Sound Source Separation

This is the author's accepted pre-print of the article, first published as G. Evangelista, S. Marchand, M. D. Plumbley and E. Vincent. Sound source separation. In U. Zölzer (ed.), DAFX: Digital Audio Effects, 2nd edition, Chapter 14, pp. 551-588. John Wiley & Sons, March 2011. ISBN 9781119991298. DOI: 10.1002/9781119991298.ch14file: Proof:e\EvangelistaMarchandPlumbleyV11-sound.pdf:PDF owner: markp timestamp: 2011.04.26file: Proof:e\EvangelistaMarchandPlumbleyV11-sound.pdf:PDF owner: markp timestamp: 2011.04.2

Musical 'translations' of experience through the interpretation of extra-musical forms and patterns

Ce mémoire présentera formellement neuf pièces sur lesquelles j’ai travaillé tout au long de ma maîtrise en composition instrumentale sous le thème Traductions de l’expérience par l’interprétation de la forme et des motifs extra-musicaux. À des fins de développement contextuel et thématique, je ferai également brièvement référence à deux pièces supplémentaires mais sans les analyser formellement car elles ont été complétées dans un séminaire ou ne sont pas terminées. Bien que toutes les œuvres fassent partie de cette même exploration thématique très large, j’ai organisé et ramifié les pièces en trois séries. Elles ne seront donc pas présentées dans leur ordre chronologique d’origine, mais chronologiquement au sein de leur propre série. 1. series I : conversations reconciliation, any port in the storm*, falling’s just like flying 2. series II : emergence murmuration*, volée, ere, les étourneaux 3. series III : transparency redaction, sépulcre, f o r e s t f o r t h e t r e e s, let(in) Dans chacune de ces séries, l’accent mis sur le découpage analytique variera légèrement à mesure que le processus et le contenu se concentrent sur différents aspects plus spécifiques à l’influence formelle de chaque série. De manière générale, j’aborderai les points suivants : 1. Les aspects du matériel extra-musical que j’ai choisi de « traduire » ou d’interpréter, et pourquoi ; 2. Comment chaque pièce s’inscrit dans sa propre série et comment l’exploration s’est développée tout au long ; 3. La forme et la structure de la pièce et leur lien avec la forme extra-musicale; 4. Les comportements rythmique et tonal, et leur lien avec des règles / comportements extra-musicaux.This dissertation will present formally six pieces I worked on throughout my Master’s in instrumental composition under the subject of Translations of experience through the interpretation of extra-musical form and patterns. I will reference briefly, but not formally analyze, for context and thematic development purposes, two additional pieces*, as they were either completed within a seminar or remain unfinished. Although all the works fall under this same thematic exploration, as it is very broad in scope, I have organized and branched the pieces into three series. The compositions will therefore not be presented strictly chronologically, but chronologically within their proper series. 1. series I: conversations (reconciliation, any port in the storm*, falling’s just like flying) 2. series II: emergence (murmuration*, volée, ere, les étourneaux) 3. series III: transparency (redaction, sépulcre, f o r e s t f o r t h e t r e e s, let(in) ) In each of these series the focus of the analytical breakdown will vary slightly as the process and content shifts to zoom in on different aspects more relevant to each series’ formal influence. In general the points I will touch on will be: 1. What aspects in the extra-musical material I chose to ‘translate’ or interpret, and why? 2. How each piece fits into its proper series, and how the exploration developed as the series continued. 3. How the form and structure of the piece link to the extra-musical source; 4. How the rhythmic and pitch behavior link to the extra-musical rules and behavior

The Expansion of Improvisatory Techniques and Sound-Palette Specific to the Fretless Electric Guitar

The fretless electric guitar remains relatively unexplored due to its young age and ‘prepared’ nature, and it features increasingly in popular music and the neo-traditional music(s) of West-Asia. This research considers its use in broader, more contemporary, and eclectic settings – both as a solo instrument and within different ensembles – exploring extended performance techniques; including an engagement with technological augmentation (expressly the use of effects pedals, loops, E-bow etc.), to discern new timbres. My personal approaches to improvisation using the fretless electric guitar have been informed by extensive performance experience, spanning a variety of ensembles, genres, and contexts, including: cross-cultural projects (predominantly with Middle-Eastern and West-Asian musicians); free- improvisation workshops (both leading and taking part); contemporary and popular music recording sessions; live electronic and technological enhancement within ensembles; the accommodation of improvisation within through-composition; and solo performance. Drawing from my recently published article on this subject (Music and Practice: vol. 4, New Perspectives on Technique and Practice, April 2019), this lecture-recital will begin with a discussion of various performance techniques specific to the fretless electric guitar, as well as any discoveries of new techniques and sounds which have emerged from my personal practice. This will be followed by a solo, part-composed/part-improvised performance, demonstrating how such techniques and sounds might be used in a contemporary music context

Breaking the vicious circle of rhythm–tempo definitions

In music literature, rhythm is defined relative to a certain tempo, and tempo is defined relative to a certain rhythm. This vicious circle implies that any sequence of time durations can be regarded as either (a) a sequence of these durations at a constant tempo or (b) a sequence of equal durations at a varying tempo or (c) a sequence of unequal durations at a varying tempo in numerous ways. Most listeners, however, perceive rhythm and tempo in the same way, which we explain as the result of a close interaction of the grouping and simplicity laws of Gestalt psychology. Operationally, the complexity of a data representation is defined as the amount of memory that is required for the algorithm of the data generation. Each rhythm-tempo representation includes rhythmic patterns and the tempo curve that ‘generates’ their augmentations and diminutions in time. The complexity of such a representation is split between the rhythmic patterns and the tempo curve, and the representation with the least total complexity is selected. Rhythm and tempo are thus complementary structures that mutually adapt according to the criterion of simplicity, which leads to an optimal rhythm-tempo perception. In addition to general provisions, we consider a few rules for grouping time events into patterns, a directed search for optimal representations of time events, and the influence of the musical context on the perception of rhythm and tempo

Tipping points: a saxophone led investigation into three continua

This portfolio contains seven musical projects which explore various permutations of three continua: improvisation to composition, acoustic to technologized, and the ‘in’ to ‘out’. As a saxophonist, composer, and collaborator, I investigate the continua with various techniques and approaches, aiming to create contrasting contemporary jazz albums free of stylistic restrictions. The albums explore the improvisation to composition continua via pieces that a) are freely improvised; b) contain written material used as a basis for improvisation; and c) transition between improvisation and composition in various ways. Aiming to enhance and augment acoustic saxophone performance, I explore various techniques for working with technology. Additionally, the commentary documents the overall use of technology including techniques utilised by my collaborators. The ‘in’ to ‘out’ continuum is investigated via a range of melodic, rhythmic, and time-feel approaches. The resulting vocabulary is applied throughout the projects in different ways. The projects include two Roller Trio albums (Fracture and New Devices) and a film soundtrack (Promise/Threat), two quartet projects (The Earthworm’s Eye View and Ikigai), a saxophone and piano duet (Pebbles), and a collection of solo saxophone and electronics pieces (Solo). The commentary includes context, general techniques, processes, and detailed analyses of three contrasting pieces. The portfolio demonstrates one of the infinite outcomes the continua can inspire and is an example of how a vocabulary made up of the set of techniques can be applied across different contexts

Digital Data and Semantic Simulation—The Survey of the Ruins of the Convent of the Paolotti (12th Century A.D.)

In the presence of architecturally significant ruins, restoring and disseminating the idea of a testimony that has survived the destructive work of time is a cultural and social necessity that the use of advanced methods and tools allows to communicate in a timely and comprehensive manner. The integration of 3D surveying techniques and digital information production and management processes (graphic and alphanumeric, i.e., geometric information) makes it possible to put in place multifaceted and effective strategies. The article aims at describing the process of data acquisition (using applied photogrammetry) of the remains of a medieval cloister located on the outskirts of ancient Oppido Mamertina (RC, Italy). The use of the acquired point cloud, cleaned and optimised, made it possible to extract suitable orthophotos from which to derive the matrix profiles of the vaulted roof system. The information organisation of the model, which can be queried on time despite the generic level of detail, leads us to meditate on the change taking place in the field of documentation for urban environmental design and maintenance