A new user interface for musical timbre design

This thesis characterises and addresses problems and issues associated with the design of intuitive user interfaces for timbral control. The usability of a range of synthesis methods and representative implementations of these methods is assessed, and three interface architectures - fixed architecture, architecture specification and direct specification - are identified. The characteristics of each of these architectures, as well as problems of usability inherent to each of them are discussed; it is argued that none of them provide intuitive tools for the manipulation and control of timbre. The study examines the nature of timbre and the notion of timbre space; different kinds of timbre space are considered and criteria are proposed for the selection of suitable timbre spaces as vehicles for synthesis. A number of listening tests, designed to demonstrate the feasibility of subsequent work, were devised and carried out; the results of these tests provide evidence that, where Euclidean distances between sounds located in a given timbre space are reflected in perceptual distances, the ability of subjects to detect relative distances in different parts of the space varies with the perceptual granularity of the space. Three contrasting timbre spaces conforming to the proposed criteria for use in synthesis are constructed; the purpose of these spaces is to provide an environment for a novel user interaction approach for timbral design which incorporates a search strategy based on weighted centroid localization. Two prototypes which exemplify the proposed approach in alternative ways are designed, implemented and tested with potential users in order to validate the approach; a third contrasting prototype which represents a simple contrasting alternative is tested for purposes of comparison. The results of these tests are evaluated and discussed, and areas of further work identified

The Semantics of Timbre

Because humans lack a sensory vocabulary for auditory experiences, timbral qualities of sounds are often conceptualized and communicated through readily available sensory attributes from different modalities (e.g., bright, warm, sweet) but also through the use of onomatopoeic attributes (e.g., ringing, buzzing, shrill) or nonsensory attributes relating to abstract constructs (e.g., rich, complex, harsh). The analysis of the linguistic description of timbre, or timbre semantics, can be considered as one way to study its perceptual representation empirically. In the most commonly adopted approach, timbre is considered as a set of verbally defined perceptual attributes that represent the dimensions of a semantic timbre space. Previous studies have identified three salient semantic dimensions for timbre along with related acoustic properties. Comparisons with similarity-based multidimensional models confirm the strong link between perceiving timbre and talking about it. Still, the cognitive and neural mechanisms of timbre semantics remain largely unknown and underexplored, especially when one looks beyond the case of acoustic musical instruments

Perspectives of electroacoustic music : a critical study of the electroacoustic music of Jonathan Harvey, Denis Smalley and Trevor Wishart.

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Analysis and resynthesis of polyphonic music

This thesis examines applications of Digital Signal Processing to the analysis, transformation, and resynthesis of musical audio. First I give an overview of the human perception of music. I then examine in detail the requirements for a system that can analyse, transcribe, process, and resynthesise monaural polyphonic music. I then describe and compare the possible hardware and software platforms. After this I describe a prototype hybrid system that attempts to carry out these tasks using a method based on additive synthesis. Next I present results from its application to a variety of musical examples, and critically assess its performance and limitations. I then address these issues in the design of a second system based on Gabor wavelets. I conclude by summarising the research and outlining suggestions for future developments

Timbre from Sound Synthesis and High-level Control Perspectives

International audienceExploring the many surprising facets of timbre through sound manipulations has been a common practice among composers and instrument makers of all times. The digital era radically changed the approach to sounds thanks to the unlimited possibilities offered by computers that made it possible to investigate sounds without physical constraints. In this chapter we describe investigations on timbre based on the analysis by synthesis approach that consists in using digital synthesis algorithms to reproduce sounds and further modify the parameters of the algorithms to investigate their perceptual relevance. In the first part of the chapter timbre is investigated in a musical context. An examination of the sound quality of different wood species for xylophone making is first presented. Then the influence of instrumental control on timbre is described in the case of clarinet and cello performances. In the second part of the chapter, we mainly focus on the identification of sound morphologies, so called invariant sound structures responsible for the evocations induced by environmental sounds by relating basic signal descriptors and timbre descriptors to evocations in the case of car door noises, motor noises, solid objects, and their interactions

Interfaces – a Musical Situation

An interface may be considered being a (social) situation where information is transferred effecting and affecting both, the communicator and the recipient. There is evidence, that musical performance could be argued to be a paradigm of this situation. As musical performance is part of a communication-process formalized in music an interface is part of a communication-process formalized in a non-mechanistic virtual reality. Musical perfomance as well as interfaces are based on expressive bahavior – by giving access to they “construct” music and virtual realities. These hypotheses are argued on the basis of experimental data of communication-processes as well as theories of music and media-art

Artist-Programmers and Programming Languages for the Arts

We consider the artist-programmer, who creates work through its description as source code. The artist-programmer grandstands computer language, giving unique vantage over human-computer interaction in a creative context. We focus on the human in this relationship, noting that humans use an amalgam of language and gesture to express themselves. Accordingly we expose the deep relationship between computer languages and continuous expression, examining how these realms may support one another, and how the artist-programmer may fully engage with both. Our argument takes us up through layers of representation, starting with symbols, then words, language and notation, to consider the role that these representations may play in human creativity. We form a cross-disciplinary perspective from psychology, computer science, linguistics, human-computer interaction, computational creativity, music technology and the arts. We develop and demonstrate the potential of this view to inform arts practice, through the practical introduction of software prototypes, artworks, programming languages and improvised performances. In particular, we introduce works which demonstrate the role of perception in symbolic semantics, embed the representation of time in programming language, include visuospatial arrangement in syntax, and embed the activity of programming in the improvisation and experience of art

An exploration of sound timbre using perceptual and time-varying frequency spectrum techniques.

This thesis describes the investigation of sound timbre using perceptual and acoustical techniques, with 153 input stimuli. The acoustical methods are based on time and frequency domain representations. The thesis covers the following areas of work: 1. A consideration of previous research in timbre, the different structural forms associated with it, and different definitions concerning timbre and the timbre space representation. 2. A study concerning perceptual similarity reactions to the input stimuli, a statistical analysis of the result structure, and the implications for understanding of the structure of timbral audition. 3. Analysis and synthesis using a time-varying frequency spectrum model, with adaptive viewpoint properties to achieve appropriate time-frequency resolution. 4. Extraction of 335 timbral features from the spectral form, a statistical analysis to find those features which describe perceptual differences between stimuli, and an investigation of timbral dimensionality