Creative Process Behind Dialogismos I
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The document outlines a presentation on the creative process behind the work "Dialogismos I", which explores musical borrowing and concatenative sound synthesis. It discusses conceptual influences from Bakhtin's dialogism and Kristeva's intertextuality. The work structures sections based on Arvo Pärt and Johann Sebastian Bach, with a saxophone score and electronic sounds generated through earGram. Future directions include enhancing interactivity and representation in the corpus.
![[outline of the presentation]
• background
• short overview of the work’s structure
• conceptual groundwork
• problem solving strategies by computer
assisted algorithmic processes
• detailed description of the 2nd section of
the work](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)
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Creative Process Behind Dialogismos I
- 1. The Creative Process Behind Dialogismos I: Theoretical and Technical Considerations Gilberto Bernardes FEUP Nuno Peixoto de Pinho UCP-CITAR Sofia Lourenço UCP-CITAR IPP-ESMAE Carlos Guedes FEUP IPP-ESMAE Bruce Pennycook UT Austin Erik Oña Basel Musik-Akademie
- 2. [outline of the presentation] • background • short overview of the work’s structure • conceptual groundwork • problem solving strategies by computer assisted algorithmic processes • detailed description of the 2nd section of the work
- 3. [background] Mikhail Bakhtin (1895 - 1975) ‘dialogism’ “a speech does not built in itself but rather develops in perspective of another. In other words, the other [text] pervades, crosses and conditions the discourse of the I” (Barros and Fiorin, 1994) Barros, D. and Fiorin, J. (1994). Dialogismo, Polifonia, Intertextualidade. SP: EDUSP.
- 4. [conceptual groundwork] Dialogismos I, II, (...) ”every text is built as a mosaic of quotes, every text is an absorption and transformation of another text” (Kristeva, 1969) Kristeva, J. (1969). Séméiotikè: Recherches pour une sémanalyse. Paris, Seuil.
- 5. [conceptual groundwork] J. Peter Burkholder ‘musical borrowing’ 14 techniques modeling, variations, paraphrasing, setting, cantus firmus, medley, quodlibet, stylistic allusion, transcribing, programmatic quotation, cumulative setting, collage, patchwork, extended paraphrase
- 6. [structure of the work] Arvo Pärt MACRO-STRUCTURE Johann S. Bach Rhythm (Melodic) modeling Mauricio Sotelo Wolfgan Mitterer Jorge Peixinho Freesound (...) SAX SCORE ELECTRONIC collage patchwork
- 8. [concatenative sound synthesis] 100 units target 50 0 corpus synthesis
- 9. [concatenative sound synthesis] Density 21.5 Edgard Varèse corpus
- 10. [concatenative sound synthesis] Density 21.5 Edgard Varèse corpus
- 11. [concatenative sound synthesis] Density 21.5 Edgard Varèse corpus
- 12. [concatenative sound synthesis] Density 21.5 Edgard Varèse corpus
- 13. [concatenative sound synthesis] Density 21.5 Edgard Varèse corpus
- 14. [concatenative sound synthesis] Density 21.5 Edgard Varèse corpus
- 15. [concatenative sound synthesis] Density 21.5 Edgard Varèse corpus
- 16. [concatenative sound synthesis] Density 21.5 Edgard Varèse corpus
- 17. [earGram] • allows online and offline concatenative sound synthesis in Pure Data • solid framework to experiment with live and recorded data streams of multiple representation: • audio samples • audio descriptors • symbolic representation (MIDI) • target users: musicians and not very familiar with MIR research
- 18. [earGram_viz]
- 19. [eargram playingModes] • spaceMap • infiniteMode • shuffMeter https://sites.google.com/site/eargram/ google: eargram Bernardes, G., Guedes, C., and Pennycook, B. (2012). "EarGram: an Application for Interactive Exploration of Large Databases of Audio Snippets for Creative Purposes." Proceedings of the 9th International Symposium on CMMR, London, UK.
- 20. [eargram playingModes] Bernardes, G., Guedes, C., and Pennycook, B. (2012). "EarGram: an Application for Interactive Exploration of Large Databases of Audio Snippets for Creative Purposes." Proceedings of the 9th International Symposium on CMMR, London, UK.
- 21. [eargram playingModes] • spaceMap • infiniteMode • shuffMeter https://sites.google.com/site/eargram/ google: eargram Bernardes, G., Guedes, C., and Pennycook, B. (2012). "EarGram: an Application for Interactive Exploration of Large Databases of Audio Snippets for Creative Purposes." Proceedings of the 9th International Symposium on CMMR, London, UK.
- 22. [eargram playingModes] Bernardes, G., Guedes, C., and Pennycook, B. (2012). "EarGram: an Application for Interactive Exploration of Large Databases of Audio Snippets for Creative Purposes." Proceedings of the 9th International Symposium on CMMR, London, UK.
- 23. [eargram playingModes] • spaceMap • infiniteMode • shuffMeter https://sites.google.com/site/eargram/ google: eargram Bernardes, G., Guedes, C., and Pennycook, B. (2012). "EarGram: an Application for Interactive Exploration of Large Databases of Audio Snippets for Creative Purposes." Proceedings of the 9th International Symposium on CMMR, London, UK.
- 24. [eargram playingModes] Bernardes, G., Guedes, C., and Pennycook, B. (2012). "EarGram: an Application for Interactive Exploration of Large Databases of Audio Snippets for Creative Purposes." Proceedings of the 9th International Symposium on CMMR, London, UK.
- 25. [earGram_modules] • modularity • PD-friendly • expert users • multiple corpus at once
- 26. [reading modes] • mode 1: the midi note information (pitch, in pitch classes, amplitude and velocity) from a midi file • mode 2: the same as mode 1 with a filter that only allows particular pitch classes assigned by the user • mode 3: the rhythm of a midi file and a user-assigned sequence of notes (in pitch class) that could be read in straight, reverse, random, and spiral orders
- 27. [second section Dialogismos I] Arvo Pärt SAX SCORE ELECTRONIC Johann S. Bach
- 28. [second section Dialogismos I] Arvo Pärt SAX SCORE ELECTRONIC Johann S. Bach
- 29. [second section Dialogismos I] Arvo Pärt SAX SCORE ELECTRONIC Johann S. Bach
- 30. [second section Dialogismos I] Arvo Pärt SAX SCORE ELECTRONIC Johann S. Bach
- 31. [second section Dialogismos I] Arvo Pärt SAX SCORE ELECTRONIC Johann S. Bach
- 32. [second section Dialogismos I] Arvo Pärt SAX SCORE ELECTRONIC Johann S. Bach
- 33. [second section Dialogismos I] Arvo Pärt SAX SCORE ELECTRONIC Johann S. Bach
- 34. [second section Dialogismos I] Arvo Pärt SAX SCORE ELECTRONIC Johann S. Bach earGram
- 35. [second section Dialogismos I] Arvo Pärt SAX SCORE ELECTRONIC Johann S. Bach earGram
- 36. [future work] • explore the technique in future works of the same cycle with different orchestrations • enhance the real-time interaction of the works • create different target phrases definition and/or reading modes • meaningful representations of the corpus (P. Schaeffer’s Typo-morphology, D. Smalley’s Spectromorphology, Lasse Thoresen Aural Project) • intuitive interface for the separate modules
- 37. [conclusion] • earGram constituted an important tool to accelerate the creation the electronic part • Although the software requires some (
Editor's Notes
- Good morning everyone\nMy name is Gilberto and I will be presenting a paper that was done in collaboration with Nuno Peixoto also present here. We will describe the process behind the creation of Dialogismos I, a piece for saxophone and electronics, which was premiered last October at the Conference of the International Society for Music Information Retrieval that took place in Oporto.\n
- Initially I will state the background and conceptual groundwork that establish the basis of Dialogismos I. Then, I will pose the problems raised by the compositional system applied in the piece and Gilberto will follow with the algorithmic processes that were implemented as problem solving strategies for the stated problems. Lastly, we will give a short overview of the work’s structure.\n\n
- The title of the piece is called "Dialogismos" to honor the literary critic and philosopher from the early Twentieth century - Mikhail Bakhtin, which was a strong influence throughout the twentieth century in particular in the creative arts field, and established the base of many novel theories such as“Intertextuality” by Julia Kristeva.\nBakhtin coined the term “Dialogismos" which means: all works are a result of a collective creation. In other words, it is build upon a dialogue of several authors. So, these authors, end up influencing or conditioning the result of the new piece.\nI intend in …\n\n
- I intend in this way to create a cycle of pieces called as "Dialogismos".\nIts main objective to create a work totally new built upon the usage of a vast number of composers, totally dependent and interconnected between them as if it were "Mosaics" of citations.\nI aim to absorb and transform them up to a point which we may even not recognized the sources.\n\n
- In Dialogismos I I established a dialogue between composers from diverse styles and epochs. In order to do so, I needed to define the levels of participation and hierarchies of each author as well as the type of technique we will apply on each of them.\n\nIn order to do do so I used 3 techniques that were taken from the 14 processes listed on the "Musical Borrowing" table presented by J. Burkholder. (That table arises at the end of the twentieth century through the analysis of the works of the the american composer Charles Ives)\n\nThe techniques that I used are:\n\nModeling: using the structure and the compositional methods of a pre-existing piece as model.\n\nCollage: the capture of several musical fragments, usually known as "copy/paste"\nand lastly, we have\n\nPatchwork: which consists on fragments of two or more musics are connected or intertwined in order to create unity (paraphrase).\n\nSo, In order to make it clearer… \n\n
- … I will show the level and type of interaction of each composer within the piece... \n\nI selected two composers - A. Part and J. S. Bach as models for my work, more specifically:\n\nThe solo piano piece “Fur Alina” by Arvo Part models the macro-structure of Dialogismos I, while the rhythmic structure is taken from the the six movements of the first Cello Suite by J. S. Bach.The melodic content of Dialogismos I is taken from both composers (Arvo Part and Bach) \n\nThe saxophone score was built as a cut and past procedure ("collage") between two masterpieces of the twentieth century saxophone repertoire, "Argo” by Mauricio Sotelo" and "Sax Blue” by Jorge Peixinho.\n\nLastly, the "patchwork" process is related with the electronics part, which was done in collaboration with Gilberto, to whom I will pass the word to detail this part of the creative process.\n\n\n\n
- commission in order to build a software tools that eases the creative process and allows a rapid experimentation of sonic structure.\nearly-90s\nRobert Silvers presents an algorithm to automatically create photo mosaics\nA mosaic is a picture assembled by smaller pieces that contribute to the overall perception of an image.\n
- CSS explores the same technique but in the sound domain uses a collection of segmented-analyzed audio units to assemble a target phrase according to a distance measure in the descriptor space. \n
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- sample level (waveform, segmentation) > corpus and units similarity > long-term structure/form > descriptors (Inselberg: parallel coordinates)\n
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- combine different corpus\nsequence several applications\nexpert users\n
- In Dialogismos I we adopted 3 strategies that assisted the realization of the tape part. It adopts the patchwork strategy by generating new material that emulate particular characteristics of several fragments of the 1st Cello Suite of J. S. Bach using for that matter different corpus of sounds retrieved from diverse recording of works from a huge variety of composers and styles, as well as many samples from the Freesound database.\n
- As an example I present to you the second section of Dialogismos I\n\nThe second section is molded by the second bar from the piece Fur Alina.\nThe upper system is for the saxophone part and the underpart is for the electronics.\n\nBach on the other hand, interacts through the rhythm of the second movement from the Suite - Allemande. And it is through the software eargram that I apply the different reading modes that were detailed by Gilberto.\n\nSo, we'll ear the second section of Dialogismos I. \n\n
- As an example I present to you the second section of Dialogismos I\n\nThe second section is molded by the second bar from the piece Fur Alina.\nThe upper system is for the saxophone part and the underpart is for the electronics.\n\nBach on the other hand, interacts through the rhythm of the second movement from the Suite - Allemande. And it is through the software eargram that I apply the different reading modes that were detailed by Gilberto.\n\nSo, we'll ear the second section of Dialogismos I. \n\n
- As an example I present to you the second section of Dialogismos I\n\nThe second section is molded by the second bar from the piece Fur Alina.\nThe upper system is for the saxophone part and the underpart is for the electronics.\n\nBach on the other hand, interacts through the rhythm of the second movement from the Suite - Allemande. And it is through the software eargram that I apply the different reading modes that were detailed by Gilberto.\n\nSo, we'll ear the second section of Dialogismos I. \n\n
- As an example I present to you the second section of Dialogismos I\n\nThe second section is molded by the second bar from the piece Fur Alina.\nThe upper system is for the saxophone part and the underpart is for the electronics.\n\nBach on the other hand, interacts through the rhythm of the second movement from the Suite - Allemande. And it is through the software eargram that I apply the different reading modes that were detailed by Gilberto.\n\nSo, we'll ear the second section of Dialogismos I. \n\n
- As an example I present to you the second section of Dialogismos I\n\nThe second section is molded by the second bar from the piece Fur Alina.\nThe upper system is for the saxophone part and the underpart is for the electronics.\n\nBach on the other hand, interacts through the rhythm of the second movement from the Suite - Allemande. And it is through the software eargram that I apply the different reading modes that were detailed by Gilberto.\n\nSo, we'll ear the second section of Dialogismos I. \n\n
- As an example I present to you the second section of Dialogismos I\n\nThe second section is molded by the second bar from the piece Fur Alina.\nThe upper system is for the saxophone part and the underpart is for the electronics.\n\nBach on the other hand, interacts through the rhythm of the second movement from the Suite - Allemande. And it is through the software eargram that I apply the different reading modes that were detailed by Gilberto.\n\nSo, we'll ear the second section of Dialogismos I. \n\n
- As an example I present to you the second section of Dialogismos I\n\nThe second section is molded by the second bar from the piece Fur Alina.\nThe upper system is for the saxophone part and the underpart is for the electronics.\n\nBach on the other hand, interacts through the rhythm of the second movement from the Suite - Allemande. And it is through the software eargram that I apply the different reading modes that were detailed by Gilberto.\n\nSo, we'll ear the second section of Dialogismos I. \n\n
- As an example I present to you the second section of Dialogismos I\n\nThe second section is molded by the second bar from the piece Fur Alina.\nThe upper system is for the saxophone part and the underpart is for the electronics.\n\nBach on the other hand, interacts through the rhythm of the second movement from the Suite - Allemande. And it is through the software eargram that I apply the different reading modes that were detailed by Gilberto.\n\nSo, we'll ear the second section of Dialogismos I. \n\n
- As an example I present to you the second section of Dialogismos I\n\nThe second section is molded by the second bar from the piece Fur Alina.\nThe upper system is for the saxophone part and the underpart is for the electronics.\n\nBach on the other hand, interacts through the rhythm of the second movement from the Suite - Allemande. And it is through the software eargram that I apply the different reading modes that were detailed by Gilberto.\n\nSo, we'll ear the second section of Dialogismos I. \n\n
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