An exploration of evolutionary computation applied to frequency modulation audio synthesis parameter optimisation

With the ever-increasing complexity of sound synthesisers, there is a growing demand for automated parameter estimation and sound space navigation techniques. This thesis explores the potential for evolutionary computation to automatically map known sound qualities onto the parameters of frequency modulation synthesis. Within this exploration are original contributions in the domain of synthesis parameter estimation and, within the developed system, evolutionary computation, in the form of the evolutionary algorithms that drive the underlying optimisation process. Based upon the requirement for the parameter estimation system to deliver multiple search space solutions, existing evolutionary algorithmic architectures are augmented to enable niching, while maintaining the strengths of the original algorithms. Two novel evolutionary algorithms are proposed in which cluster analysis is used to identify and maintain species within the evolving populations. A conventional evolution strategy and cooperative coevolution strategy are defined, with cluster-orientated operators that enable the simultaneous optimisation of multiple search space solutions at distinct optima. A test methodology is developed that enables components of the synthesis matching problem to be identified and isolated, enabling the performance of different optimisation techniques to be compared quantitatively. A system is consequently developed that evolves sound matches using conventional frequency modulation synthesis models, and the effectiveness of different evolutionary algorithms is assessed and compared in application to both static and timevarying sound matching problems. Performance of the system is then evaluated by interview with expert listeners. The thesis is closed with a reflection on the algorithms and systems which have been developed, discussing possibilities for the future of automated synthesis parameter estimation techniques, and how they might be employed

A new user interface for musical timbre design

This thesis characterises and addresses problems and issues associated with the design of intuitive user interfaces for timbral control. The usability of a range of synthesis methods and representative implementations of these methods is assessed, and three interface architectures - fixed architecture, architecture specification and direct specification - are identified. The characteristics of each of these architectures, as well as problems of usability inherent to each of them are discussed; it is argued that none of them provide intuitive tools for the manipulation and control of timbre. The study examines the nature of timbre and the notion of timbre space; different kinds of timbre space are considered and criteria are proposed for the selection of suitable timbre spaces as vehicles for synthesis. A number of listening tests, designed to demonstrate the feasibility of subsequent work, were devised and carried out; the results of these tests provide evidence that, where Euclidean distances between sounds located in a given timbre space are reflected in perceptual distances, the ability of subjects to detect relative distances in different parts of the space varies with the perceptual granularity of the space. Three contrasting timbre spaces conforming to the proposed criteria for use in synthesis are constructed; the purpose of these spaces is to provide an environment for a novel user interaction approach for timbral design which incorporates a search strategy based on weighted centroid localization. Two prototypes which exemplify the proposed approach in alternative ways are designed, implemented and tested with potential users in order to validate the approach; a third contrasting prototype which represents a simple contrasting alternative is tested for purposes of comparison. The results of these tests are evaluated and discussed, and areas of further work identified

Statistical Spectral Parameter Estimation of Acoustic Signals with Applications to Byzantine Music

Digitized acoustical signals of Byzantine music performed by Iakovos Nafpliotis are used to extract the fundamental frequency of each note of the diatonic scale. These empirical results are then contrasted to the theoretical suggestions and previous empirical findings. Several parametric and non-parametric spectral parameter estimation methods are implemented. These include: (1) Phase vocoder method, (2) McAulay-Quatieri method, (3) Levinson-Durbin algorithm,(4) YIN, (5) Quinn & Fernandes Estimator, (6) Pisarenko Frequency Estimator, (7) MUltiple SIgnal Characterization (MUSIC) algorithm, (8) Periodogram method, (9) Quinn & Fernandes Filtered Periodogram, (10) Rife & Vincent Estimator, and (11) the Fourier transform. Algorithm performance was very precise. The psychophysical aspect of human pitch discrimination is explored. The results of eight (8) psychoacoustical experiments were used to determine the aural just noticeable difference (jnd) in pitch and deduce patterns utilized to customize acceptable performable pitch deviation to the application at hand. These customizations [Acceptable Performance Difference (a new measure of frequency differential acceptability), Perceptual Confidence Intervals (a new concept of confidence intervals based on psychophysical experiment rather than statistics of performance data), and one based purely on music-theoretical asymphony] are proposed, discussed, and used in interpretation of results. The results suggest that Nafpliotis\u27 intervals are closer to just intonation than Byzantine theory (with minor exceptions), something not generally found in Thrasivoulos Stanitsas\u27 data. Nafpliotis\u27 perfect fifth is identical to the just intonation, even though he overstretches his octaveby fifteen (15)cents. His perfect fourth is also more just, as opposed to Stanitsas\u27 fourth which is directionally opposite. Stanitsas\u27 tendency to exaggerate the major third interval A4-F4 is still seen in Nafpliotis, but curbed. This is the only noteworthy departure from just intonation, with Nafpliotis being exactly Chrysanthian (the most exaggerated theoretical suggestion of all) and Stanitsas overstretching it even more than Nafpliotis and Chrysanth. Nafpliotis ascends in the second tetrachord more robustly diatonically than Stanitsas. The results are reported and interpreted within the framework of Acceptable Performance Differences

The Emotional Characteristics of Bowed String Instruments with Different Pitch and Dynamics

Previous research has shown that different musical instrument sounds have strong emotional characteristics. This paper investigates how emotional characteristics vary with pitch and dynamics within the bowed string instrument family. We conducted listening tests to compare the effects of pitch and dynamics on the violin, viola, cello, and double bass. Listeners compared the sounds pairwise over 10 emotional categories. Results showed that the emotional characteristics Happy, Heroic, Romantic, Comic, and Calm generally increased with pitch but decreased at the highest pitches. Angry and Sad generally decreased with pitch. Scary was strong in the extreme low and high registers, while Shy and Mysterious were unaffected by pitch. For dynamics, the results showed that Heroic, Comic, and Angry were stronger for loud notes, while Romantic, Calm, Shy, Sad, and the high register for Happy were stronger for soft notes. Scary and Mysterious were unaffected by dynamics. The results also showed significant differences between different bowed string instruments on notes of the same pitch and dynamic level. These results help quantify our understanding of the relative emotional characteristics of the strings. They provide audio engineers and musicians with suggestions for emphasizing emotional characteristics of the bowed strings in sound recordings and performances

Error Signals from the Brain: 7th Mismatch Negativity Conference

The 7th Mismatch Negativity Conference presents the state of the art in methods, theory, and application (basic and clinical research) of the MMN (and related error signals of the brain). Moreover, there will be two pre-conference workshops: one on the design of MMN studies and the analysis and interpretation of MMN data, and one on the visual MMN (with 20 presentations). There will be more than 40 presentations on hot topics of MMN grouped into thirteen symposia, and about 130 poster presentations. Keynote lectures by Kimmo Alho, Angela D. Friederici, and Israel Nelken will round off the program by covering topics related to and beyond MMN

An exploration of evolutionary computation applied to frequency modulation audio synthesis parameter optimisation

With the ever-increasing complexity of sound synthesisers, there is a growing demand for automated parameter estimation and sound space navigation techniques. This thesis explores the potential for evolutionary computation to automatically map known sound qualities onto the parameters of frequency modulation synthesis. Within this exploration are original contributions in the domain of synthesis parameter estimation and, within the developed system, evolutionary computation, in the form of the evolutionary algorithms that drive the underlying optimisation process. Based upon the requirement for the parameter estimation system to deliver multiple search space solutions, existing evolutionary algorithmic architectures are augmented to enable niching, while maintaining the strengths of the original algorithms. Two novel evolutionary algorithms are proposed in which cluster analysis is used to identify and maintain species within the evolving populations. A conventional evolution strategy and cooperative coevolution strategy are defined, with cluster-orientated operators that enable the simultaneous optimisation of multiple search space solutions at distinct optima. A test methodology is developed that enables components of the synthesis matching problem to be identified and isolated, enabling the performance of different optimisation techniques to be compared quantitatively. A system is consequently developed that evolves sound matches using conventional frequency modulation synthesis models, and the effectiveness of different evolutionary algorithms is assessed and compared in application to both static and timevarying sound matching problems. Performance of the system is then evaluated by interview with expert listeners. The thesis is closed with a reflection on the algorithms and systems which have been developed, discussing possibilities for the future of automated synthesis parameter estimation techniques, and how they might be employed.EThOS - Electronic Theses Online ServiceGBUnited Kingdo

An exploration of evolutionary computation applied to frequency modulation audio synthesis parameter optimisation

With the ever-increasing complexity of sound synthesisers, there is a growing demand for automated parameter estimation and sound space navigation techniques. This thesis explores the potential for evolutionary computation to automatically map known sound qualities onto the parameters of frequency modulation synthesis. Within this exploration are original contributions in the domain of synthesis parameter estimation and, within the developed system, evolutionary computation, in the form of the evolutionary algorithms that drive the underlying optimisation process. Based upon the requirement for the parameter estimation system to deliver multiple search space solutions, existing evolutionary algorithmic architectures are augmented to enable niching, while maintaining the strengths of the original algorithms. Two novel evolutionary algorithms are proposed in which cluster analysis is used to identify and maintain species within the evolving populations. A conventional evolution strategy and cooperative coevolution strategy are defined, with cluster-orientated operators that enable the simultaneous optimisation of multiple search space solutions at distinct optima. A test methodology is developed that enables components of the synthesis matching problem to be identified and isolated, enabling the performance of different optimisation techniques to be compared quantitatively. A system is consequently developed that evolves sound matches using conventional frequency modulation synthesis models, and the effectiveness of different evolutionary algorithms is assessed and compared in application to both static and timevarying sound matching problems. Performance of the system is then evaluated by interview with expert listeners. The thesis is closed with a reflection on the algorithms and systems which have been developed, discussing possibilities for the future of automated synthesis parameter estimation techniques, and how they might be employed.EThOS - Electronic Theses Online ServiceGBUnited Kingdo