688 research outputs found
Studying soap operas
This present issue of Communication Research Trends will focus on research about soap operas published in the last 15 years, that is, from the year 2000 to the present. This more recent research shows one key difference: the interest in soap opera has become worldwide. This appears in the programs that people listen to or watch and in communication researchers who themselves come from different countries
Computational methods for percussion music analysis : the afro-uruguayan candombe drumming as a case study
Most of the research conducted on information technologies applied to music has been largely limited to a few mainstream styles of the so-called `Western' music. The resulting tools often do not generalize properly or cannot be easily extended to other music traditions. So, culture-specific approaches have been recently proposed as a way to build richer and more general computational models for music. This thesis work aims at contributing to the computer-aided study of rhythm, with the focus on percussion music and in the search of appropriate solutions from a culture specifc perspective by considering the Afro-Uruguayan
candombe drumming as a case study. This is mainly motivated by its challenging rhythmic characteristics, troublesome for most of the existing analysis methods. In this way, it attempts to push ahead the boundaries of current music technologies. The thesis o ers an overview of the historical, social and cultural context in which candombe drumming is embedded, along with a description of the rhythm. One of the specific contributions of the thesis is the creation of annotated datasets of candombe drumming suitable for computational rhythm analysis. Performances were purposely recorded, and received annotations of metrical information, location of onsets, and sections. A dataset of annotated recordings for beat and downbeat tracking was publicly released, and an audio-visual dataset of performances was obtained, which serves both documentary and research purposes. Part of the dissertation focused on the discovery and analysis of rhythmic patterns from audio recordings. A representation in the form of a map of rhythmic patterns based on spectral features was devised. The type of analyses that can be conducted with the proposed methods is illustrated with some experiments. The dissertation also systematically approached (to the best of our knowledge, for the first time) the study and characterization of the micro-rhythmical properties of candombe drumming. The ndings suggest that micro-timing is a structural component of the rhythm, producing a sort of characteristic "swing". The rest of the dissertation was devoted to the automatic inference and tracking of the metric structure from audio recordings. A supervised Bayesian scheme for rhythmic pattern tracking was proposed, of which a software implementation was publicly released. The results give additional evidence of the generalizability of the Bayesian approach to complex rhythms from diferent music traditions. Finally, the downbeat detection task was formulated as a data compression problem. This resulted in a novel method that proved to be e ective for a large part of the dataset and opens up some interesting threads for future research.La mayoría de la investigación realizada en tecnologías de la información aplicadas a la música se ha limitado en gran medida a algunos estilos particulares de la así llamada música `occidental'. Las herramientas resultantes a menudo no generalizan adecuadamente o no se pueden extender fácilmente a otras tradiciones musicales. Por lo tanto, recientemente se han propuesto enfoques culturalmente específicos como forma de construir modelos computacionales más ricos y más generales. Esta tesis tiene como objetivo contribuir al estudio del ritmo asistido por computadora, desde una perspectiva cultural específica, considerando el candombe Afro-Uruguayo como caso de estudio. Esto está motivado principalmente por sus características rítmicas, problemáticas para la mayoría de los métodos de análisis existentes. Así , intenta superar los límites actuales de estas tecnologías. La tesis ofrece una visión general del contexto histórico, social y cultural en el que el candombe está integrado, junto con una descripción de su ritmo. Una de las contribuciones específicas de la tesis es la creación de conjuntos de datos adecuados para el análisis computacional del ritmo. Se llevaron adelante sesiones de grabación y se generaron anotaciones de información métrica, ubicación de eventos y secciones. Se disponibilizó públicamente un conjunto de grabaciones anotadas para el seguimiento de pulso e inicio de compás, y se generó un registro audiovisual que sirve tanto para fines documentales como de investigación. Parte de la tesis se centró en descubrir y analizar patrones rítmicos a partir de grabaciones de audio. Se diseñó una representación en forma de mapa de patrones rítmicos basada en características espectrales. El tipo de análisis que se puede realizar con los métodos propuestos se ilustra con algunos experimentos. La tesis también abordó de forma sistemática (y por primera vez) el estudio y la caracterización de las propiedades micro rítmicas del candombe. Los resultados sugieren que las micro desviaciones temporales son un componente estructural del ritmo, dando lugar a una especie de "swing" característico. El resto de la tesis se dedicó a la inferencia automática de la estructura métrica a partir de grabaciones de audio. Se propuso un esquema Bayesiano supervisado para el seguimiento de patrones rítmicos, del cual se disponibilizó públicamente una implementación de software. Los resultados dan evidencia adicional de la capacidad de generalización del enfoque Bayesiano a ritmos complejos. Por último, la detección de inicio de compás se formuló como un problema de compresión de datos. Esto resultó en un método novedoso que demostró ser efectivo para una buena parte de los datos y abre varias líneas de investigación
Automated manipulation of musical grammars to support episodic interactive experiences
Music is used to enhance the experience of participants and visitors in a range of settings including theatre, film, video games, installations and theme parks. These experiences may be interactive, contrastingly episodic and with variable duration. Hence, the musical accompaniment needs to be dynamic and to transition between contrasting music passages. In these contexts, computer generation of music may be necessary for practical reasons including distribution and cost. Automated and dynamic composition algorithms exist but are not well-suited to a highly interactive episodic context owing to transition-related problems including discontinuity, abruptness, extended repetitiveness and lack of musical granularity and musical form. Addressing these problems requires algorithms capable of reacting to participant behaviour and episodic change in order to generate formic music that is continuous and coherent during transitions. This thesis presents the Form-Aware Transitioning and Recovering Algorithm (FATRA) for realtime, adaptive, form-aware music generation to provide continuous musical accompaniment in episodic context. FATRA combines stochastic grammar adaptation and grammar merging in real time. The Form-Aware Transition Engine (FATE) implementation of FATRA estimates the time-occurrence of upcoming narrative transitions and generates a harmonic sequence as narrative accompaniment with a focus on coherent, form-aware music transitioning between music passages of contrasting character. Using FATE, FATRA has been evaluated in three perceptual user studies: An audioaugmented real museum experience, a computer-simulated museum experience and a music-focused online study detached from narrative. Music transitions of FATRA were benchmarked against common approaches of the video game industry, i.e. crossfading and direct transitions. The participants were overall content with the music of FATE during their experience. Transitions of FATE were significantly favoured against the crossfading benchmark and competitive against the direct transitions benchmark, without statistical significance for the latter comparison. In addition, technical evaluation demonstrated capabilities of FATRA including form generation, repetitiveness avoidance and style/form recovery in case of falsely predicted narrative transitions. Technical results along with perceptual preference and competitiveness against the benchmark approaches are deemed as positive and the structural advantages of FATRA, including form-aware transitioning, carry considerable potential for future research
Mashing through the Conventions: Convergence of Popular and Classical Music in the Works of The Piano Guys
This dissertation is dedicated to examining the symbiosis between popular music and Western classical music in classical/popular mashups––a new style within the classical crossover genre. The research features the works of The Piano Guys, a contemporary ensemble that combines classical crossover characteristics and the techniques from modern sample-based styles to reconceptualize and reuse classical and popular works. This fusion demonstrates a new approach to presenting multi-genre works, forming a separate musical and cultural niche for this creative practice.
This dissertation consists of three chapters. The first chapter is further divided into two thematic discourses: genre and authorship. The research draws on Eric Drott’s (2013) position that contemporary genre definition is a heterogeneous product of technological and cultural shifts in creation, production and presentation of music. Following Thomas Johnson’s (2018) research on genre in post-millennial popular music, the first part of the chapter traces chronological developments of genre categorizations and attempts to place classical/popular mashups as a separate style within the contemporary genre framework. The second part investigates the transformations and the current state of authorship attributions in popular music and illustrates how group creativity and consumer participation prompt multiple authorial distributions in classical/popular mashups.
Applying Topic Theory established by Robert Hatten (1985) and Kofi Agawu (1992) and concepts of intertexuality developed by Serge Lacasse (2000, 2018) to the works of The Piano Guys and other musical works of the same style, the second chapter presents a comparative analysis, revealing a multi-layered structure of signification different from the intertextual and topical relationships found in the works of other styles.
In the third chapter the detailed exploration of three works by The Piano Guys places these methodological theories in dialogue with formal analysis to draw out a series of quantifiable technical, musical and interpretive characteristics that differentiate “classically originated” mashups from similar practices in other genres
2017-2018 Course Catalog
2017-2018 Course Catalo
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