206,627 research outputs found

    Map, Trigger, Score, Procedure: machine-listening paradigms in live-electronics

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    Since the advent of real-time computer music environments, composers have increasingly incorporated DSP analysis, synthesis, and processing algorithms in their creative practices. Those processes became part of interactive systems that use real-time computational tools in musical compositions that explore diverse techniques to generate, spatialize, and process instrumental/vocal sounds. Parallel to the development of these tools and the expansion of DSP methods, new techniques focused on sound/musical information extraction became part of the tools available for music composition. In this context, this article discusses the creative use of Machine Listening and Musical Information Retrieval techniques applied in the composition of live-electronics works. By pointing out some practical applications and creative approaches, we aim to circumscribe, in a general way, the strategies for employing Machine Listening and Music Information Retrieval techniques observed in a set of live-electronics pieces, categorizing four compositional approaches, namely: mapping, triggering, scoring, and procedural paradigms of application of machine listening techniques in the context of live-electronics music compositions

    Design Strategies for Adaptive Social Composition: Collaborative Sound Environments

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    In order to develop successful collaborative music systems a variety of subtle interactions need to be identified and integrated. Gesture capture, motion tracking, real-time synthesis, environmental parameters and ubiquitous technologies can each be effectively used for developing innovative approaches to instrument design, sound installations, interactive music and generative systems. Current solutions tend to prioritise one or more of these approaches, refining a particular interface technology, software design or compositional approach developed for a specific composition, performer or installation environment. Within this diverse field a group of novel controllers, described as ‘Tangible Interfaces’ have been developed. These are intended for use by novices and in many cases follow a simple model of interaction controlling synthesis parameters through simple user actions. Other approaches offer sophisticated compositional frameworks, but many of these are idiosyncratic and highly personalised. As such they are difficult to engage with and ineffective for groups of novices. The objective of this research is to develop effective design strategies for implementing collaborative sound environments using key terms and vocabulary drawn from the available literature. This is articulated by combining an empathic design process with controlled sound perception and interaction experiments. The identified design strategies have been applied to the development of a new collaborative digital instrument. A range of technical and compositional approaches was considered to define this process, which can be described as Adaptive Social Composition. Dan Livingston

    SameSameButDifferent v.02 – Iceland

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    The history of computer music is to a great extent the history of algorithmic composition. Here generative approaches are seen as an artistic technique. However, the generation of algorithmic music is normally done in the studio, where the music is aesthetically valued by the composer. The public only gets to know one, or perhaps few, variations of the expressive scope of the algorithmic system itself. In this paper, we describe a generative music system of infinite compositions, where the system itself is aimed for distribution and to be used on personal computers. This system has a dual structure of a compositional score and a performer that performs the score in real-time every time a piece is played. We trace the contextual background of such systems and potential future applications

    Sonic autoethnographies: personal listening as compositional context

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    This article discusses a range of self-reflexive tendencies in field recording, soundscape composition and studio production, and explores examples of sonic practices and works in which the personal listening experiences of the composer are a key contextual and compositional element. As broad areas for discussion, particular attention is given to soundscape composition as self-narrative (exploring the representation of the recordist in soundscape works) and to producing the hyperreal and the liminal (considering spatial characteristics of contemporary auditory experience and their consequences for sonic practice). The discussion then focuses on the specific application of autoethnographic research methods to the practice and the understanding of soundscape composition. Compositional strategies employed in two recent pieces by the author are considered in detail. The aim of this discussion is to link autoethnography to specific ideas about sound and listening, and to some tendencies in field recording, soundscape composition and studio production, while also providing context for the discussion of the author’s own practice and works. In drawing together this range of ideas, methods and work, sonic autoethnography is aligned with an emerging discourse around reflexive, embodied sound work

    A wireless, real-time, social music performance system for mobile phones

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    The paper reports on the Cellmusic system: a real-time, wireless distributed composition and performance system designed for domestic mobile devices. During a performance, each mobile device communicates with others, and may create sonic events in a passive (non interactive) mode or may influence the output of other devices. Cellmusic distinguishes itself from other mobile phone performance environments in that it is intended for performance in ad hoc locations, with services and performances automatically and dynamically adapting to the number of devices within a given proximity. It is designed to run on a number of mobile phone platforms to allow as wider distribution as possible, again distinguishing itself from other mobile performance systems which primarily run on a single device. Rather than performances being orchestrated or managed, it is intended that users will access it and create a performance in the same manner that they use mobile phones for interacting socially at different times throughout the day. However, this does not preclude the system being used in a more traditional performance environment. This accessibility and portability make it an ideal platform for sonic artists who choose to explore a variety of physical environments (such as parks and other public spaces)

    Attack-Surface Metrics, OSSTMM and Common Criteria Based Approach to “Composable Security” in Complex Systems

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    In recent studies on Complex Systems and Systems-of-Systems theory, a huge effort has been put to cope with behavioral problems, i.e. the possibility of controlling a desired overall or end-to-end behavior by acting on the individual elements that constitute the system itself. This problem is particularly important in the “SMART” environments, where the huge number of devices, their significant computational capabilities as well as their tight interconnection produce a complex architecture for which it is difficult to predict (and control) a desired behavior; furthermore, if the scenario is allowed to dynamically evolve through the modification of both topology and subsystems composition, then the control problem becomes a real challenge. In this perspective, the purpose of this paper is to cope with a specific class of control problems in complex systems, the “composability of security functionalities”, recently introduced by the European Funded research through the pSHIELD and nSHIELD projects (ARTEMIS-JU programme). In a nutshell, the objective of this research is to define a control framework that, given a target security level for a specific application scenario, is able to i) discover the system elements, ii) quantify the security level of each element as well as its contribution to the security of the overall system, and iii) compute the control action to be applied on such elements to reach the security target. The main innovations proposed by the authors are: i) the definition of a comprehensive methodology to quantify the security of a generic system independently from the technology and the environment and ii) the integration of the derived metrics into a closed-loop scheme that allows real-time control of the system. The solution described in this work moves from the proof-of-concepts performed in the early phase of the pSHIELD research and enrich es it through an innovative metric with a sound foundation, able to potentially cope with any kind of pplication scenarios (railways, automotive, manufacturing, ...)

    Cyclical Flow: Spatial Synthesis Sound Toy as Multichannel Composition Tool

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    This paper outlines and discusses an interactive system designed as a playful ‘sound toy’ for spatial composition. Proposed models of composition and design in this context are discussed. The design, functionality and application of the software system is then outlined and summarised. The paper concludes with observations from use, and discussion of future developments

    Interactive Spaces. Models and Algorithms for Reality-based Music Applications

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    Reality-based interfaces have the property of linking the user's physical space with the computer digital content, bringing in intuition, plasticity and expressiveness. Moreover, applications designed upon motion and gesture tracking technologies involve a lot of psychological features, like space cognition and implicit knowledge. All these elements are the background of three presented music applications, employing the characteristics of three different interactive spaces: a user centered three dimensional space, a floor bi-dimensional camera space, and a small sensor centered three dimensional space. The basic idea is to deploy the application's spatial properties in order to convey some musical knowledge, allowing the users to act inside the designed space and to learn through it in an enactive way

    Experimental Approaches to the Composition of Interactive Video Game Music

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    This project explores experimental approaches and strategies to the composition of interactive music for the medium of video games. Whilst music in video games has not enjoyed the technological progress that other aspects of the software have received, budgets expand and incomes from releases grow. Music is now arguably less interactive than it was in the 1990’s, and whilst graphics occupy large amounts of resources and development time, audio does not garner the same attention. This portfolio develops strategies and audio engines, creating music using the techniques of aleatoric composition, real-time remixing of existing work, and generative synthesisers. The project created music for three ‘open-form’ games : an example of the racing genre (Kart Racing Pro); an arena-based first-person shooter (Counter-Strike : Source); and a real-time strategy title (0 A.D.). These games represent a cross-section of ‘sandbox’- type games on the market, as well as all being examples of games with open-ended or open-source code
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