24,729 research outputs found
Sonification, Musification, and Synthesis of Absolute Program Music
Presented at the 22nd International Conference on Auditory Display (ICAD-2016)When understood as a communication system, a musical work can be interpreted as data existing within three domains. In this interpretation an absolute domain is interposed as a communication channel between two programatic domains that act respectively
as source and receiver. As a source, a programatic domain creates, evolves, organizes, and represents a musical work. When acting as a receiver it re-constitutes acoustic signals into unique auditory experience. The absolute domain transmits physical vibrations
ranging from the stochastic structures of noise to the periodic waveforms of organized sound. Analysis of acoustic signals suggest recognition as a musical work requires signal periodicity to exceed some minimum. A methodological framework that satisfies
recent definitions of sonification is outlined. This framework is proposed to extend to musification through incorporation of data features that represent more traditional elements of a musical work such as melody, harmony, and rhythm
Nonparametric estimation of the dynamic range of music signals
The dynamic range is an important parameter which measures the spread of
sound power, and for music signals it is a measure of recording quality. There
are various descriptive measures of sound power, none of which has strong
statistical foundations. We start from a nonparametric model for sound waves
where an additive stochastic term has the role to catch transient energy. This
component is recovered by a simple rate-optimal kernel estimator that requires
a single data-driven tuning. The distribution of its variance is approximated
by a consistent random subsampling method that is able to cope with the massive
size of the typical dataset. Based on the latter, we propose a statistic, and
an estimation method that is able to represent the dynamic range concept
consistently. The behavior of the statistic is assessed based on a large
numerical experiment where we simulate dynamic compression on a selection of
real music signals. Application of the method to real data also shows how the
proposed method can predict subjective experts' opinions about the hifi quality
of a recording
A Three-Dimensional Code for Muon Propagation through the Rock: MUSIC
We present a new three-dimensional Monte-Carlo code MUSIC (MUon SImulation
Code) for muon propagation through the rock. All processes of muon interaction
with matter with high energy loss (including the knock-on electron production)
are treated as stochastic processes. The angular deviation and lateral
displacement of muons due to multiple scattering, as well as bremsstrahlung,
pair production and inelastic scattering are taken into account. The code has
been applied to obtain the energy distribution and angular and lateral
deviations of single muons at different depths underground. The muon
multiplicity distributions obtained with MUSIC and CORSIKA (Extensive Air
Shower simulation code) are also presented. We discuss the systematic
uncertainties of the results due to different muon bremsstrahlung
cross-sections.Comment: 24 pages, 11 Postscript figures, LaTeX, to be published in
Astroparticle Physic
Towards musical interaction : 'Schismatics' for e-violin and computer.
This paper discusses the evolution of the Max/MSP
patch used in schismatics (2007, rev. 2010) for electric
violin (Violectra) and computer, by composer Sam
Hayden in collaboration with violinist Mieko Kanno.
schismatics involves a standard performance paradigm
of a fixed notated part for the e-violin with sonically unfixed
live computer processing. Hayden was unsatisfied
with the early version of the piece: the use of attack
detection on the live e-violin playing to trigger stochastic
processes led to an essentially reactive behaviour in the
computer, resulting in a somewhat predictable one-toone
sonic relationship between them. It demonstrated
little internal relationship between the two beyond an
initial e-violin ‘action’ causing a computer ‘event’. The
revisions in 2010, enabled by an AHRC Practice-Led
research award, aimed to achieve 1) a more interactive
performance situation and 2) a subtler and more
‘musical’ relationship between live and processed
sounds. This was realised through the introduction of
sound analysis objects, in particular machine listening
and learning techniques developed by Nick Collins. One
aspect of the programming was the mapping of analysis
data to synthesis parameters, enabling the computer
transformations of the e-violin to be directly related to
Kanno’s interpretation of the piece in performance
The Art of Engaging: Implications for Computer Music Systems
The art of engaging with computer music systems is multifaceted. This paper will provide an overview of the issues of interface between musician and computer, cognitive aspects of engagement as involvement, and metaphysical understandings of engagement as proximity. Finally, this paper will examine implications for the design of computer music systems when these issues are taken into account
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