Processing of symbolic music notation via multimodal performance data: Brian Ferneyhough's Lemma-Icon-Epigram for solo piano, phase 1

In the "Performance Notes" to his formidable solo piano work Lemma-Icon-Epigram, British composer Brian Ferneyhough proposes a top-down learning strategy: Its first phase would consist in an "overview of gestural patterning", before delving into the notorious rhythmic intricacies of this most complex notation. In the current paper, we propose a methodology for inferring such patterning from multimodal performance data. In particular, we have a) conducted qualitative analysis of the correlations between the performance data -an audio recording, 12-axis acceleration and gyroscope signals captured by inertial sensors, kinect video and MIDI- and the implicit annotation of pitch during a 'sight-reading' performance; b) observed and documented the correspondence between patterns in the gestural signals and patterns in the score annotations and c) produced joint tablature-like representations, which inscribe the gestural patterning back into the notation, while reducing the pitch material by 70-80% of the original. In addition, we have incorporated this representation in videos and interactive multimodal tablatures using the INScore. Our work is drawing from recent studies in the fields of gesture modeling and interaction. It is extending the authors' previous work on an embodied model of navigation of complex notation and on an application for offline and real-time gestural control of complex notation by the name GesTCom. Future prospects include the probabilistic modeling of gesture-to-notation mappings, towards the design of interactive systems which learn along with the performer while cutting through textual complexity

Gesture cutting through textual complexity: Towards a tool for online gestural analysis and control of complex piano notation processing

International audienceThis project introduces a recently developed prototype for real-time processing and control of complex piano notation through the pianist’s gesture. The tool materializes an embodied cognition-influenced paradigm of interaction of pianists with complex notation (embodied or corporeal navigation), drawing from latest developments in the computer music fields of musical representation (augmented and interactive musical scores via INScore) and of multimodal interaction (Gesture Follower). Gestural, video, audio and MIDI data are appropriately mapped on the musical score, turning it into a personalized, dynamic, multimodal tablature. This tablature may be used for efficient learning, performance and archiving, with potential applications in pedagogy, composition, improvisation and score following. The underlying metaphor for such a tool is that instrumentalists touch or cut through notational complexity using performative gestures, as much as they touch their own keyboards. Their action on the instrument forms integral part of their understanding, which can be represented as a gestural processing of the notation. Next to the already mentioned applications, new perspectives in piano performance of post-1945 complex notation and in musicology (‘performative turn’), as well as the emerging field of ‘embodied and extended cognition’, are indispensable for this project

Délos : étude de matériel - 2017

Données scientifiques produites :Délos par l’EFAWeb SIG de Délos Du 20 août 2017 au 1er septembre 2017, Vyron Antoniadis (archéologue) a étudié le matériel provenant du nettoyage, qu’il avait effectué en 2015 dans le Magasin des colonnes. Le matériel comportait de la céramique, surtout des fragments d’amphores, des clous, deux tuiles et un fragment de mosaïque. Pendant cette première campagne, la céramique a été nettoyée, dessinée et photographiée. Vingt dessins de vases ont été réalisés. Des..

Tsallis non-extensive statistics, intermittent turbulence, SOC and chaos in the solar plasma. Part one: Sunspot dynamics

In this study, the nonlinear analysis of the sunspot index is embedded in the non-extensive statistical theory of Tsallis. The triplet of Tsallis, as well as the correlation dimension and the Lyapunov exponent spectrum were estimated for the SVD components of the sunspot index timeseries. Also the multifractal scaling exponent spectrum, the generalized Renyi dimension spectrum and the spectrum of the structure function exponents were estimated experimentally and theoretically by using the entropy principle included in Tsallis non extensive statistical theory, following Arimitsu and Arimitsu. Our analysis showed clearly the following: a) a phase transition process in the solar dynamics from high dimensional non Gaussian SOC state to a low dimensional non Gaussian chaotic state, b) strong intermittent solar turbulence and anomalous (multifractal) diffusion solar process, which is strengthened as the solar dynamics makes phase transition to low dimensional chaos in accordance to Ruzmaikin, Zeleny and Milovanov studies c) faithful agreement of Tsallis non equilibrium statistical theory with the experimental estimations of i) non-Gaussian probability distribution function, ii) multifractal scaling exponent spectrum and generalized Renyi dimension spectrum, iii) exponent spectrum of the structure functions estimated for the sunspot index and its underlying non equilibrium solar dynamics.Comment: 40 pages, 11 figure

Labyrinths

The following Master's Thesis consists of the program notes written for my MA recital by the same title, Labyrinths, which took place in October 1st, 2009 in the Conrad Prebys Concert Hall of the University of California, San Diego. Part of the intention behind the concert and the program note in question is to reveal the potential interconnection of such diverse works as Liszt's Sonate in h-moll, Boulez'sConstallation-Miroir from his Third Sonata and Ferneyhough's Opus Contra Naturam, through the influential morphological model of the labyrinth.This interconnection can ideally shed some light on the listener's perception of the works, as well as raise questions regarding: the linearity of musical time in the West; fragmentation and discontinuity as a dominant feature in modern (in a broader sense) musical composition; the nature of learning processes on the part of the performer; the creative interaction of music with other media, inclusing poetry, theatre and philosophy

« Navigation incarnée » de la notation complexe pour piano : repenser l’interaction musicale selon la perspective de l’interprète

This thesis proposes a performer-specific paradigm of embodied interaction with complex piano notation. This paradigm, which I term embodied navigation, extends and even confronts the traditional paradigm of textual interpretation. The latter assumes a linear and hierarchical process, whereby internalized understanding of the musical text is considered a prerequisite of instrumental technique towards personal interpretation. In lieu of that, I advocate for a dynamic, non-linear, embodied and external processing of music notation. At a second stage, the proposed paradigm serves as the basis for the development of methodologies and customized tools for a range of applications, including: performance analysis, embodied interactive learning, contemporary composition, free improvisation and piano pedagogy.La thèse propose un paradigme d’interaction avec la notation musicale complexe pour piano selon une perspective « incarnée » et «située » de l’interprète. Ce paradigme, que je nomme navigation incarnée, s’oppose au paradigme traditionnel d’interprétation textuelle. Le paradigme traditionnel considère un processus de lecture linéaire et hiérarchique, selon lequel la compréhension et l’internalisation du texte musical sont les conditions préalables pour l’application de la technique instrumentale, permettant par la suite une interprétation personnelle. À la place de ce paradigme, je propose de traiter la notation musicale comme un élément dynamique, non linéaire, et à la fois incarné et externalisé. Dans une deuxième phase, le paradigme proposé devient la base du développement d’outils adaptés au projet de la navigation incarnée et de diverses applications, incluant l’analyse de la performance, l’apprentissage incarné et interactif, la composition musicale et l’improvisation

NOTATION AS INSTRUMENT: FROM REPRESENTATION TO ENACTION

International audienc