Acoustic modeling using the digital waveguide mesh

The digital waveguide mesh has been an active area of music acoustics research for over ten years. Although founded in 1-D digital waveguide modeling, the principles on which it is based are not new to researchers grounded in numerical simulation, FDTD methods, electromagnetic simulation, etc. This article has attempted to provide a considerable review of how the DWM has been applied to acoustic modeling and sound synthesis problems, including new 2-D object synthesis and an overview of recent research activities in articulatory vocal tract modeling, RIR synthesis, and reverberation simulation. The extensive, although not by any means exhaustive, list of references indicates that though the DWM may have parallels in other disciplines, it still offers something new in the field of acoustic simulation and sound synth

The Speech-Language Interface in the Spoken Language Translator

The Spoken Language Translator is a prototype for practically useful systems capable of translating continuous spoken language within restricted domains. The prototype system translates air travel (ATIS) queries from spoken English to spoken Swedish and to French. It is constructed, with as few modifications as possible, from existing pieces of speech and language processing software. The speech recognizer and language understander are connected by a fairly conventional pipelined N-best interface. This paper focuses on the ways in which the language processor makes intelligent use of the sentence hypotheses delivered by the recognizer. These ways include (1) producing modified hypotheses to reflect the possible presence of repairs in the uttered word sequence; (2) fast parsing with a version of the grammar automatically specialized to the more frequent constructions in the training corpus; and (3) allowing syntactic and semantic factors to interact with acoustic ones in the choice of a meaning structure for translation, so that the acoustically preferred hypothesis is not always selected even if it is within linguistic coverage.Comment: 9 pages, LaTeX. Published: Proceedings of TWLT-8, December 199

Of epistemic tools: musical instruments as cognitive extensions

This paper explores the differences in the design and performance of acoustic and new digital musical instruments, arguing that with the latter there is an increased encapsulation of musical theory. The point of departure is the phenomenology of musical instruments, which leads to the exploration of designed artefacts as extensions of human cognition – as scaffolding onto which we delegate parts of our cognitive processes. The paper succinctly emphasises the pronounced epistemic dimension of digital instruments when compared to acoustic instruments. Through the analysis of material epistemologies it is possible to describe the digital instrument as an epistemic tool: a designed tool with such a high degree of symbolic pertinence that it becomes a system of knowledge and thinking in its own terms. In conclusion, the paper rounds up the phenomenological and epistemological arguments, and points at issues in the design of digital musical instruments that are germane due to their strong aesthetic implications for musical culture

Systems, interactions and macrotheory

A significant proportion of early HCI research was guided by one very clear vision: that the existing theory base in psychology and cognitive science could be developed to yield engineering tools for use in the interdisciplinary context of HCI design. While interface technologies and heuristic methods for behavioral evaluation have rapidly advanced in both capability and breadth of application, progress toward deeper theory has been modest, and some now believe it to be unnecessary. A case is presented for developing new forms of theory, based around generic “systems of interactors.” An overlapping, layered structure of macro- and microtheories could then serve an explanatory role, and could also bind together contributions from the different disciplines. Novel routes to formalizing and applying such theories provide a host of interesting and tractable problems for future basic research in HCI

The ixiQuarks: merging code and GUI in one creative space

This paper reports on ixiQuarks; an environment of instruments and effects that is built on top of the audio programming language SuperCollider. The rationale of these instruments is to explore alternative ways of designing musical interaction in screen-based software, and investigate how semiotics in interface design affects the musical output. The ixiQuarks are part of external libraries available to SuperCollider through the Quarks system. They are software instruments based on a non- realist design ideology that rejects the simulation of acoustic instruments or music hardware and focuses on experimentation at the level of musical interaction. In this environment we try to merge the graphical with the textual in the same instruments, allowing the user to reprogram and change parts of them in runtime. After a short introduction to SuperCollider and the Quark system, we will describe the ixiQuarks and the philosophical basis of their design. We conclude by looking at how they can be seen as epistemic tools that influence the musician in a complex hermeneutic circle of interpretation and signification