SaWerkraut : Sintetizador VST implementado em Csound com o uso do framework Cabbage

Monografia (graduação)—Universidade de Brasília, Instituto de Ciências Exatas, Departamento de Ciência da Computação, 2016.Na produção sonora, o uso de instrumentos musicais virtuais fazem parte do cotidiano de compositores e sound designers. Esses instrumentos são executados na maioria dos casos em um dos estúdios de áudio virtuais existentes, softwares denominados DAWs (Digital Audio Workstation ), que tem o papel de ser uma ferramenta completa na área de criação sonora. Com um conhecimento básico de programação e sinal digital, é possível utilizar linguagens de programação e sistemas voltados a áudio, com o objetivo de se desenvolver novos instrumentos virtuais ou efeitos sonoros. O Csound faz parte dessa categoria de sistemas, e recentemente com o aparecimento do framework Cabbage para ele, fez-se possível a utilização dos instrumentos desenvolvidos no Csound em DAWs, com interface grá ca personalizável. É nesse contexto que esta monogra a apresenta o instrumento musical virtual SaWer- kraut, um sintetizador com uma arquitetura envolvendo os tipos de síntese aditiva, subtrativa e FM. Foi desenvolvido na linguagem Csound com o uso do framework Cabbage, para ser executado em DAWs como um instrumento virtual. O projeto tem como um dos focos as características e possibilidades sonoras do instrumento, e a compatibilidade do conjunto CSound/Cabbage no ambiente do DAW. Uma demonstração é realizada em uma composição utilizando diversas instâncias do SaWerkraut no DAW FL Studio.In sound production, the use of virtual musical instruments are part of the daily lives of composers and sound designers. These instruments are performed in most cases on one of the existent virtual audio studios, software called DAWs (Digital Audio Workstation), which have the role of being a complete tool in the area of sound creation. With a basic knowledge of programming and digital signal, it is possible to use audio dedicated programming languages and systems in order to develop new virtual instruments or sound e ects. Csound is a part of that category of systems, and recently with the appearance of the Cabbage framework, the use of instruments developed in Csound with customizable GUI on DAWs became possible. In this context, this monograph presents the SaWerkraut virtual musical instrument, a synthesizer with an architecture involving additive, subtractive and FM synthesis types. It was developed in the Csound language using the Cabbage framework, to run in DAWs as a virtual instrument. The project has one of its focuses the features and sonic possibilities of the instrument, and the compatibility of the CSound/Cabbage pair on a DAW environment. A demonstration is provided through a musical composition using multiples instances of SaWerkraut in the DAW FL Studio

How to Raise a Robot - A Case for Neuro-Symbolic AI in Constrained Task Planning for Humanoid Assistive Robots

Humanoid robots will be able to assist humans in their daily life, in particular due to their versatile action capabilities. However, while these robots need a certain degree of autonomy to learn and explore, they also should respect various constraints, for access control and beyond. We explore the novel field of incorporating privacy, security, and access control constraints with robot task planning approaches. We report preliminary results on the classical symbolic approach, deep-learned neural networks, and modern ideas using large language models as knowledge base. From analyzing their trade-offs, we conclude that a hybrid approach is necessary, and thereby present a new use case for the emerging field of neuro-symbolic artificial intelligence

Creative Practice for Classical String Players with Live Looping

In recent years, string pedagogy discussions have highlighted the greater need for creative practice as classical string players. Since the second half of the nineteenth century, string methods have shifted towards a limited scope of improvisatory techniques, parallelling the decline of improvisation in Western classical music performance practices. This thesis explores live looping as a practice tool to facilitate learning concepts and help string players develop musicianship skills including improvisation, participate in non-classical genres, and explore their creative voices. Examining the results of string educators that incorporate live looping into their own teaching reveals the tool’s effectiveness in bridging curricula standards with opportunities for avenues of creativity and endless experimentation. Ultimately, live looping can help string players learn a concept more deeply, employing scaffolding techniques to practice abstract models and thus relying less on any specific example such as learning from sheet music. This encourages a broader musical foundation enabling classical string players to feel more equipped in areas beyond their comfort zones and participate in and enjoy a wider range of musically fulfilling experiences

Tractors and Genres: Knowledge-Making and Identity Formation in an Agricultural Community

This research examines the history of a small Florida agricultural community over the course of the twentieth century from a rhetorical perspective in order to understand the technological and communicative transitions that governed the development of American agricultural production. By examining archival and oral histories, this research will add to our understandings of how written and oral communications temper the relationships and social situations of an agricultural community, including the knowledge-making and technological adaptation resulting from communications within the community and with outside institutions and entities. Agricultural villages are not isolated entities, but rather sites of multiple rhetorical situations, and farmers do not farm alone, but inside an ecosystem of networked knowledges, practices, and traditions. Thus, the history of a singular farming community may serve as a rhetorical microcosm of modern American agriculture\u27s evolution over the course of the twentieth century, and provide some mindfulness concerning the social, technological, and natural ecologies that act and interact within modern farming communities. This dissertation will use rhetorical genre theory and ideas of local literacies to examine the written and oral discourses that run through these ecologies for the purpose of tracing the relationships between the sponsors of agricultural ideas and technologies and the local farmers who interpreted, employed, and modified them. In addition, this project purports to add to digital history-making research through the construction of an historical archival website to which community members can add their voices. The Samsula Historical Archive creates an online nexus where community members can document, organize, and preserve the history of the community, offering a portal supporting multiple narratives and perspectives. Each family has its own stories and perspectives on historical happenings; by bringing these together in one databased location, the layers and interconnections will become clearer and perhaps stimulate further memories and insights. A discussion of the rhetorical choices faced in constructing such an artifact may also help future researchers embarking on such a project

Portfolio of Electroacoustic Compositions with Commentaries

This portfolio consists of electroacoustic compositions which were primarily realised through the use of corporeally informed compositional practices. The manner in which a composer interacts with the compositional tools and musical materials at their disposal is a defining factor in the creation of musical works. Although the use of computers in the practice of electroacoustic composition has extended the range of sonic possibilities afforded to composers, it has also had a negative impact on the level of physical interaction that composers have with these musical materials. This thesis is an investigation into the use of mediation technologies with the aim of circumventing issues relating to the physical performance of electroacoustic music. This line of inquiry has led me to experiment with embedded computers, wearable technologies, and a range of various sensors. The specific tools that were used in the creation of the pieces within this portfolio are examined in detail within this thesis. I also provide commentaries and analysis of the eleven electroacoustic works which comprise this portfolio, describing the thought processes that led to their inception, the materials used in their creation, and the tools and techniques that I employed throughout the compositional process

Sonic Interactions in Virtual Environments

This open access book tackles the design of 3D spatial interactions in an audio-centered and audio-first perspective, providing the fundamental notions related to the creation and evaluation of immersive sonic experiences. The key elements that enhance the sensation of place in a virtual environment (VE) are: Immersive audio: the computational aspects of the acoustical-space properties of Virutal Reality (VR) technologies Sonic interaction: the human-computer interplay through auditory feedback in VE VR systems: naturally support multimodal integration, impacting different application domains Sonic Interactions in Virtual Environments will feature state-of-the-art research on real-time auralization, sonic interaction design in VR, quality of the experience in multimodal scenarios, and applications. Contributors and editors include interdisciplinary experts from the fields of computer science, engineering, acoustics, psychology, design, humanities, and beyond. Their mission is to shape an emerging new field of study at the intersection of sonic interaction design and immersive media, embracing an archipelago of existing research spread in different audio communities and to increase among the VR communities, researchers, and practitioners, the awareness of the importance of sonic elements when designing immersive environments

Sonic interactions in virtual environments

This book tackles the design of 3D spatial interactions in an audio-centered and audio-first perspective, providing the fundamental notions related to the creation and evaluation of immersive sonic experiences. The key elements that enhance the sensation of place in a virtual environment (VE) are: Immersive audio: the computational aspects of the acoustical-space properties of Virutal Reality (VR) technologies Sonic interaction: the human-computer interplay through auditory feedback in VE VR systems: naturally support multimodal integration, impacting different application domains Sonic Interactions in Virtual Environments will feature state-of-the-art research on real-time auralization, sonic interaction design in VR, quality of the experience in multimodal scenarios, and applications. Contributors and editors include interdisciplinary experts from the fields of computer science, engineering, acoustics, psychology, design, humanities, and beyond. Their mission is to shape an emerging new field of study at the intersection of sonic interaction design and immersive media, embracing an archipelago of existing research spread in different audio communities and to increase among the VR communities, researchers, and practitioners, the awareness of the importance of sonic elements when designing immersive environments