187 research outputs found
Word2vec embeddings for playlist recommendation
Treballs Finals de Grau d'Enginyeria InformĂ tica, Facultat de MatemĂ tiques, Universitat de Barcelona, Any: 2018, Director: Santi SeguĂ Mesquida i Guillem Pascual i Guinovart[en] We present an ML approach to musical playlist recommendation. Using the algorithm Word2Vec, a shallow two-layer neural network trained to reconstruct linguistic context of words, we have created several embeddings using tracks and playlist titles as words of an artificial vocabulary. Some experiments with different trade-offs between the diversity and the popularity of songs in playlists are analyzed and discussed. By means of combining a tracks embedding and a titles embedding our recommender has reached 19 percent of accuracy. Our model has been created and trained using the MPD (million playlists dataset) given by Spotify as part of the RecSys Challenge 2018
The Structural and Aesthetic Capacity of Sonic Matter: Remarks on Sonic Dramaturgy
This research study focuses on my compositional practice and its related creative strategies. It describes a series of ideas relevant to the structural and aesthetic capacity of sonic matter and the notion of sonic dramaturgy. Its thread of enquiry is based upon transformational logic and the inner nature of sound. The ontology of sound matter, its intrinsic nature and perceptual and cognitive effects, is of primary relevance. This can be contrasted with a permutational approach â the ars combinatoria â that has prevailed in Western Music after the Renaissance.
There are four boundaries in which my conceptual compass operates:
1. The intrinsic logic of the sound-material
2. Form as organisation immanent to sonic matter
3. Form as Sonic Dramaturgy
4. The relevance of listenersâ perceptual and cognitive capacities.
It is easily understandable that an empirical and experiential attitude manifests itself from the above. My aim is to examine in practice, that encounter and that creative friction which occurs between sound-matter and the human mind, and as a result a priori schemas have been avoided
Proceedings of the 7th Sound and Music Computing Conference
Proceedings of the SMC2010 - 7th Sound and Music Computing Conference, July 21st - July 24th 2010
Proceedings of the 19th Sound and Music Computing Conference
Proceedings of the 19th Sound and Music Computing Conference - June 5-12, 2022 - Saint-Ătienne (France).
https://smc22.grame.f
Dialogic coding: a performance practice for co-creative computer improvisation
This research project explores Dialogic Coding â a performance
practice situated within the field of live computer music which works
towards a dialogic relationship with the computer as a programmable
musical instrument.
The writing articulates a Practice-as-Research (PaR) inquiry that
places my practice within specific contextual, analytical and
philosophical frameworks. The point of departure is the assumption
that following the concept of dialogue a more reflexive way of
performing music with a computer becomes possible. This approach
may produce innovative results through transformations of musical
ideas, embodied interactions as well as the performer's self-concept
within a situation of improvised group performance. Dialogic Coding
employs the concept of nontriviality to create an independent but at
the same time programmable musical agent â the apparatus â which
so becomes a co-creator of the improvised music.
As a context for Dialogic Coding practice serve other dialogic forms
of music making such as free improvised music as well as dynamic
performances of programming found in live coding practice. A
dialogic approach in music performance is based on listening and the
ability to speak one's voice in response to the situation. Here,
listening is understood beyond the auditory domain on the level of
abstract thinking and physical interaction (interface affordance).
This research presents a first-hand account of a computer
performance praxis and thus makes a contribution to academic
knowledge. For this it makes some implicit or tacit 'knowings'
contained in the practice accessible for an outside community
through this writing. Dialogic Coding practice was developed through
participating in free improvised music 'sessions' with other musicians
as well as composing pieces in program code with which I then
performed live (solo and group). This writing contextualizes the
developed practice in a historic lineage, discusses it within the
conceptual framework of dialogism and delineated how a dialogic
approach fosters creativity, learning, surprise and flow. As a
conclusion I summarise the ethical dimension of Dialogic Coding as a
form of human-computer interaction (HCI)
The structural and aesthetic capacity of sonic matter : remarks on sonic dramaturgy
This research study focuses on my compositional practice and its related creative strategies. It describes a series of ideas relevant to the structural and aesthetic capacity of sonic matter and the notion of sonic dramaturgy. Its thread of enquiry is based upon transformational logic and the inner nature of sound. The ontology of sound matter, its intrinsic nature and perceptual and cognitive effects, is of primary relevance. This can be contrasted with a permutational approach â the ars combinatoria â that has prevailed in Western Music after the Renaissance. There are four boundaries in which my conceptual compass operates: 1. The intrinsic logic of the sound-material 2. Form as organisation immanent to sonic matter 3. Form as Sonic Dramaturgy 4. The relevance of listenersâ perceptual and cognitive capacities. It is easily understandable that an empirical and experiential attitude manifests itself from the above. My aim is to examine in practice, that encounter and that creative friction which occurs between sound-matter and the human mind, and as a result a priori schemas have been avoided.EThOS - Electronic Theses Online ServiceGBUnited Kingdo
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