Studying the perception of sound in space : granular sounds spatialized in a high-order ambisonics system

Space is an important aspect of music composition that received little emphasis in certain periods of the history of Western music. However, in the twentieth century, electroacoustic music reintroduced this element by utilizing the different spatialization methods available. In this article, we discuss the methodology of analysis and the results of a study of the perception of sound in space involving sounds generated by granular synthesis that were spatialized in a high-order ambisonics system performed at CIRRMT’s Immersive Presence Laboratory at McGill University. We investigated two hypotheses of sound perception in space: 1) the variation of the granular synthesis parameters produces differences in the morphology of sounds perceived in their time-varying spatial distribution; and 2) the presence of more morphological sound variations when higher orders of ambisonics are employed, in addition to the generation of sound fields with more depth. In order to verify these hypotheses, we employed a method of analysis based on graphical representations of data derived from audio descriptors, such as graphical curves, a graphic representation of volume and phase space graphics. As a result, we observed that when higher orders of ambisonics are employed, the listener perceives more variations in frequency and intensity in sound spatialization, in addition to a preponderance of the decorrelation effect. Such effect is related to the presence of more diffuse sound fields262CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO - CNPQFUNDAÇÃO DE AMPARO À PESQUISA DO ESTADO DE SÃO PAULO - FAPESP304431/2018-4; 429620/2018-72016/23433-

A Arquitetura de Multiverso: parametrizações para elaboração de células e blocos sonoros texturais

Resumo: Este artigo apresenta a parametrização aplicada ao processo criativo no contexto da composição algorítmica e assistida por computador o qual culminou na elaboração da obra Multiverso. As etapas aqui descritas não contemplarão todos os estágios e ações responsáveis pela realização musical que faz parte de um modelamento formal. Aqui vamos focar nas estruturas associada a escritura e a composição de elementos tratados pelo processo que vão das células texturais até a disposição orquestral dos blocos sonoros.Palavras-chave: modelamento, parametrização, composição, música textural.The Architecture of Multiverso: the parameters applied to create textural cells and textural sound blocks Abstract: This article discusses parameters applied to a creative process involving assisted and algorithm music composition. This procedure resulted in a composition for strings called Multiverso. The steps described do not relate all procedures that resulted in the music composition. We wish to approach the structures related in the score and the elements applied in the process for developing the textural cells and the textural sound blocks. Keywords: modelization, parameters, music composition, textural music

Da emergência da sonoridade às sonoridades emergentes: mediação tecnológica, emergentismo e a criação sonora com suporte computacional

Apresentamos uma visão panorâmica e crí­tica de como o uso computador enquanto artefato de criação musical pode retroagir sobre os próprios modelos composicionais mediados por este. De maneira similar às mudanças de paradigma que o uso de dispositivos de gravação trouxe à criação musical, emergindo disto a sonoridade como um aspecto central do discurso sonoro, o uso de computadores tem potencializado novos campos de ação criativa não orientados à determinação das estruturas da obra em si, mas à criação de condições ambientais favoráveis ao surgimento de estruturas como um aspecto emergente da própria interação entre as partes do sistema. A partir da discussão de distintos modelos composicionais, trataremos como a criação com suporte computacional tem sido explorada como aporte à emergência de novas estruturas

Invisible Sounds for Calvino's Invisible Cities

Inspired by Italo Calvino's novel Le città invisibili (1972), which presents Marco Polo's description of several invisible and fictional cities, the authors embarked on an imaginary journey to create invisible sounds with the subtlety of the fortepiano. In a process akin to Calvino's novel, the article presents the comings and goings of an exchange process of ideas between the composer and the performer. Physically separated, in Brazil and Portugal, they used video conferences and e-mails to create the work. As the process evolved, technical aspects of the fortepiano and its peculiar sounds were intertwined with adjustments to the composer's creative writing. On the other hand, the combinatorial structure of Calvino's artwork anchored the exchange of musical materials among the work’s movements. This artistic-research project began in April 2014, and led to a recording of Sons Invisíveis (Invisible Sounds), included in the CD Música Nova for Antique Instruments II in 2016. In order to describe this trajectory, this article addresses recent literature in collaboration and performance studies, composition for historical instruments, particularly the fortepiano, the combinatorial nature of Calvino's writing, how the collaborative process was developed, and its final organization, expressing the ineffable character of Calvino's masterpiece through invisible sounds.Inspired by Italo Calvino’s novel Le città invisibili (1972), which presents Marco Polo’s description of several invisible and fictional cities, the authors embarked on an imaginary journey to create invisible sounds with the subtlety of the fortepiano. In a process akin to Calvino’s novel, the article presents the exchange of ideas between the composer and the performer, physically separated, in Brazil and Portugal, communicating through video conferences and e-mails. As the process evolved, technical aspects of the fortepiano andits peculiar sounds were intertwined with adjustments to the composer’s creative writing. The combinatorial structure of Calvino’s artwork anchored the exchange of musical materials between the work’s movements. This artistic-research project began in April 2014, and led to the recording of Sons Invisíveis (Invisible Sounds), included in the CD New Music for Old Instruments II in 2016. In order to describe this process, this article addresses proceduresof composition for historical instruments, particularly the fortepiano, the combinatorial nature of Calvino’s writing and its corresponding structure in the work, and its final organization, expressing the ineffable character of Calvino’s masterpiece through invisible sounds

“O azeite, a lua e o rio”: the second logbook of a composition via audio descriptors

This article presents the second Logbook related to a series of compositions whose constructions were based on the digital analysis of spectral content. The procedure was applied in the preparation of the work "O azeite, a lua e o rio - numa ilha rodeada de ouro, com agua ate o joelho" for flute; clarinet and cello (2013). A programming environment was developed in PD, together with a sound analysis library using audio descriptors called PDescriptors. We performed several experiments to evaluate a variety of timbre settings, relating them to perceivable qualities of sounds such as "roughness" and "smoothness", with intensities ranging from pianissimo to fortissimo. This second Logbook confirms not only the applicability but also the potential for innovation that an embedding of such technologies in both the creative process and musical analysis may entailTrata-se do segundo Diário de Bordo relacionado a uma série de composições com o objetivo centrado na criação de obras a partir da análise de conteúdo espectral. Utilizamos tal metodologia para elaborar a obra “O azeite, a lua e o rio – numa ilha rodeada161101123sem informaçãosem informaçãoThis article presents the second Logbook related to a series of compositions whose constructions were based on the digital analysis of spectral content. The procedure was applied in the preparation of the work "O azeite, a lua e o rio - numa ilha rodead

A lisbon case study

Manzolli, J. A., Oliveira, A., & Neto, M. D. C. (2021). Evaluating walkability through a multi-criteria decision analysis approach: A lisbon case study. Sustainability (Switzerland), 13(3), 1-20. [1450]. https://doi.org/10.3390/su13031450New strategies to improve the quality of urban pedestrian environments are becoming increasingly important in sustainable city planning. This trend has been driven by the advantages that active mobility provides in terms of health, social, and environmental aspects. Our work explores the idea of walkability. This concept refers to the friendliness of the urban environment to pedestrian traffic. We propose a framework based on the multi-criteria decision analysis (MCDA) methodology to rank streets in terms of walkability levels. The city of Lisbon (Portugal) is the location of the streets under examination. Findings confirmed the framework’s replicability and suggested the possibility of this strategy being used as a support tool for designing urban policies.publishersversionpublishe

Três Movimentos Descontí­nuos de Rose Bob: o ultraconceitualismo na música dos anos 1960

A composição de Três movimentos descontí­nuos de Rose Bob (2018) foi o resultado de uma pesquisa artí­stica motivada pela arte ultraconceitual praticada nos anos 1960. A peça, para piano e eletrônica em tempo real, foi concebida a partir de indicações encontradas no capí­tulo 23 do romance Rayuela, de Julio Cortázar, publicado em 1963. O material sonoro utilizado foi adaptado de Antinomies I, de Rogério Duprat, composta em 1962 e reescrita em 1966. A metodologia utilizada nessa pesquisa foi a construção, a partir de indicações textuais e diagramas, de uma obra musical que suscitasse, em sua própria gênese, a discussão sobre sua provável estrutura formal. Este texto procura investigar também a emergência simultânea de projetos que, em diferentes segmentos artí­sticos, propuseram ações conjuntas em um perí­odo em que a convulsão polí­tica e o crescimento dos meios de comunicação implicaram profundas modificações nos mecanismos da cena pública e na criação de imagens culturais

Cooperative Musical Creation Using Kinect, WiiMote, Epoc and Microphones: A Case Study With MinDSounDS

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Hiperpartitura: análise da rede de processos na criação de Khorwa-Myalwa, de Mikhail Malt

Este artigo analisa o processo criativo de Khorwa-Myalwa (2016), para flauta baixo e eletrônica, de Mikhail Malt, criada sob o paradigma da composição assistida por computador (CAC). A nossa visão se ancora em três aspectos: a) as ideias sobre as tecnologias intelectuais e hipertexto do filósofo Pierre Lévy (2010), b) as teorias sobre criatividade computacional de Margaret Boden (2009; 2004) e c) as proposições teóricas a respeito dos modelos de Mikhail Malt (2015) e Ronald Giere (2004). Desenvolvemos então uma nova abordagem que considera o processo criativo como uma rede que entrelaça os vários agentes da CAC. Definimos a noção de hiperpartitura para representar essa rede de ferramentas computacionais, ambientes de programação, bancos de dados e representações que surgem durante a CAC. A hiperpartitura mostra-se uma valiosa ferramenta para a compreensão dos agenciamentos na CAC e é útil tanto ao analista quanto ao compositor interessado em compreender os seus processos