of its uncanny, hallucinogenic aesthetic. Once used to synthesize visual textures, the program popularized the concept of neural network training through image classification algorithms, inspiring visual art interrogating machine learning and the training of proprietary prediction algorithms; though DeepDream has facilitated the production of many mundane examples of surreal computer art, it has also helped to produce some conceptually rich visual investigations, including MacArthur “genius” awardee Trevor Paglen’s recent installation A Study o f Invisible I mages. While the significance of trained neural networks is presently considered valuable to computer vision experimentation, a medial archaeological investigation of the conceptual underpinnings of machine learning reveals the fundamental influence early sonic experiments in computational music have in its computational and conceptual framework. Early computational music works, such as Lejaren Hiller Jr. and Leonard Isaacson’s Illiac Suite (1957), the first score composed by a computer, as well as Hiller and John Cage’s ambitious multimedia performance HPSCHD (1969), used stochastic models to automate game-like processes, such as Giovanni Pierluigi da Palestrina’s Renaissance-era polyphonic instruction, as well as the I Ching divination process of casting coins or yarrow stalks. Hiller's concerns regarding the historical use of compositional/mathematical gameplay uncovers a conceptual and performative emphasis anticipating the “training” of visual models.