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Denktank 2010
 

Denktank 2010

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Presentatie onderzoek Olmo Cornelis - 17 dec 2010 - IPEM Gent

Presentatie onderzoek Olmo Cornelis - 17 dec 2010 - IPEM Gent

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    Denktank 2010 Denktank 2010 Presentation Transcript

    • Theoretic and artistic research studying opportunities of symbiosis of Western and non-Western musical idiom (2008-2014) Olmo Cornelis
    • Outline
      • Introduction
      • Background
      • Problem
      • Definition
      • Methodology
      • Case studies
      • Conclusion
    • Background
      • Olmo Cornelis
      • - Musicology @ Ghent University
      • - Composition @ University College Ghent
      • - PhD @ University College Ghent / Ghent University
      • Previous work: DEKKMMA
      • “ Digitization of the Ethnomusicological Sound Archive of the Royal Museum for Central Africa”
    • DEKKMMA
      • Digitization of the sound archive:
          • Audio : 50.000 sound recordings – 3.000 hours of music - 33.000 items digitized.
          • Meta-data : 35.000 items digitized
          • Provide contextual data
      • Development of database and website
      • Exploration of MIR-techniques.
      • http://music.africamuseum.be/
    •  
      • Deliver detailed descriptions of music from another culture
        • Different from Western musical idiom
        • (till now) Western concepts were used
        • Correct descriptions are needed for:
          • Online collections
          • Research
          • Respect cultural heritage
      Actual problem I
      • How to transfer this knowledge into an artistic production?
      • How to transform musical elements into another culture?
      • How to enrich a compositional language with specific ethnic musical characteristics?
      • How to create a personal compositional idiom with implicit influences?
      Actual problem II
    • Work Path
      • Study of problem: research question
      • Definition (definiëring en afbakening)
      • Theoretical analysis / set up framework (methodology)
      • Cooperation musicologist and computer engineer
      • Testing existing applications
      • Build platform for ‘objective’ analysis
      • Case studies
      • Result (diverse output)
      Listen and encounter Define research question Set up frame work (methodology) Experimental phase Composition Experiment Evaluation Composition Concert
    • Method
        • Ethnic music?
        • Three categories :
        • Ethnic music (in strict sense)
        • From cultures without written tradition
        • Non-Western classical music
            • Religious and court music from cultures with a written
            • tradition outside Europe
        • Folk music
            • From written culture, but not part of a classical tradition
    • Historical tendencies
      • Initially
        • Aversion towards music
          • Music connected with dance and rituals
      • After WO2
        • Collecting systematically
        • Describing semantically
      • 21th Century
        • Digitization (conservation, accessibility)
        • Computational ethnomusicology
      • Objective measurement:
      • Not using Western musicological assumptions
      • Approach actual characteristics
      • Music Information Retrieval
        • Signal based research
          • Computer assisted analysis
      Method
    • Music Information Retrieval
      • Nowadays:
      • - audio is a digital object
      • - huge online collections
      • - personal consumption
      • => Music discovery!
    • Music Information Retrieval
      • - MIR: describes content of music
      • - Many applications
      • - Search/retrieve/organize
      • Three levels
          • Signal => physical
          • Symbolic => musical symbols
          • Semantic => metadata
    •  
    • Music Information Retrieval
      • Many applications:
      • - Identification, plagiarism detection, copyright monitoring, version detection, melody finder, alignment, recommendation, sounds like, genre detection, segmentation, instrumentation, organization by metadata, mood, artist…
        • domain specific techniques are required to approach the particular characteristics and constraints of different ethnic music styles.
        • Need for an interdisciplinary research field.
        • Automated approaches are needed because of large archives.
        • large variability of music, users, search intentions and expectations.
        • Metadata, content-based description, musical concepts are fundamentally different from Western standards .
      (MIR) considerations
    • Work Path
      • Study of problem: research question
      • Definition (definiëring en afbakening)
      • Theoretical analysis / set up framework (methodology)
      • Cooperation musicologist and computer engineer
      • Testing existing applications
      • Build platform for ‘objective’ analysis
      • Case studies
      • Result
      Listen and encounter Define research question Set up frame work (methodology) Experimental phase Composition Experiment Evaluation Composition Concert
    • Artistic research
      • Composition (imho):
        • Innovative element
        • Content
        • Coherence
        • Aesthetic component
      • Ethnic music: kaleidoscope of sounds
      • Symbioses: added value of two components
      • => Develop a personal idiom with implicit influence
    • Musical elements
    • Musical elements Text Timbre Pitch Time Dynamics
    • Musical elements
    • Musical elements
    • Musical elements
      • Axes :
      • - Explicit <---------------------------------> Implicit
      • - Effect <---------------------------------> Concept
      • - Form <-----------------------------------> Musical
      • - Music an Sich <-------------------> Functional
      • - High level <---------------------> Low level MP
      • - Physical <--------------------------------> Virtual
      • - … <-------------------> …
    • Musical elements
    • Musical elements
    • Approach Artistic Research
      • 1. Acquire knowledge and specificities of ethnic music
      • => scientific study
      • 2. Set up compositional experiments
      • => in exhaustive range of possibilities
      • 3. Create framework to work in
      • => see previous slides
      • 4. Create (with implicit ethnic influence)
      • => in a personal style
    • Results
    • Framework TARSOS
      • Pre-processing:
        • Audio signal improvement:
          • Noise reduction
          • Signal optimization
        • Source separation (ONO2010)
        • Band pass filters
      • Processing:
        • (existing) algorithms
        • Annotation optimization
      • Post-processing:
        • Interpretation
        • Visualization
        • Export
          • Data
          • Graphical
      • SIGNAL LEVEL
      • Test of available pitch trackers
      • Representation of output
      • Real-time analysis
      • Optimization results
      • SYMBOLIC LEVEL
      • Peak extraction
      • Peak analysis
        • Correlation
      • OUTPUT
      • Sonification
      • Export
      Framework TARSOS
    • Demo
    • Exploring African Tone Scales
      • Audio set :
      • 901 audio files from the RMCA-archive
      • Solo pieces played on:
        • Zither
        • Flute
        • Thumb piano
        • Musical bow
    • Exploring African Tone Scales Remarkable finding 1: the evolution of the increasing number of pitches in the scale through time.
    • Exploring African Tone Scales Remarkable finding 2: Increase of ‘regular’ intervals in recent years. Remarkable finding 3: Specific ‘irregular’ intervals (e.g. 160 or 370 cents) Interval < 1960 1960-75 > 1975 min.2nd 1,46 1,87 2,20 maj.2nd 1,57 1,71 5,20 min.3rd 2,26 3,39 2,84 maj.3rd 1,25 1,28 2,78 4th/5th 2,55 2,56 5,31 sum 9,10 10,81 18,33
    • Pitch (melody)
      • Language steers melos:
      • Ex.: Lisaka:
      • march
      • promise
      • poison
      • => mono syllabic
      • => anti-melismatic
      • => verse: no identical melody
      • => polyphony: parallel (no counterpoint)
      Ngomi ngomi:
    • Rhythm and tempo
      • Preliminary research:
      • Experiment: Tempo extraction
      • beat / pulse annotation
      • by human and by pc
      • Goal:
      • - human tempo perception
      • - set of audio with ground truth
      • - test quality beat algorithms
    •  
    •  
    • Tempo
      • Set up:
      • - 70 audio fragments, 20 sec each
      • 10 beat trackers
      • 10 persons
      • Task: tap the tempo
    • Tempo 1 2 5 3 3 2 2 meter 1 1 4 0 0 0 0 other relation 0 3 0 3 1 0 0 binary/ternary 2 2 2 2 2 4 0 tempo octave 6 3 3 4 6 4 9 identic tempo consistency 107-121 92 92 144 63 65 129 median tempo 65 92 44 96 125 130 129 subject 9 94 69 122 73 63 64 129 subject 8 221 93 92 144 63 132 129 subject 7 117 92 92 47 63 124 129 subject 6 121 238 178 144 69 x 129 subject 5 115 140 130 142 129 127 129 subject 4 107 121 46 95 63 65 129 subject 3 122 186 111 144 63 65 129 subject 2 53 46 92 72 190 65 129 subject 1 no.1 no.69 no.49 no.31 no.30 no.20 no.6 song nr
    • Microtiming
    • Rhythm
      • Western conceptually different:
      • Divisive, Z/L, symmetry
      • In 8: 3/3/2, 3/2/3, 2/3/3, 1/3/2/2, 1/2/1/2/2
      • Ewe drumming
    • EME
      • - Electronic sound and music controller , based on human movement and using custom made wireless motion sensors
      • - Hardware technology, software applications, music theory and concepts of Embodied Music Cognition
    • EME
      • Applications:
      • demo , for musicians and non-musicians, a real-time sound control
      • Artistic performance , i.c. Con Golese, a piece for tape and voice, where an opera singer could control the tape composition through her gestures while performing. Bodily expressions - often gestures - ensued on the vocal part, feel natural and cause a closer blending of voice and tape. The possible real-time interaction of a performer with a tape composition creates new opportunities for electronic compositions.
    •  
    •  
      • Audio might not be sufficient to describe and/or retrieve ethnic music:
        • -> The idea of separating sound from the rest of its physical environment (movement, smell, taste, colour) may well be a weird “invention” of the West.
        • => We cannot understand ethnic music correct without its social function and context !
    • Next
      • Composition
        • Dag van het Onderzoek (March 2011)
      • New proposals (COST, Tetra, FET Open)
      • Pitch
        • Finalize application
        • Article methodology TARSOS (nearly finished)
        • Article application TARSOS (several options)
      • Rhythm
        • Put documentation and experiment into article (advanced)
        • Set up framework for TARSOS
    • Dissemination
      • Publications
      • Compositions
      • Activities
      • Website
      • Doctoral Schools
    • Publications
      • 2010 - Cornelis O., Lesaffre M., Moelants D., Leman M., 'Access to ethnic music: advances and perspectives in content-based music information retrieval' , Signal Processing, Elsevier, 2010 - Lidy T., Silla C.N., Cornelis O., Gouyon F., Rauber A. ,Kaestner C.A.A., Koerich A.L., 'Western vs. Ethnic Music: On the Suitability of State-of-the-art Music Retrieval Methods for Analyzing, Structuring and Accessing Ethnic Music Collections' , Signal Processing, Elsevier, 2010 - Cornelis O., 'Het etnomusicologisch klankarchief van het KMMA, digitaliseren en beyond…' , in Handboek Muzikaal Erfgoed (Ed. Schreurs E.), Resonant, 2010, in press
      • 2009 - Cornelis O., Moelants D., Leman M., 'Global access to ethnic Music: the next big challenge?' Proceedings ISMIR 2009, Kobe, Japan. http://www.columbia.edu/~tb2332/fmir/Papers/Moelants-fmir.pdf - Moelants D., Cornelis O., Leman M., 'Exploring African tone scales' , Proceedings ISMIR, (Kobe, Japan), 2009 - Lesaffre, M., Cornelis, O., Moelants, D., Leman, M., 'Integration of Music Information Retrieval techniques into the practice of ethnic music collections' , Proceedings Unlocking Audio 2 (London), 2009
      • 2008 - Antonopoulos I., Cornelis O., Moelants D., Leman M., Pikrakis A., 'Music Retrieval by Rhythmic Similarity applied on Greek and African Traditional Music' , Proceedings, ISMIR 2007 - De Mey M., Cornelis O., Leman M., 'The IPEM_EME: a Wireless Music Controller for Real-time Music Interaction' , Proceedings ICAD 2008, Paris - Cornelis O., De Mey M., Leman M., 'EME: a wireless music controller for Real-Time Music Interaction' , Proceedings ARTECH 2008, Porto
    • Compositions
      • Shaken
      • Con Golese
      • Nelumbo
      • EME experiment:
        • ICAD
        • ARTECH
        • RESONANT
        • E-Dinges
    • Doctoral Schools
    • Website
      • http://webs.hogent.be/olmocornelis/index.html
      • http://tarsos.0110.be
    • 30%
      • Coaching students in Master
      • Follow up English Master students
      • Guide Potential PhD students
      • New means:
        • Hercules
        • TETRA
        • COST
        • FET Open
      • [email_address]
      • http://tarsos.0110.be
      • http://music.africamuseum.be
      • http://webs.hogent.be/olmocornelis