Expressive Sampling Synthesis. Learning Extended Source-Filter Models from Instrument Sound Databases for Expressive Sample Manipulations Henrik Hahn
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Navigating the Landscape of Computer Aided Algorithmic Composition Systems: a Definition, Seven Descriptors, and a Lexicon of Systems and Research
NAVIGATING THE LANDSCAPE OF COMPUTER AIDED ALGORITHMIC COMPOSITION SYSTEMS: A DEFINITION, SEVEN DESCRIPTORS, AND A LEXICON OF SYSTEMS AND RESEARCH Christopher Ariza New York University Graduate School of Arts and Sciences New York, New York [email protected] ABSTRACT comparison and analysis, this article proposes seven system descriptors. Despite Lejaren Hiller’s well-known Towards developing methods of software comparison claim that “computer-assisted composition is difficult to and analysis, this article proposes a definition of a define, difficult to limit, and difficult to systematize” computer aided algorithmic composition (CAAC) (Hiller 1981, p. 75), a definition is proposed. system and offers seven system descriptors: scale, process-time, idiom-affinity, extensibility, event A CAAC system is software that facilitates the production, sound source, and user environment. The generation of new music by means other than the public internet resource algorithmic.net is introduced, manipulation of a direct music representation. Here, providing a lexicon of systems and research in computer “new music” does not designate style or genre; rather, aided algorithmic composition. the output of a CAAC system must be, in some manner, a unique musical variant. An output, compared to the 1. DEFINITION OF A COMPUTER-AIDED user’s representation or related outputs, must not be a ALGORITHMIC COMPOSITION SYSTEM “copy,” accepting that the distinction between a copy and a unique variant may be vague and contextually determined. This output may be in the form of any Labels such as algorithmic composition, automatic sound or sound parameter data, from a sequence of composition, composition pre-processing, computer- samples to the notation of a complete composition. -
Syllabus EMBODIED SONIC MEDITATION
MUS CS 105 Embodied Sonic Meditation Spring 2017 Jiayue Cecilia Wu Syllabus EMBODIED SONIC MEDITATION: A CREATIVE SOUND EDUCATION Instructor: Jiayue Cecilia Wu Contact: Email: [email protected]; Cell/Text: 650-713-9655 Class schedule: CCS Bldg 494, Room 143; Mon/Wed 1:30 pm – 2:50 pm, Office hour: Phelps room 3314; Thu 1: 45 pm–3:45 pm, or by appointment Introduction What is the difference between hearing and listening? What are the connections between our listening, bodily activities, and the lucid mind? This interdisciplinary course on acoustic ecology, sound art, and music technology will give you the answers. Through deep listening (Pauline Oliveros), compassionate listening (Thich Nhat Hanh), soundwalking (Westerkamp), and interactive music controlled by motion capture, the unifying theme of this course is an engagement with sonic awareness, environment, and self-exploration. Particularly we will look into how we generate, interpret and interact with sound; and how imbalances in the soundscape may have adverse effects on our perceptions and the nature. These practices are combined with readings and multimedia demonstrations from sound theory, audio engineering, to aesthetics and philosophy. Students will engage in hands-on audio recording and mixing, human-computer interaction (HCI), group improvisation, environmental film streaming, and soundscape field trip. These experiences lead to a final project in computer-assisted music composition and creative live performance. By the end of the course, students will be able to use computer software to create sound, design their own musical gears, as well as connect with themselves, others and the world around them in an authentic level through musical expressions. -
A Thesis Entitled Nocturnal Bird Call Recognition System for Wind Farm
A Thesis entitled Nocturnal Bird Call Recognition System for Wind Farm Applications by Selin A. Bastas Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Master of Science Degree in Electrical Engineering _______________________________________ Dr. Mohsin M. Jamali, Committee Chair _______________________________________ Dr. Junghwan Kim, Committee Member _______________________________________ Dr. Sonmez Sahutoglu, Committee Member _______________________________________ Dr. Patricia R. Komuniecki, Dean College of Graduate Studies The University of Toledo December 2011 Copyright 2011, Selin A. Bastas. This document is copyrighted material. Under copyright law, no parts of this document may be reproduced without the expressed permission of the author. An Abstract of Nocturnal Bird Call Recognition System for Wind Farm Applications by Selin A. Bastas Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Master of Science Degree in Electrical Engineering The University of Toledo December 2011 Interaction of birds with wind turbines has become an important public policy issue. Acoustic monitoring of birds in the vicinity of wind turbines can address this important public policy issue. The identification of nocturnal bird flight calls is also important for various applications such as ornithological studies and acoustic monitoring to prevent the negative effects of wind farms, human made structures and devices on birds. Wind turbines may have negative impact on bird population. Therefore, the development of an acoustic monitoring system is critical for the study of bird behavior. This work can be employed by wildlife biologist for developing mitigation techniques for both on- shore/off-shore wind farm applications and to address bird strike issues at airports. -
The Articulatory and Acoustic Characteristics of Polish Sibilants and Their Consequences for Diachronic Change
The articulatory and acoustic characteristics of Polish sibilants and their consequences for diachronic change Veronique´ Bukmaier & Jonathan Harrington Institute of Phonetics and Speech Processing, University of Munich, Germany [email protected] [email protected] The study is concerned with the relative synchronic stability of three contrastive sibilant fricatives /s ʂɕ/ in Polish. Tongue movement data were collected from nine first-language Polish speakers producing symmetrical real and non-word CVCV sequences in three vowel contexts. A Gaussian model was used to classify the sibilants from spectral information in the noise and from formant frequencies at vowel onset. The physiological analysis showed an almost complete separation between /s ʂɕ/ on tongue-tip parameters. The acoustic analysis showed that the greater energy at higher frequencies distinguished /s/ in the fricative noise from the other two sibilant categories. The most salient information at vowel onset was for /ɕ/, which also had a strong palatalizing effect on the following vowel. Whereas either the noise or vowel onset was largely sufficient for the identification of /s ɕ/ respectively, both sets of cues were necessary to separate /ʂ/ from /s ɕ/. The greater synchronic instability of /ʂ/ may derive from its high articulatory complexity coupled with its comparatively low acoustic salience. The data also suggest that the relatively late stage of /ʂ/ acquisition by children may come about because of the weak acoustic information in the vowel for its distinction from /s/. 1 Introduction While there have been many studies in the last 30 years on the acoustic (Evers, Reetz & Lahiri 1998, Jongman, Wayland & Wong 2000,Nowak2006, Shadle 2006, Cheon & Anderson 2008, Maniwa, Jongman & Wade 2009), perceptual (McGuire 2007, Cheon & Anderson 2008,Li et al. -
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. -
Detection and Classification of Whale Acoustic Signals
Detection and Classification of Whale Acoustic Signals by Yin Xian Department of Electrical and Computer Engineering Duke University Date: Approved: Loren Nolte, Supervisor Douglas Nowacek (Co-supervisor) Robert Calderbank (Co-supervisor) Xiaobai Sun Ingrid Daubechies Galen Reeves Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Electrical and Computer Engineering in the Graduate School of Duke University 2016 Abstract Detection and Classification of Whale Acoustic Signals by Yin Xian Department of Electrical and Computer Engineering Duke University Date: Approved: Loren Nolte, Supervisor Douglas Nowacek (Co-supervisor) Robert Calderbank (Co-supervisor) Xiaobai Sun Ingrid Daubechies Galen Reeves An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Electrical and Computer Engineering in the Graduate School of Duke University 2016 Copyright c 2016 by Yin Xian All rights reserved except the rights granted by the Creative Commons Attribution-Noncommercial Licence Abstract This dissertation focuses on two vital challenges in relation to whale acoustic signals: detection and classification. In detection, we evaluated the influence of the uncertain ocean environment on the spectrogram-based detector, and derived the likelihood ratio of the proposed Short Time Fourier Transform detector. Experimental results showed that the proposed detector outperforms detectors based on the spectrogram. The proposed detector is more sensitive to environmental changes because it includes phase information. In classification, our focus is on finding a robust and sparse representation of whale vocalizations. Because whale vocalizations can be modeled as polynomial phase sig- nals, we can represent the whale calls by their polynomial phase coefficients. -
The Path to Half Life
The Path to Half-life Curtis Roads A composer does not often pause to explain a musical path. When that path is a personal break- through, however, it may be worthwhile to reflect on it, especially when it connects to more gen- eral trends in today’s musical scene. My electronic music composition Half-life por- trays a virtual world in which sounds are born and die in an instant or emerge in slow motion. As emerging sounds unfold, they remain stable or mutate before expiring. Interactions between different sounds sug- gest causalities, as if one sound spawned, trig- gered, crashed into, bonded with, or dis- solved into another sound. Thus the introduc- tion of every new sound contributes to the unfolding of a musical narrative. Most of the sound material of Half-life was produced by the synthesis of brief acoustic sound particles or grains. The interactions of acoustical particles can be likened to photo- graphs of bubble chamber experiments, which were designed to visualize atomic inter- actions. These strikingly beautiful images por- tray intricate causalities as particles enter a chamber at high speed, leading to collisions in which some particles break apart or veer off in strange directions, indicating the pres- ence of hidden forces (figure 1). Figure 1. Bubble chamber image (© CERN, Geneva). Composed years ago, in 1998 and 1999, Half-life is not my newest composition, nor does it incor- porate my most recent techniques. The equipment and software used to make it was (with exception of some custom programs) quite standard. Nonetheless this piece is deeply significant to me as a turning point in a long path of composition. -
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. -
Music Information Retrieval Using Social Tags and Audio
A Survey of Audio-Based Music Classification and Annotation Zhouyu Fu, Guojun Lu, Kai Ming Ting, and Dengsheng Zhang IEEE Trans. on Multimedia, vol. 13, no. 2, April 2011 presenter : Yin-Tzu Lin (阿孜孜^.^) 2011/08 Types of Music Representation • Music Notation – Scores – Like text with formatting symbolic • Time-stamped events – E.g. Midi – Like unformatted text • Audio – E.g. CD, MP3 – Like speech 2 Image from: http://en.wikipedia.org/wiki/Graphic_notation Inspired by Prof. Shigeki Sagayama’s talk and Donald Byrd’s slide Intra-Song Info Retrieval Composition Arrangement probabilistic Music Theory Symbolic inverse problem Learning Score Transcription MIDI Conversion Accompaniment Melody Extraction Performer Structural Segmentation Synthesize Key Detection Chord Detection Rhythm Pattern Tempo/Beat Extraction Modified speed Onset Detection Modified timbre Modified pitch Separation Audio 3 Inspired by Prof. Shigeki Sagayama’s talk Inter-Song Info Retrieval • Generic-similar – Music Classification • Genre, Artist, Mood, Emotion… Music Database – Tag Classification(Music Annotation) – Recommendation • Specific-similar – Query by Singing/Humming – Cover Song Identification – Score Following 4 Classification Tasks • Genre Classification • Mood Classification • Artist Identification • Instrument Recognition • Music Annotation 5 Paper Outline • Audio Features – Low-level features – Middle-level features – Song-level feature representations • Classifiers Learning • Classification Task • Future Research Issues 6 Audio Features 7 Low-level Features -
Selecting Proper Features and Classifiers for Accurate Identification of Musical Instruments
International Journal of Machine Learning and Computing, Vol. 3, No. 2, April 2013 Selecting Proper Features and Classifiers for Accurate Identification of Musical Instruments D. M. Chandwadkar and M. S. Sutaone y The performance of the learning procedure is evaluated Abstract—Selection of effective feature set and proper by classifying new sound samples (cross-validation). classifier is a challenging task in problems where machine One of the most crucial aspects in the above procedure of learning techniques are used. In automatic identification of instrument classification is to find the right features [2] and musical instruments also it is very crucial to find the right set of classifiers. Most of the research on audio signal processing features and accurate classifier. In this paper, the role of various features with different classifiers on automatic has been focusing on speech recognition and speaker identification of musical instruments is discussed. Piano, identification. Few features used for these can be directly acoustic guitar, xylophone and violin are identified using applied to solve the instrument classification problem. various features and classifiers. Spectral features like spectral In this paper, feature extraction and selection for centroid, spectral slope, spectral spread, spectral kurtosis, instrument classification using machine learning techniques spectral skewness and spectral roll-off are used along with autocorrelation coefficients and Mel Frequency Cepstral is considered. Four instruments: piano, acoustic guitar, Coefficients (MFCC) for this purpose. The dependence of xylophone and violin are identified using various features instrument identification accuracy on these features is studied and classifiers. A number of spectral features, MFCCs, and for different classifiers. Decision trees, k nearest neighbour autocorrelation coefficients are used. -
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. -
The Subjective Size of Melodic Intervals Over a Two-Octave Range
JournalPsychonomic Bulletin & Review 2005, ??12 (?),(6), ???-???1068-1075 The subjective size of melodic intervals over a two-octave range FRANK A. RUSSO and WILLIAM FORDE THOMPSON University of Toronto, Mississauga, Ontario, Canada Musically trained and untrained participants provided magnitude estimates of the size of melodic intervals. Each interval was formed by a sequence of two pitches that differed by between 50 cents (one half of a semitone) and 2,400 cents (two octaves) and was presented in a high or a low pitch register and in an ascending or a descending direction. Estimates were larger for intervals in the high pitch register than for those in the low pitch register and for descending intervals than for ascending intervals. Ascending intervals were perceived as larger than descending intervals when presented in a high pitch register, but descending intervals were perceived as larger than ascending intervals when presented in a low pitch register. For intervals up to an octave in size, differentiation of intervals was greater for trained listeners than for untrained listeners. We discuss the implications for psychophysi- cal pitch scales and models of music perception. Sensitivity to relations between pitches, called relative scale describes the most basic model of pitch. Category pitch, is fundamental to music experience and is the basis labels associated with intervals assume a logarithmic re- of the concept of a musical interval. A musical interval lation between pitch height and frequency; that is, inter- is created when two tones are sounded simultaneously or vals spanning the same log frequency are associated with sequentially. They are experienced as large or small and as equivalent category labels, regardless of transposition.