Some Compositional Approaches in the Practice of live-electronic music from the perspective of technique and technological tools

Tools and their technical frameworks impact directly the compositional processes, thus, placing itself as an element of fundamental importance, either in the conception of poetic ideas and images or in the technical realization of a work. In this sense, the present work aims to discuss some aspects of the correlation between technics, poetics, aesthetics, and musical writing in the context of interactive/live-electronics music. This takes place from a dialogue between the ideas of authors and composers, such as Gilbert Simondon, Helmut Lachenmann, and Pierre Boulez about technical frameworks and their implications in musical practice. Thus, we aim to discuss the interrelation between technological devices, musical elements, and poetic images, which are established within the compositional process. These reflections will serve as a theoretical field to introduce and describe some characteristics about compositional thinking of two-piece: "Espasmos" (2017), for trombone and live-electronics, by Vinicius Cesar, and "Caminhos que Levam" (2018), for clarinet and live-electronics, by Thales Roel

Creating music by listening

Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (p. 127-139).Machines have the power and potential to make expressive music on their own. This thesis aims to computationally model the process of creating music using experience from listening to examples. Our unbiased signal-based solution models the life cycle of listening, composing, and performing, turning the machine into an active musician, instead of simply an instrument. We accomplish this through an analysis-synthesis technique by combined perceptual and structural modeling of the musical surface, which leads to a minimal data representation. We introduce a music cognition framework that results from the interaction of psychoacoustically grounded causal listening, a time-lag embedded feature representation, and perceptual similarity clustering. Our bottom-up analysis intends to be generic and uniform by recursively revealing metrical hierarchies and structures of pitch, rhythm, and timbre. Training is suggested for top-down un-biased supervision, and is demonstrated with the prediction of downbeat. This musical intelligence enables a range of original manipulations including song alignment, music restoration, cross-synthesis or song morphing, and ultimately the synthesis of original pieces.by Tristan Jehan.Ph.D

Reimagining Speech: A Scoping Review of Deep Learning-Powered Voice Conversion

Research on deep learning-powered voice conversion (VC) in speech-to-speech scenarios is getting increasingly popular. Although many of the works in the field of voice conversion share a common global pipeline, there is a considerable diversity in the underlying structures, methods, and neural sub-blocks used across research efforts. Thus, obtaining a comprehensive understanding of the reasons behind the choice of the different methods in the voice conversion pipeline can be challenging, and the actual hurdles in the proposed solutions are often unclear. To shed light on these aspects, this paper presents a scoping review that explores the use of deep learning in speech analysis, synthesis, and disentangled speech representation learning within modern voice conversion systems. We screened 621 publications from more than 38 different venues between the years 2017 and 2023, followed by an in-depth review of a final database consisting of 123 eligible studies. Based on the review, we summarise the most frequently used approaches to voice conversion based on deep learning and highlight common pitfalls within the community. Lastly, we condense the knowledge gathered, identify main challenges and provide recommendations for future research directions

Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus

Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus – The unfolding of the concept of dramaturgy and the problematics of contemporary choreography are, today, a vast and diverse field of research, bearing numerous disclosures that lead to their reciprocal implication. Apart from that, dance and music share significant complementary ties allowing for the consideration of a common compositional inquiry. Reflecting on the compositional processes of dance and music, this article cross-examines the collaboration between choreographers and composers, integrating the incidence of dramaturgy in the strategies of choreographic and musical composition

The Possibilities of Novel Formal Structures through Computer Controlled Live Performance

Computer controlled performance opens a range of novel structural possibilities. This paper explores the mechanisms and ramifications of this approach, and its potential to expand the repertoire of formal structures available to the composer. Traditional and computer coordinated performance models are compared. Modes of computer control, permutation, transformation and generation are discussed and their implications are evaluated. The range of implications of this approach to the performance environment are given together with illustrations from the author’s own work

3D Composer: A Software for Micro-composition

The aim of this compositional research project is to find new paradigms of expression and representation of musical information, supported by technology. This may further our understanding of how artistic intention materialises during the production of a musical work. A further aim is to create a software device, which will allow the user to generate, analyse and manipulate abstract musical information within a multi-dimensional environment. The main intent of this software and composition portfolio is to examine the process involved during the development of a compositional tool to verify how transformations applied to the conceptualisation of musical abstraction will affect musical outcome, and demonstrate how this transformational process would be useful in a creative context. This thesis suggests a reflection upon various technological and conceptual aspects within a dynamic multimedia framework. The discussion situates the artistic work of a composer within the technological sphere, and investigates the role of technology and its influences during the creative process. Notions of space are relocated in the scope of a personal compositional direction in order to develop a new framework for musical creation. The author establishes theoretical ramifications and suggests a definition for micro-composition. The main aspect focuses on the ability to establish a direct conceptual link between visual elements and their correlated musical output, ultimately leading to the design of a software called 3D-Composer, a tool for the visualisation of musical information as a means to assist composers to create works within a new methodological and conceptual realm. Of particular importance is the ability to transform musical structures in three-dimensional space, based on the geometric properties of micro-composition. The compositions Six Electroacoustic Studies and Dada 2009 display the use of the software. The formalisation process was derived from a transposition of influences of the early twentieth century avant-garde period, to a contemporary digital studio environment utilising new media and computer technologies for musical expression

A temporal framework for electroacoustic music exploration

The file attached to this record is the author's final peer reviewed version.Many aural analytical methods have been produced for electroacoustic music that focus on the identification of salient morphological features of the sounds. Doing so, they usually overlook the importance of time - a central aspect of music - sometimes by considering it as a simple compositional parameter. Instead, this article proposes a novel theoretical framework for electroacoustic music understanding by putting time and its cognitive representations during perception at the forefront. Two concepts are introduced to propose this alternative approach to electroacoustic music description: temporal directionality, which focuses on the sounds themselves, and temporal distancing, which focuses on the relations between sounds. Throughout the text, several musical examples are given to briefly exemplify how such concepts can be used in an explanatory context. Finally, polychrony is introduced, which aims to describe how electroacoustic composers play with the various cases of temporal directionality and distancing, and, in the process, actually weave time itself

Non-Standard Sound Synthesis with Dynamic Models

Full version unavailable due to 3rd party copyright restrictions.This Thesis proposes three main objectives: (i) to provide the concept of a new generalized non-standard synthesis model that would provide the framework for incorporating other non-standard synthesis approaches; (ii) to explore dynamic sound modeling through the application of new non-standard synthesis techniques and procedures; and (iii) to experiment with dynamic sound synthesis for the creation of novel sound objects. In order to achieve these objectives, this Thesis introduces a new paradigm for non-standard synthesis that is based in the algorithmic assemblage of minute wave segments to form sound waveforms. This paradigm is called Extended Waveform Segment Synthesis (EWSS) and incorporates a hierarchy of algorithmic models for the generation of microsound structures. The concepts of EWSS are illustrated with the development and presentation of a novel non-standard synthesis system, the Dynamic Waveform Segment Synthesis (DWSS). DWSS features and combines a variety of algorithmic models for direct synthesis generation: list generation and permutation, tendency masks, trigonometric functions, stochastic functions, chaotic functions and grammars. The core mechanism of DWSS is based in an extended application of Cellular Automata. The potential of the synthetic capabilities of DWSS is explored in a series of Case Studies where a number of sound object were generated revealing (i) the capabilities of the system to generate sound morphologies belonging to other non-standard synthesis approaches and, (ii) the capabilities of the system of generating novel sound objects with dynamic morphologies. The introduction of EWSS and DWSS is preceded by an extensive and critical overview on the concepts of microsound synthesis, algorithmic composition, the two cultures of computer music, the heretical approach in composition, non- standard synthesis and sonic emergence along with the thorough examination of algorithmic models and their application in sound synthesis and electroacoustic composition. This Thesis also proposes (i) a new definition for “algorithmic composition”, (ii) the term “totalistic algorithmic composition”, and (iii) four discrete aspects of non-standard synthesis