Use of new musical graphics by current composers: the work skin's traces as an example of integration and non-conventional notation

[EN] One of the most important chapters of my doctoral thesis "MultiTpercussion in Spain from the musical field to the sound art. Historical evolution and its practical interpretiveTperformative application" (nowadays in process by the Universitat Politècnica de València), is the one regarding the emergence and development of new musical notation resources. Historically the score has been used as a means of transmission between the ideas of the composer and the interpreter. But these have gone a long way in evolving, which gives the score a plastic value that goes beyond its purely practical functionality. In the twentieth century music and visual arts converge visual artists work with sound just as musicians introduce visual resources into their works. An example of the use of the drawing, the spot and the line as an instrument of sound representation is the work Skin's& Traces (2006) by the composer Juanjo Eslava (Gijon, 1970). In this composition for frameTdrum and electronics, the interpreter will have to decipher the code that represents the sonorous drawn idea and turn the linear graphics into sounds using the percussion. My doctoral thesis uses a methodology based on “practicesTbased research”. Therefore, I will show examples of integration of theory and practice within the musical interpretation, live offering for this communication some guidelines to reproduce the sounds drawn by these graphics.[ES] Uno de los capítulos más importantes de mi tesis doctoral “La multipercusión en España desde el ámbito musical al arte sonoro. Evolución histórica y su aplicación práctica interpretativa;performativa” (actualmente en proceso por la Universitat Politècnica de València), es el dedicado a la aparición y desarrollo de nuevos recursos de notación musical. Históricamente la partitura ha servido de medio de transmisión entre las ideas del compositor y el intérprete, pero éstas han sufrido un largo camino de evolución otorgando a la partitura un valor plástico que va más allá de su funcionalidad puramente práctica. En el siglo XX la música y las artes plásticas convergen los artistas visuales trabajan con el sonido de igual manera que los músicos introducen recursos visuales en sus obras. Ejemplo del uso del dibujo, la mancha y la línea como instrumento de representación sonora es la obra Skin’s&Traces (2006) del compositor Juanjo Eslava (Gijón,1970). En esta composición para frameKdrum y electrónica, el intérprete deberá extraer las ideas sonoras dibujadas y transformar las grafías lineales en sonidos utilizando la percusión. Mi tesis doctoral utiliza una metodología basada en la investigación desde la práctica. Por lo tanto, mostraré ejemplos de integración de teoría y práctica dentro de la interpretación musical, ofreciendo en vivo para esta comunicación, algunas pautas para reproducir los sonidos trazados por estas grafías.Moreno Albors, M. (2017). Uso de nuevas grafías musicales por parte de los compositores actuales: la obra skin's traces como ejemplo de integración de notación no convencional. En Glocal [codificar, mediar, transformar, vivir] III Congreso Internacional de Investigación en Artes Visuales. Editorial Universitat Politècnica de València. 484-490. https://doi.org/10.4995/ANIAV.2017.4866OCS48449

Applications musicales du traitement de signal : synthèse et prospective

L'objet de cette communication est de proposer une synthèse des applications musicales du traitement de signal, des problématiques de recherche qui leur sont liées et des directions prospectives qui se dégagent sur la base de travaux récents dans ce domaine. Après l'exposé de notions préliminaires, relatives au système technique musical et à l'analyse des différentes représentations numériques des informations musicales, cette synthèse se concentre sur trois types de fonctions principales : la synthèse et le traitement des sons musicaux, la spatialisation sonore et les technologies d'indexation et d'accès

Musical Applications of Signal Processing: Synthesis and Prospect

This article aims at providing a synthesis of the musical applications of digital signal processing, of related research issues, and of future directions that emerge from recent works in that field. After introducing preliminary notions related to the music technical system and to the analysis of different digital representations of music information, it focuses on three main function types: audio synthesis and processing, sound spatialization and audio indexing and access technologies.L’objet de cet article est de proposer une synthèse des applications musicales du traitement de signal, des problématiques de recherche qui leur sont liées et des directions prospectives qui se dégagent sur la base de travaux récents dans ce domaine. Après l’exposé de notions préliminaires, relatives au système technique musical et à l’analyse des différentes représentations numériques des informations musicales, cette synthèse se concentre sur trois types de fonctions principales : la synthèse et le traitement des sons musicaux, la spatialisation sonore et les technologies d’indexation et d’accès

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

Designing expressive engagement with electronic and hyper instruments.The Electrumpet a case study

Using values-led participatory design (Iversen, Halskov, & Leong, 2013) as a foundation, this thesis argues the importance of values in the design decisions that steer the conception and development of new electroacoustic musical instruments. A model is introduced that defines seven distinct Personas, as different perspectives on the creation process of ‘performing instrument designers’. Second Order Virtuosity (Hildebrand, Lopes, Hoelzl, & Campo, 2016) and the persona model are cross-examined, substantiated by the virtuoso practice of peer ‘performing instrument designers’ (PIDs). The Electrumpet, a hyper instrument, is used as a case study for the application of the model in relation to its improved design and the evaluation of its progress as a musical instrument in general. The thesis concludes with a description of the technical implementation of the improved Electrumpet system and the compositional and improvisational strategies implemented

Sound Analysis and Processing with AudioSculpt 2

cote interne IRCAM: Bogaards04aNone / NoneNational audienceAudioSculpt is an application for the musical analysis and processing of sound files. The program allows very detailed study of a sound's spectrum, waveform, fundamental frequency and partial contents. Multiple algorithms provide automatic segmentation of sounds. All analyses can be edited, stored and used to guide processing within the application, such as spectral filtering, time-stretching and noise removal, or serve as input for compositional environments. The current version is a complete revision, introducing many new features, new analysis, processing and segmentation algorithms plus a significantly enhanced user interface. The introduction of SDIF as data format for analysis data and the ability to use long and multichannel sound files, take the application to a new level of usability