Perceptual Continuity and Naturalness of Expressive Strength in Singing Voices Based on Speech Morphing

This paper experimentally shows the importance of perceptual continuity of the expressive strength in vocal timbre for natural change in vocal expression. In order to synthesize various and continuous expressive strengths with vocal timbre, we investigated gradually changing expressions by applying the STRAIGHT speech morphing algorithm to singing voices. Here, a singing voice without expression is used as the base of morphing, and singing voices with three different expressions are used as the target. Through statistical analyses of perceptual evaluations, we confirmed that the proposed morphing algorithm provides perceptual continuity of vocal timbre. Our results showed the following: (i) gradual strengths in absolute evaluations, and (ii) a perceptually linear strength provided by the calculation of corrected intervals of the morph ratio by the inverse (reciprocal) function of an equation that approximates the perceptual strength. Finally, we concluded that applying continuity was highly effective for achieving perceptual naturalness, judging from the results showing that (iii) our gradual transformation method can perform well for perceived naturalness

Recorders and electronics: an introduction to the performance of electroacoustic music

Abstract The development of the electroacoustic genre has presented modern recorder players with a myriad of new and exciting repertoire, but many acoustic musicians are reluctant to explore these new works due to the barriers of technology. Many different electronic devices are used in composition and performance, and this can be daunting for a performer with no previous experience in the field. This resource is designed to assist the performer in the transition from acoustic to electroacoustic performer, and aims to reach performers and teachers of the recorder to encourage more performances of works in this exciting genre. This thesis is primarily of interest to recorder players, but is also useful for composers interested in using recorders in an electroacoustic context. It examines aspects of the recorder which make the instrument particularly well suited to the electroacoustic genre, including acoustics and timbre shifting potential of recorders, and provides information about some compositional ideas which are relevant to the performer. An understanding of the importance of audience perception and the expression of gesture and texture in the electroacoustic genre creates a more sensitive performance, where the performer is aware of their role within the context of the music. A discussion of repertoire is arranged in a progression of least to most complicated electronics; this is to assist the performer in learning to use various electronic devices in performance. All recorders and electronics required for performance of selected works are described in relation to each piece, and performance notes are included as well. This knowledge can be applied to the performance of other electroacoustic works, and it is hoped the thesis will encourage performers and composers to collaborate in the production of new works to contribute to the huge body of electroacoustic repertoire for recorders

Recorders and electronics: an introduction to the performance of electroacoustic music

Abstract The development of the electroacoustic genre has presented modern recorder players with a myriad of new and exciting repertoire, but many acoustic musicians are reluctant to explore these new works due to the barriers of technology. Many different electronic devices are used in composition and performance, and this can be daunting for a performer with no previous experience in the field. This resource is designed to assist the performer in the transition from acoustic to electroacoustic performer, and aims to reach performers and teachers of the recorder to encourage more performances of works in this exciting genre. This thesis is primarily of interest to recorder players, but is also useful for composers interested in using recorders in an electroacoustic context. It examines aspects of the recorder which make the instrument particularly well suited to the electroacoustic genre, including acoustics and timbre shifting potential of recorders, and provides information about some compositional ideas which are relevant to the performer. An understanding of the importance of audience perception and the expression of gesture and texture in the electroacoustic genre creates a more sensitive performance, where the performer is aware of their role within the context of the music. A discussion of repertoire is arranged in a progression of least to most complicated electronics; this is to assist the performer in learning to use various electronic devices in performance. All recorders and electronics required for performance of selected works are described in relation to each piece, and performance notes are included as well. This knowledge can be applied to the performance of other electroacoustic works, and it is hoped the thesis will encourage performers and composers to collaborate in the production of new works to contribute to the huge body of electroacoustic repertoire for recorders

Currents of exchange: HEAD THROAT GUTS the sounding structures of the body in experimental voice practice.

Throughout this Masters research paper and practice I have placed the sounding body in different experimental contexts including live, event-based performances, sound technologies, and installation. My research specifically explores how the human voice sits in a body; how it is used and practiced to produce sound, and projected out to be placed elsewhere. During these moments the body undergoes physical challenges linked to the architecture and technology of a space. Each performance is specific to a site and is devised accordingly. I have conducted a number of experiments and collaborative projects to define and place the sounding body into a contemporary art context. These discoveries have lead to parallel findings and have allowed for a continuous trajectory throughout the MFA degree. My particular focus of research has lead to the investigation to how live experimental performances alter an experience in an audience as opposed to a documented or mediated experience. When an audience is presented with a raw sounding body, I’m interested in how are they affected and how this experience translates from one person to another. Throughout this paper I analyse, discuss and exemplify six of my own live event based works alongside other artists practicing in a similar field and context to highlight the intrinsic bodily experience that is evident when observing and receiving a sounding body in performance

A Study in Effective Teaching Methods For Jazz Voice Technique In Higher Education

Academic study of jazz vocal styles is quickly becoming more commonplace and widely accepted at universities worldwide. Because this is a relatively new field as compared to Western classical styles, there are fewer educators who have substantial knowledge of vocal pedagogy specifically as it relates to jazz and Contemporary Commercial Music (CCM), resulting in a wide range of teaching approaches. Furthermore, many jazz voice teachers are tasked with the responsibility of educating students in improvisation, theory, arranging, and style in addition to their responsibility to teach technique. This dissertation defines necessary elements of vocal technique in jazz and evaluates the current pedagogical state of these elements through interviews with twenty experienced jazz voice educators. This study determines current trends in private jazz voice instruction as they relate to vocal technique, examines effective curricular practices that succeed in training students in jazz voice mechanics, and identifies existing established pedagogical practices that can be applied to jazz from other styles. Twenty vocal jazz pedagogues were interviewed regarding their background and training in jazz voice pedagogy, their teaching styles as they relate to technical aspects of the voice in private lessons, and vocal technique resources they utilize in their teaching. The qualitative study is intended to continue a discussion about the most effective ways that jazz instructors can continue to help their students obtain the best tools to further their vocal abilities and level of artistry

2D to 3D non photo realistic character transformation and morphing (computer animation)

This research concerns the transformation and morphing between a full body 2D and 3D animated character. This practice based research will examine both technical and aesthetic techniques for enhancing morphing of animated characters. Stylized character transformations from A to B and from B to A, where details like facial expression, body motion, texture are to be expressively transformed aesthetically in a narrated story. Currently it is hard to separate 2D and 3D animation in a mix media usage. If we analyse and breakdown these graphical components, we could actually find a distinction as to how these 2D and 3D element increase the information level and complexity of storytelling. However, if we analyse it from character animation perspective, instance transformation of a digital character from 2D to 3D is not possible without post production techniques, pre-define 3D information such as blend shape or complex geometry data and mathematic calculation. There are mainly two elements to this investigation. The primary element is the design system of such stylizes character in 2D and 3D. Currently many design systems (morphing software) are based on photo realistic artifacts such as Fanta Morph, Morph Buster, Morpheus, Fun Morph and etc. This investigation will focus on non photo realistic character morphing. In seeking to define the targeted non photo realistic, illustrated stylize 2D and 3D character, I am examining the advantages and disadvantages of a number of 2D illustrated characters in respect to 3D morphing. This investigation could also help to analyse the efficiency and limitation of such 2D and 3D non photo realistic character design and transformation where broader techniques will be explored. The secondary element is the theoretical investigation by relating how such artistic and technical morphing idea is being used in past and today films/games. In a narrated story contain character that acts upon a starting question or situation and reacts on the event. The gap between his aim and the result of his acting, the gap between his vision and his personality creates the dramatic tension. I intend to distinguish the possibility of identifying a transitional process of voice between narrator and morphing character, while also illustrating, through visual terminology, the varying fluctuations between two speaking agents. I intend to prove and insert sample demonstrating “morphing” is not just visually important but have direct impact on storytelling

Metaphors for a Change:

Two premises guide this paper: first, music education, like all educational enterprises, is shaped by its grounding metaphors which affect its aims, pedagogies, curriculum, and administration. Second, music education, like all educational endeavors, is increasingly encouraged to address issues of social justice and contribute in real ways to the benefit of the community through positive social change. In this conversation, the authors, each of whom have written about metaphors and social change, build on these two premises to explore ways of bringing together the two lines of inquiry in search of metaphors that would guide an education for social change. In their dialogue they propose four metaphors but acknowledge that these alone do not address the full array of meanings a metaphor for social change would need to capture

Ballads and Ohms: Vocal traditions, electronics and compositional strategies

This commentary presents the research and ideas underlying the submitted portfolio of compositions. The core of the portfolio is the exploration of composition and performance methods for transforming traditional vocal folk music using the tools and aesthetics of contemporary electroacoustic and experimental music. The process also led to a wider compositional enquiry into the connections between language and music, between technology and performance, and between scores, encryption and performance. Additionally, extended voice techniques, audio processing, information theory and encryption form a set of nodes that have expressed themselves in various combinations resulting in a portfolio that includes vocal and instrumental, electroacoustic and acoustic music. The submitted works have been created employing bespoke use of technology, selfimposed restriction on real-time voice performance and applying encryption methodology to music and text. This commentary examines the submitted works from three perspectives: the use of voice, of language and of technology. It also discusses the music in the context of perceptual and cognitive discourses about the nature of voice

CaRo 2.0: an interactive system for expressive music rendering

In several application contexts in multimedia field (educational, extreme gaming), the interaction with the user requests that system is able to render music in expressive way. The expressiveness is the added value of a performance and is part of the reason that music is interesting to listen. Understanding and modeling expressive content communication is important for many engineering applications in information technology (e.g., Music Information Retrieval, as well as several applications in the affective computing field). In this paper, we present an original approach to modify the expressive content of a performance in a gradual way, applying a smooth morphing among performances with different expressive content in order to adapt the audio expressive character to the user's desires. The system won the final stage of Rencon 2011. This performance RENdering CONtest is a research project that organizes contests for computer systems generating expressive musical performances