Chord-Conditioned Melody Choralization with Controllable Harmonicity and Polyphonicity

Melody choralization, i.e. generating a four-part chorale based on a user-given melody, has long been closely associated with J.S. Bach chorales. Previous neural network-based systems rarely focus on chorale generation conditioned on a chord progression, and none of them realised controllable melody choralization. To enable neural networks to learn the general principles of counterpoint from Bach's chorales, we first design a music representation that encoded chord symbols for chord conditioning. We then propose DeepChoir, a melody choralization system, which can generate a four-part chorale for a given melody conditioned on a chord progression. Furthermore, with the improved density sampling, a user can control the extent of harmonicity and polyphonicity for the chorale generated by DeepChoir. Experimental results reveal the effectiveness of our data representation and the controllability of DeepChoir over harmonicity and polyphonicity. The code and generated samples (chorales, folk songs and a symphony) of DeepChoir, and the dataset we use now are available at https://github.com/sander-wood/deepchoir.Comment: 7 pages, 4 figures, 2 table

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

Combating Trafficking in Persons: A directory of organisations

This document is part of a digital collection provided by the Martin P. Catherwood Library, ILR School, Cornell University, pertaining to the effects of globalization on the workplace worldwide. Special emphasis is placed on labor rights, working conditions, labor market changes, and union organizing.ASI_2003_HT_UK_Combating_Trafficking.pdf: 445 downloads, before Oct. 1, 2020

Enmeshed 3

Enmeshed 3, for cello and live electronics, is the third in a series of works in which a solo instrument becomes ‘enmeshed’ in multiple layers of transformations derived from the live performance. The works are shaped and structured in terms of the varying relationships between these layers and the ‘distances’ between the original acoustic performance and the various transformations, in terms of pitch, time delay, timbre, texture and space. At certain points in the work these almost converge whilst at other times large distances open up, with the different layers in a wild counterpoint. All the sounds in the work derive from live transformation of the soloist's performance. The composer’s own granular synthesis algorithms play a significant role in these transformations. Multichannel spatialisation also plays an important part in terms of spatial positioning and movement, the creation of different virtual spatial environments and in the definition of different layers. It can be performed variously with between 8 and 24 channels. Enmeshed 3 is in five contrasting but inter-related sections centering around a long slow meditative central passage. It was written for Madeleine Shapiro who premiered it at the New York City Electroacoustic Music Festival in April 2013

Un voyage du son par les fils électroacoustiques : l'art et les nouvelles technologies en Amérique Latine

L'histoire de la musique électroacoustique latino-américaine est longue, intéressante et prolifique, mais peu connue, même régionalement. De nombreux compositeurs nés ou vivants en Amérique latine ont été très actifs à ce titre, dans certains pays depuis plus de 50 ans, mais la disponibilité de l'information et des enregistrements de musique électroacoustique à cet égard et dans cette région a posé de sérieux problèmes aux éducateurs, compositeurs, interprètes, chercheurs, étudiants et au public en général.\ud Compte tenu de cette situation, la question suivante s'est imposée comme point de départ de ma thèse: comment s'est développée la tradition de la création musicale avec les médias électroacoustiques en Amérique Latine. Pour y répondre, j'ai adopté une approche historique en utilisant une méthodologie ethnographique (caractérisée par une immersion à long terme dans le domaine, par des contacts personnels avec des compositeurs et par ma participation et mon souci en ce qui concerne l'évolution des arts faisant appel aux nouvelles technologies en Amérique Latine) dans toute ma recherche. Ayant commencé à travailler dans le domaine de la musique électroacoustique au milieu des années 1970 dans mon Argentine natale, il m'a été très difficile d'obtenir de l'information sur les activités reliées à ce domaine dans des pays voisins et même dans ma propre ville. Bien que difficile, il était néanmoins possible de trouver les enregistrements de compositeurs vivant en Europe ou en Amérique du Nord, mais plus ardu de trouver ceux réalisés par des compositeurs locaux ou régionaux. Dans divers pays d'Amérique latine, les universités, les organismes d'état et de grandes fondations privées avaient de temps en temps pris l'initiative de soutenir la recherche en art et le recours aux nouveaux médias, mais la plupart avaient cessé leurs activités avant même de développer les ressources pour documenter les processus et préserver les résuItats. J'ai obtenu chaque enregistrement et information que j'ai rassemblés, depuis le milieu des années 1970, en contactant directement chacun des compositeurs. Avec le temps, j'ai constitué des archives personnelles, modestes mais croissantes, comprenant des notes de programme de concerts, livres, bulletins, magazines et revues, partitions, lettres, courriels et des enregistrements sur bobines, cassettes analogiques et quelques vinyles 33 tours. J'ai décidé de partager mes trésors avec des collègues et étudiants et d'explorer des solutions pour les rendre accessibles au plus grand nombre possible. Il y a quelques années, l'UNESCO m'a demandé de rédiger des rapports sur la musique électroacoustique latino-américaine et les arts médiatiques. Les textes de cette recherche ont contribué à diffuser de l'information sur le travail de beaucoup d'artistes latino-américains. Afin de rendre également accessible au public les oeuvres musicales, et sauvegarder le matériel, j'ai cherché un endroit où la préservation des enregistrements était non seulement importante mais aussi possible. J'estimais que la fondation Daniel Langlois pour l'art, la science et la technologie à Montréal était le lieu idéal pour mon projet. Mes activités continues durant près de 28 mois comme chercheur en résidence à la fondation Daniel Langlois m'ont permis de numériser et convertir des enregistrements à partir de différents formats, faire du montage au besoin et verser dans la base de données de la Fondation tous les renseignements sur les pièces (titre, compositeur, année de composition, instrumentation, notes de programme, studio de production, version, durée, bio du compositeur, etc.). À ce jour, janvier 2006, il y a 2152 fichiers audio numériques qui sont archivés au Centre de recherche et de documentation (CR+D) de la fondation. En complément à cette thèse de doctorat, j'ai développé une collection d'enregistrements musicaux maintenant disponibles au public. Cette collection est constituée du résultat de mes recherches (textes, oeuvres musicales, quelques partitions et photographies historiques, entrevues) et diffusée sur le site Web de la fondation Daniel Langlois. Les archives comptent des pièces pour médias fixes ainsi que des oeuvres mixtes pour instruments acoustiques ou voix et médias fixes ou systèmes électroniques interactifs en direct (1722 compositions). Les archives comprennent aussi des enregistrements audio et audiovisuels d'entrevues avec des compositeurs et des novateurs techniques ainsi que des\ud photographies, des vidéos, et quelques très rares partitions.\ud Une grande partie de l'information textuelle contenue dans la base de données des fichiers de musique est accessible par le site Web de la fondation Daniel Langlois. L'information complète (ex. notes de programme) et tous les enregistrements sont accessibles au CR+D. Une courte sélection de pièces est aussi accessible pour écoute sur le site Web. La plupart des compositeurs représentés dans ces archives et dans cette dissertation sont nés dans des pays d'Amérique latine. Il y a aussi quelques compositeurs qui, bien que n'étant pas originaires de la région, ont poursuivi au moins une partie de leur carrière musicale en Amérique latine.\ud Cette thèse renferme de l'information sur des compositeurs liés à 18 pays d'Amérique latine: Argentine, Bolivie, Brésil, Chili, Colombie, Costa Rica, Cuba, République dominicaine, Équateur, El Salvador, Guatemala, Mexico, Panama, Paraguay, Pérou, Porto Rico, Uruguay et Venezuela. Les archives contiennent des enregistrements de compositeurs de tous les pays mentionnés. J'espère que ce texte incitera à explorer ce merveilleux univers musical plutôt inconnu, créé par des centaines de compositeurs latino-américains au cours des dernières décennies. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : musique électroacoustique, Amérique latine, art et nouvelles technologies, éthique, mémoire, culture, contexte, pionniers, interdisciplinarité

CIRCUS 2001 Conference Proceedings: New Synergies in Digital Creativity. Conference for Content Integrated Research in Creative User Systems

CIRCUS (Content Integrated Research For Creative User Systems) was an ESPRIT Working Group, originally set up in 1988 as one of the very last additional actions in Framework 4, under DG III. Its purpose was to develop models for collaborative work between artists (the term here used in its widest sense) and technologists (ditto) and to promote these models by whatever means available. While some have criticised this aim as implicitly promoting a 1950s agenda of building bridges across C.P. Snow’s ‘two cultures’, there is no such intention here, rather that technology, particularly computer and communications technology (ICT) , is irresistibly intruding into what is normally thought of as creative work (and so practised by artists) and that, like any new technique, this has to be understood by its potential practitioners in terms of its true strengths and limitations. The specific problem that computer technology poses is that it is in principle malleable to such an extent that the limitations on its form and functionality are still barely understood, yet the people charged with the task of making the technology available have little or no understanding of the needs of creative users. What the artist usually sees is a tool which is in principle capable of being harnessed to creative ends but in practice resists being so applied. Quite often the tool is shaped more by blind economic forces than by a clear response to a specific, here creative, need. CIRCUS came into existence as a forum in which both artists and technologists could work out how best to play to the strengths of ICT and how to apply both creative and technological solutions (possibly both together) to its limitations. In particular the then new Framework V programme invited projects in such areas as new media but required them to be addressed in essentially the same old way, by technologists working towards commercialisation. The only obvious exception to this was in the area of cultural heritage which, incidentally, CIRCUS was also capable of reviewing. The scope for effective participation by artists was thus limited by an essentially technological agenda although everybody at the time, the participants of CIRCUS and programme managers in DG III, believed that we could do far better than this, and to develop new models of working which could inform the nature of Framework VI or even the later stages of F V. It is fair to say that everyone involved was excited by the idea of doing something quite new (and iconoclastic), not least the expanding of the expertise base on which future Frameworks could draw. It is also fair to say that, while not ultimately wholly original, the CIRCUS agenda was an ambitious one and the WG has had a chequered history peppered with misunderstandings perpetrated by the very people who might have thought would give the WG their strongest support. The CIRCUS idea has been aired before, specifically at the University of Illinois at Urbana- Champaign, the MIT Media Lab (and its imitators), and a recent IEEE forum. However a near total change in participation, fuelled by natural migration and a switch to DG XIII, has resulted in the CIRCUS agenda being restarted on at least one occasion and a fairly regular questioning of the principles on whose elucidation we are engaged. While this is no bad thing in principle, in practice we haven’t learned anything new from these periodic bouts of self-examination other than a reinforcement of the values our goals. On the other hand it is evident that we have made progress and have moved on a long way from where we started. A recent experience of a workshop whose agenda appeared to be to form another version of CIRCUS, this time with an overwhelmingly technological (DG III) membership, demonstrates they have a CIRCUS-worth of work to do before they will have reached where we are now. (Foreword of CIRCUS for Beginners

Biomechanical Modelling of Musical Performance: A Case Study of the Guitar

Merged with duplicate record 10026.1/2517 on 07.20.2017 by CS (TIS)Computer-generated musical performances are often criticised for being unable to match the expressivity found in performances by humans. Much research has been conducted in the past two decades in order to create computer technology able to perform a given piece music as expressively as humans, largely without success. Two approaches have been often adopted to research into modelling expressive music performance on computers. The first focuses on sound; that is, on modelling patterns of deviations between a recorded human performance and the music score. The second focuses on modelling the cognitive processes involved in a musical performance. Both approaches are valid and can complement each other. In this thesis we propose a third complementary approach, focusing on the guitar, which concerns the physical manipulation of the instrument by the performer: a biomechanical approach. The essence of this thesis is a study on capturing, analyzing and modelling information about motor and biomechanical processes of guitar performance. The focus is on speed, precision, and force of a guitarist's left-hand. The overarching questions behind our study are: 1) Do unintentional actions originating from motor and biomechanical functions during musical performance contribute a material "human feel" to the performance? 2) Would it be possible determine and quantify such unintentional actions? 3) Would it be possible to model and embed such information in a computer system? The contributionst o knowledgep ursued in this thesis include: a) An unprecedented study of guitar mechanics, ergonomics, and playability; b) A detailed study of how the human body performs actions when playing the guitar; c) A methodologyt o formally record quantifiable data about such actionsin performance; d) An approach to model such information, and e) A demonstration of how the above knowledge can be embeddedin a system for music performance

Sonic Choreosophia: a cross-disciplinary investigation on sound and movement practices

This thesis is the account of cross-disciplinary research that explores spatial audio experiences in multimodal contexts. The practice of arranging dynamical modifications of spatial attributes of sound to create impressions of movement through sound has been applied to dance choreography and theatre. Using wave field synthesis and ambisonics technologies for spatial audio sound playback, two projects have been created: Stranded (2013), a joint choreography for three dancers and sonic movement in collaboration with choreographer Jalianne Li, and I Hear You See Me (2014), an audiovisual installation featuring participatory theatre, sonic movement, and motion graphics, in collaboration with theatre artist Silvia Mercuriali and visual artist Simon Wilkinson. These works are the outcome of a complex collaborative exchange between the author and the mentioned artists and a comparison at multiple levels (aesthetic, technical, cultural) between the different disciplines involved, and propose alternative reflections about spatial audio composition. For example, the choreographic ideas of Li, the aesthetics and movement studies of Rudolf Laban, the works and writing of choreographers Mary Wigman, Merce Cunningham and Pina Bausch have all been used to evaluate the kinetic power of sonic movement and its strengths measured against the clarity and immediacy of a dancing body. The participatory strategies of Mercuriali’s theatre, the composite works by Len Lye's, Oskar Fischinger's audiovisual experiments, and historical and contemporary examples from kinetic and installation art have all helped to bring forward a further reflection over a shift of function of sound, from essence of a composition to instrument for realising a kinetic idea. Highlighting the necessity of a multimodal context when using spatial audio, but limiting the idea of a Sonic Choreosophia to a simple suggestion, this thesis thus documents a novel approach of using sound to create movement per se, and its potential for further development

Moving sounds and sonic moves : exploring interaction quality of embodied music mediation technologies through a user-centered perspective

This research project deals with the user-experience related to embodied music mediation technologies. More specifically, adoption and policy problems surrounding new media (art) are considered, which arise from the usability issues that to date pervade new interfaces for musical expression. Since the emergence of new wireless mediators and control devices for musical expression, there is an explicit aspiration of the creative industries and various research centers to embed such technologies into different areas of the cultural industries. The number of applications and their uses have exponentially increased over the last decade. Conversely, many of the applications to date still suffer from severe usability problems, which not only hinder the adoption by the cultural sector, but also make culture participants take a rather cautious, hesitant, or even downright negative stance towards these technologies. Therefore, this thesis takes a vantage point that is in part sociological in nature, yet has a link to cultural studies as well. It combines this with a musicological frame of reference to which it introduces empirical user-oriented approaches, predominantly taken from the field of human-computer-interaction studies. This interdisciplinary strategy is adopted to cope with the complex nature of digital embodied music controlling technologies. Within the Flanders cultural (and creative) industries, opportunities of systems affiliated with embodied interaction are created and examined. This constitutes an epistemological jigsaw that looks into 1) “which stakeholders require what various levels of involvement, what interactive means and what artistic possibilities?”, 2) “the way in which artistic aspirations, cultural prerequisites and operational necessities of (prospective) users can be defined?”, 3) “how functional, artistic and aesthetic requirements can be accommodated?”, and 4) “how quality of use and quality of experience can be achieved, quantified, evaluated and, eventually, improved?”. Within this multi-facetted problem, the eventual aim is to assess the applicability of the foresaid technology, both from a theoretically and empirically sound basis, and to facilitate widening and enhancing the adoption of said technologies. Methodologically, this is achieved by 1) applied experimentation, 2) interview techniques, 3) self-reporting and survey research, 4) usability evaluation of existing devices, and 5) human-computer interaction methods applied – and attuned – to the specific case of embodied music mediation technologies. Within that scope, concepts related to usability, flow, presence, goal assessment and game enjoyment are scrutinized and applied, and both task- and experience-oriented heuristics and metrics are developed and tested. In the first part, covering three chapters, the general context of the thesis is given. In the first chapter, an introduction to the topic is offered and the current problems are enumerated. In the second chapter, a broader theoretical background is presented of the concepts that underpin the project, namely 1) the paradigm of embodiment and its connection to musicology, 2) a state of the arts concerning new interfaces for musical expression, 3) an introduction into HCI-usability and its application domain in systematic musicology, 4) an insight into user-centered digital design procedures, and 5) the challenges brought about by e-culture and digitization for the cultural-creative industries. In the third chapter, the state of the arts concerning the available methodologies related to the thesis’ endeavor is discussed, a set of literature-based design guidelines are enumerated and from this a conceptual model is deduced which is gradually presented throughout the thesis, and fully deployed in the “SoundField”-project (as described in Chapter 9). The following chapters, contained in the second part of the thesis, give a quasi-chronological overview of how methodological concepts have been applied throughout the empirical case studies, aimed specifically at the exploration of the various aspects of the complex status quaestionis. In the fourth chapter, a series of application-based tests, predominantly revolving around interface evaluation, illustrate the complex relation between gestural interfaces and meaningful musical expression, advocating a more user-centered development approach to be adopted. In the fifth chapter, a multi-purpose questionnaire dubbed “What Moves You” is discussed, which aimed at creating a survey of the (prospective) end-users of embodied music mediation technologies. Therefore, it primarily focused on cultural background, musical profile and preferences, views on embodied interaction, literacy of and attitudes towards new technology and participation in digital culture. In the sixth chapter, the ethnographical studies that accompanied the exhibition of two interactive art pieces, entitled "Heart as an Ocean" & "Lament", are discussed. In these studies, the use of interview and questionnaire methodologies together with the presentation and reception of interactive art pieces, are probed. In the seventh chapter, the development of the collaboratively controlled music-game “Sync-In-Team” is presented, in which interface evaluation, presence, game enjoyment and goal assessment are the pivotal topics. In the eighth chapter, two usability studies are considered, that were conducted on prototype systems/interfaces, namely a heuristic evaluation of the “Virtual String” and a usability metrics evaluation on the “Multi-Level Sonification Tool”. The findings of these two studies in conjunction with the exploratory studies performed in association with the interactive art pieces, finally gave rise to the “SoundField”-project, which is recounted in full throughout the ninth chapter. The integrated participatory design and evaluation method, presented in the conceptual model is fully applied over the course of the “SoundField”-project, in which technological opportunities and ecological validity and applicability are investigated through user-informed development of numerous use cases. The third and last part of the thesis renders the final conclusions of this research project. The tenth chapter sets out with an epilogue in which a brief overview is given on how the state of the arts has evolved since the end of the project (as the research ended in 2012, but the research field has obviously moved on), and attempts to consolidate the implications of the research studies with some of the realities of the Flemish cultural-creative industries. Chapter eleven continues by discussing the strengths and weaknesses of the conceptual model throughout the various stages of the project. Also, it comprises the evaluation of the hypotheses, how the assumptions that were made held up, and how the research questions eventually could be assessed. Finally, the twelfth and last chapter concludes with the most important findings of the project. Also, it discusses some of the implications on cultural production, artistic research policy and offers an outlook on future research beyond the scope of the “SoundField” project

An exploration of evolutionary computation applied to frequency modulation audio synthesis parameter optimisation

With the ever-increasing complexity of sound synthesisers, there is a growing demand for automated parameter estimation and sound space navigation techniques. This thesis explores the potential for evolutionary computation to automatically map known sound qualities onto the parameters of frequency modulation synthesis. Within this exploration are original contributions in the domain of synthesis parameter estimation and, within the developed system, evolutionary computation, in the form of the evolutionary algorithms that drive the underlying optimisation process. Based upon the requirement for the parameter estimation system to deliver multiple search space solutions, existing evolutionary algorithmic architectures are augmented to enable niching, while maintaining the strengths of the original algorithms. Two novel evolutionary algorithms are proposed in which cluster analysis is used to identify and maintain species within the evolving populations. A conventional evolution strategy and cooperative coevolution strategy are defined, with cluster-orientated operators that enable the simultaneous optimisation of multiple search space solutions at distinct optima. A test methodology is developed that enables components of the synthesis matching problem to be identified and isolated, enabling the performance of different optimisation techniques to be compared quantitatively. A system is consequently developed that evolves sound matches using conventional frequency modulation synthesis models, and the effectiveness of different evolutionary algorithms is assessed and compared in application to both static and timevarying sound matching problems. Performance of the system is then evaluated by interview with expert listeners. The thesis is closed with a reflection on the algorithms and systems which have been developed, discussing possibilities for the future of automated synthesis parameter estimation techniques, and how they might be employed