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.
February 19, 2012, Interactive Arts & Technology: Interaction Design (IAT 222)
-based on an idea to reshape a drum and program it to give you different sounds. Arduino concept.
The combination of the music video main product and two ancillary texts (a digipak album art and magazine advertisement) are effective promotions that reinforce each other. The sepia-toned dim style and rebellious themes across the products present a cohesive message. Locations, metaphors, and characters connect the products, such as a recurring tree and lyrics. The products work well together to promote the fictional band's music and album in an authentic indie/alternative style.
Research in artificial intelligence (AI) is known to have impacted medical diagnosis, stock trading, robot control, and several other fields. Perhaps less popular is the contribution of AI in the field of music. Nevertheless, Artificial intelligence and music (AIM) has, for a long time, been a common subject in several conferences and workshops, including the International Computer Music Conference, the Computing Society Conference and the International Joint Conference on Artificial Intelligence.
The document provides an overview of musique concrète, an experimental style of electronic music that manipulates recorded sounds. It discusses early pioneers like Pierre Schaeffer and the development of studios for tape manipulation. Specific works and techniques are examined, like Alvin Lucier's recursion of recorded speech or William Basinski's degradation of magnetic tape over time. Contemporary musique concrète is discussed, relating these concepts to principles of layering, routing, and time in sound mapping. The document suggests exploring how these musical concepts could inspire design approaches.
The document discusses a media production project for a fictional band called Galactic Express and their album "Utopia". It describes the various products created - an advert, digipak, and music video. The products incorporate elements of codes and conventions from real media but also challenge conventions by taking a surreal and unique approach, with a space theme throughout. Feedback from the target audience praised aspects like the surrealism and cartoon style, but also provided suggestions on improving the video editing and clarity of plot.
This document provides an annotated catalogue of composer Denis Smalley's works, listing them in chronological order from 1973 to 2009. It summarizes each work, including duration, premiere details, instrumentation, technical resources, and Smalley's own notes. The introduction discusses key themes in Smalley's music such as the interplay between referential and abstract sound qualities, his use of drones and pulse, and transformation of sound materials over multiple works. The catalogue presents an overview of Smalley's career and consistent exploration of the nature of sound through electroacoustic composition.
Will AI produce really good music or even music that is merely a commercial success in the moment? Can computer brains put composers and musicians out of business? Is the day of amazing guitarists like Jimi Hendrix gone, replaced by computer generated perfection guaranteed to gain the widest possible audience?
The document discusses three potential interface designs for a music creation tool. It analyzes each design, noting advantages like variety of instruments and ability to control volume, and disadvantages such as being specific to one genre or lacking color. The author prefers the third design for its variety, but notes ways to improve such as adding more color. Sounds would be mapped to images and users could combine instruments to create their own music.
February 19, 2012, Interactive Arts & Technology: Interaction Design (IAT 222)
-based on an idea to reshape a drum and program it to give you different sounds. Arduino concept.
The combination of the music video main product and two ancillary texts (a digipak album art and magazine advertisement) are effective promotions that reinforce each other. The sepia-toned dim style and rebellious themes across the products present a cohesive message. Locations, metaphors, and characters connect the products, such as a recurring tree and lyrics. The products work well together to promote the fictional band's music and album in an authentic indie/alternative style.
Research in artificial intelligence (AI) is known to have impacted medical diagnosis, stock trading, robot control, and several other fields. Perhaps less popular is the contribution of AI in the field of music. Nevertheless, Artificial intelligence and music (AIM) has, for a long time, been a common subject in several conferences and workshops, including the International Computer Music Conference, the Computing Society Conference and the International Joint Conference on Artificial Intelligence.
The document provides an overview of musique concrète, an experimental style of electronic music that manipulates recorded sounds. It discusses early pioneers like Pierre Schaeffer and the development of studios for tape manipulation. Specific works and techniques are examined, like Alvin Lucier's recursion of recorded speech or William Basinski's degradation of magnetic tape over time. Contemporary musique concrète is discussed, relating these concepts to principles of layering, routing, and time in sound mapping. The document suggests exploring how these musical concepts could inspire design approaches.
The document discusses a media production project for a fictional band called Galactic Express and their album "Utopia". It describes the various products created - an advert, digipak, and music video. The products incorporate elements of codes and conventions from real media but also challenge conventions by taking a surreal and unique approach, with a space theme throughout. Feedback from the target audience praised aspects like the surrealism and cartoon style, but also provided suggestions on improving the video editing and clarity of plot.
This document provides an annotated catalogue of composer Denis Smalley's works, listing them in chronological order from 1973 to 2009. It summarizes each work, including duration, premiere details, instrumentation, technical resources, and Smalley's own notes. The introduction discusses key themes in Smalley's music such as the interplay between referential and abstract sound qualities, his use of drones and pulse, and transformation of sound materials over multiple works. The catalogue presents an overview of Smalley's career and consistent exploration of the nature of sound through electroacoustic composition.
Will AI produce really good music or even music that is merely a commercial success in the moment? Can computer brains put composers and musicians out of business? Is the day of amazing guitarists like Jimi Hendrix gone, replaced by computer generated perfection guaranteed to gain the widest possible audience?
The document discusses three potential interface designs for a music creation tool. It analyzes each design, noting advantages like variety of instruments and ability to control volume, and disadvantages such as being specific to one genre or lacking color. The author prefers the third design for its variety, but notes ways to improve such as adding more color. Sounds would be mapped to images and users could combine instruments to create their own music.
This document discusses the elements that define indie/rock music genres including the music videos, iconography, camerawork and editing, sounds, narratives, and performances. Key aspects are a distinctive vocal style with authentic and passionate delivery of real-life experiences, as well as live performances that capture the energy of the music. Album packaging and art is also important, utilizing consistent color schemes, fonts, and imagery to represent the artist.
This document discusses the elements that define indie/rock music genres including the music videos, iconography, camerawork and editing, sounds, narratives, and performances. Key aspects are a distinctive vocal style with authentic and passionate delivery of real-life experiences, as well as live performances that capture the energy of the music. Album art, imagery, and design elements like color schemes and fonts are also discussed as important representative techniques.
The document outlines a presentation by a design group called YAP İstanbul Modern for their Young Architects Program. The group includes four members - Evren Başbuğ, İnanç Eray, Meriç Kara, and Engin Ayaz. They have varying backgrounds and degrees and have collaborated on previous projects. Their presentation is for a design called "Seapeaker" which aims to amplify the sounds of the sea underneath an existing structure in Istanbul. It includes research conducted, experimental phases, design principles explored, and proposals for how the system could be used and integrated sustainably.
The document provides a template for the closing billboard (CBB) of a short film, with instructions on font, size, and information to include. It specifies including the film title in size 18 font at the top, followed by the filmmaker's name, cast, crew roles and names, acknowledgements of the school and teacher, copyright information, and optional additional thanks. The CBB template is intended to display key production credits at the end of a student short film.
This document summarizes a student's presentation seminar on Ubiquitous Computing Music Making. It discusses Nike Music Shoe installation by artist Daito Manabe as inspiration. The student proposes a music space with four look-alike "instruments" (guitar, drums, flute, piano) placed in different areas, each producing sounds controlled by sensors. Users will challenge each other making music. Contextual studies on Daito Manabe's use of bend sensors, acceleration sensors, Arduino and music software are also summarized.
The document discusses how the author used media technologies in creating their music video. They used Final Cut Pro for editing, which allowed them to add effects like fast cuts and montages to set the mood. Feedback sessions helped them learn what their target audience expected and improve their work. Researching other music videos helped them understand conventions for their dubstep genre video.
The document discusses the conventions of music videos, albums, and magazine advertisements across different genres and how the created works break some of these conventions. Specifically, it describes a music video for the song "City Life" that features an acoustic indie artist alongside parkour artists performing in Birmingham. It also discusses the album cover and magazine advertisement created to promote the single that feature the artist in a city setting with a consistent theme and style while drawing attention to the artist. The works are said to effectively portray the theme and genre while showing parkour in a new light for the target acoustic indie audience.
The album cover for Pendulum - in Silico features a small title to focus attention on the circular maze-like artwork, which relates to the sci-fi style music. The Linkin Park - Minutes to Midnight cover uses minimal greyscale images and silhouettes to convey a dark feeling. Pendulum - Immersion depicts band members reaching towards figures amid neon-lit ocean life, relating to their electronic style.
The document discusses various artists and conventions that inspired a music video project. It summarizes Jessie J and Beyonce's videos that influenced the use of emotions, gestures, costumes, and mise-en-scene. Camera work, edits, and performance were conventions from the inspired videos that the project adopted. It aimed to engage the audience through illustration and amplification of lyrics rather than sexualization. The document also discusses conventions followed for the project's digipack design.
This document summarizes how a music video uses and challenges conventions of the genre. It uses conventions like stereotypical "geek" clothing, depictions of bullying, lighting for an energetic atmosphere, and close-ups to build an identity. However, it also challenges conventions by using a dark mask from a horror film for the superhero, slow motion during fast scenes, and having the subject directly look at the camera to involve the audience. Overall the narrative of an underdog becoming a superhero is a strong convention in this genre of music videos.
The document provides an analysis of conventions presented in the music videos of "Dirty Little Secret" by All American Rejects and "Love is Easy" by McFly. It summarizes the genre, performers, narrative elements, iconography, setting, and technical elements of each video through detailed descriptions. The overall message conveyed is that both videos represent their respective genres and incorporate conventions to relate to their target audiences.
This document summarizes the influences and conventions the student drew from in creating a music video and magazine advertisement (CD digipak). For the music video, the student analyzed many existing music videos and drew specific shots, lighting, costumes, and narrative elements to develop their own video. They incorporated elements from videos by Kendrick Lamar, The Shoes, The Strays, Blur, and more. For the CD digipak, the student created a storyboard exploring design influences from films, video games, and existing album covers to develop their hooded character concept and layout.
The document proposes developing a complete music player application that integrates multiple music-related features into a single application. It discusses developing features like emotion recognition using neural networks to play music matching a user's mood, song mixing, YouTube linking to related music videos, karaoke, and lyrics display. The application would use technologies like Android Studio, MongoDB database, and APIs from other applications to consolidate functions currently found across multiple separate apps. This would provide a more unified music experience for users.
The document provides an evaluation of a student's music video project. It discusses the various stages of research, planning, production and evaluation. During the research stage, the student analyzed conventions of music videos in their chosen genre. In the planning stage, the student considered narrative, links between music and visuals, artist representation, and camera work. For production, the student utilized color schemes, settings, and editing to represent the narrative and emotions of the song. Upon evaluation, the student gathered audience feedback which they used to improve elements like cinematography and lip syncing. The student learned various media technologies to complete the different stages, including blogging, video editing software, and presentation tools.
The document discusses conventions used in music videos, digipacks, and advertisements for digipacks. Some key conventions used in the student's music video include a storyline, performance shots, close-ups, and flashbacks. Conventions applied to the digipack are images of the artist, track list, barcode, and lyrics. Advertising conventions employed are images of the artist, name, ratings, and positive reviews.
The document discusses targeting different audience groups for a film project, including ravers aged 15-21, gamers aged 15-21, and crafty young adults aged 15-21 as the primary audience. The secondary audience is identified as those aged 30-37. Techniques are described for appealing to each group through shots, sound design, and use of technology.
The document discusses the roles of composers and sound designers in creating audio for video games. It focuses on their work for The Last of Us. Composers convey emotion through a variety of instruments and experimenting with sounds from the environment. They also use a combination of electronic and traditional music to add tension and atmosphere while still allowing emotion to come through traditional instruments. Sound designers layer different sounds to create realistic effects and ensure the audio enhances the game experience without losing dynamics through compression. Their creativity is key in developing foley sounds to further immerse the player.
A speaker was announced and introduction music played. An actor spoke dialogue and the speaker also spoke dialogue, with music audio cues between. The speaker and actor had further dialogue separated by additional music audio cues.
This document discusses conventions used in media products and how the student's slide share and music video challenge or develop conventions of real media products in the indie alternative genre. It provides examples of symbolic conventions like setting, costumes, and facial expressions as well as technical conventions like editing, camerawork, and website design. The student aims to portray their band and genre accurately while also adding their own creative flair, such as using close-up shots and connecting different elements of their marketing campaign visually.
The document summarizes several workshops held from October 2010 to April 2011 related to the Plan4all project. It describes workshops held in Rome, Italy; Pilsen, Czech Republic; Ostrava, Czech Republic; Riga, Latvia focused on spatial planning data harmonization; Brussels, Belgium on spatial planning in Europe and INSPIRE; and additional workshops convened by EUROGI members. The workshops aimed to disseminate information about the Plan4all project and its data models, facilitate discussion of spatial data harmonization, and explore relationships between spatial planning and INSPIRE initiatives.
This document discusses the elements that define indie/rock music genres including the music videos, iconography, camerawork and editing, sounds, narratives, and performances. Key aspects are a distinctive vocal style with authentic and passionate delivery of real-life experiences, as well as live performances that capture the energy of the music. Album packaging and art is also important, utilizing consistent color schemes, fonts, and imagery to represent the artist.
This document discusses the elements that define indie/rock music genres including the music videos, iconography, camerawork and editing, sounds, narratives, and performances. Key aspects are a distinctive vocal style with authentic and passionate delivery of real-life experiences, as well as live performances that capture the energy of the music. Album art, imagery, and design elements like color schemes and fonts are also discussed as important representative techniques.
The document outlines a presentation by a design group called YAP İstanbul Modern for their Young Architects Program. The group includes four members - Evren Başbuğ, İnanç Eray, Meriç Kara, and Engin Ayaz. They have varying backgrounds and degrees and have collaborated on previous projects. Their presentation is for a design called "Seapeaker" which aims to amplify the sounds of the sea underneath an existing structure in Istanbul. It includes research conducted, experimental phases, design principles explored, and proposals for how the system could be used and integrated sustainably.
The document provides a template for the closing billboard (CBB) of a short film, with instructions on font, size, and information to include. It specifies including the film title in size 18 font at the top, followed by the filmmaker's name, cast, crew roles and names, acknowledgements of the school and teacher, copyright information, and optional additional thanks. The CBB template is intended to display key production credits at the end of a student short film.
This document summarizes a student's presentation seminar on Ubiquitous Computing Music Making. It discusses Nike Music Shoe installation by artist Daito Manabe as inspiration. The student proposes a music space with four look-alike "instruments" (guitar, drums, flute, piano) placed in different areas, each producing sounds controlled by sensors. Users will challenge each other making music. Contextual studies on Daito Manabe's use of bend sensors, acceleration sensors, Arduino and music software are also summarized.
The document discusses how the author used media technologies in creating their music video. They used Final Cut Pro for editing, which allowed them to add effects like fast cuts and montages to set the mood. Feedback sessions helped them learn what their target audience expected and improve their work. Researching other music videos helped them understand conventions for their dubstep genre video.
The document discusses the conventions of music videos, albums, and magazine advertisements across different genres and how the created works break some of these conventions. Specifically, it describes a music video for the song "City Life" that features an acoustic indie artist alongside parkour artists performing in Birmingham. It also discusses the album cover and magazine advertisement created to promote the single that feature the artist in a city setting with a consistent theme and style while drawing attention to the artist. The works are said to effectively portray the theme and genre while showing parkour in a new light for the target acoustic indie audience.
The album cover for Pendulum - in Silico features a small title to focus attention on the circular maze-like artwork, which relates to the sci-fi style music. The Linkin Park - Minutes to Midnight cover uses minimal greyscale images and silhouettes to convey a dark feeling. Pendulum - Immersion depicts band members reaching towards figures amid neon-lit ocean life, relating to their electronic style.
The document discusses various artists and conventions that inspired a music video project. It summarizes Jessie J and Beyonce's videos that influenced the use of emotions, gestures, costumes, and mise-en-scene. Camera work, edits, and performance were conventions from the inspired videos that the project adopted. It aimed to engage the audience through illustration and amplification of lyrics rather than sexualization. The document also discusses conventions followed for the project's digipack design.
This document summarizes how a music video uses and challenges conventions of the genre. It uses conventions like stereotypical "geek" clothing, depictions of bullying, lighting for an energetic atmosphere, and close-ups to build an identity. However, it also challenges conventions by using a dark mask from a horror film for the superhero, slow motion during fast scenes, and having the subject directly look at the camera to involve the audience. Overall the narrative of an underdog becoming a superhero is a strong convention in this genre of music videos.
The document provides an analysis of conventions presented in the music videos of "Dirty Little Secret" by All American Rejects and "Love is Easy" by McFly. It summarizes the genre, performers, narrative elements, iconography, setting, and technical elements of each video through detailed descriptions. The overall message conveyed is that both videos represent their respective genres and incorporate conventions to relate to their target audiences.
This document summarizes the influences and conventions the student drew from in creating a music video and magazine advertisement (CD digipak). For the music video, the student analyzed many existing music videos and drew specific shots, lighting, costumes, and narrative elements to develop their own video. They incorporated elements from videos by Kendrick Lamar, The Shoes, The Strays, Blur, and more. For the CD digipak, the student created a storyboard exploring design influences from films, video games, and existing album covers to develop their hooded character concept and layout.
The document proposes developing a complete music player application that integrates multiple music-related features into a single application. It discusses developing features like emotion recognition using neural networks to play music matching a user's mood, song mixing, YouTube linking to related music videos, karaoke, and lyrics display. The application would use technologies like Android Studio, MongoDB database, and APIs from other applications to consolidate functions currently found across multiple separate apps. This would provide a more unified music experience for users.
The document provides an evaluation of a student's music video project. It discusses the various stages of research, planning, production and evaluation. During the research stage, the student analyzed conventions of music videos in their chosen genre. In the planning stage, the student considered narrative, links between music and visuals, artist representation, and camera work. For production, the student utilized color schemes, settings, and editing to represent the narrative and emotions of the song. Upon evaluation, the student gathered audience feedback which they used to improve elements like cinematography and lip syncing. The student learned various media technologies to complete the different stages, including blogging, video editing software, and presentation tools.
The document discusses conventions used in music videos, digipacks, and advertisements for digipacks. Some key conventions used in the student's music video include a storyline, performance shots, close-ups, and flashbacks. Conventions applied to the digipack are images of the artist, track list, barcode, and lyrics. Advertising conventions employed are images of the artist, name, ratings, and positive reviews.
The document discusses targeting different audience groups for a film project, including ravers aged 15-21, gamers aged 15-21, and crafty young adults aged 15-21 as the primary audience. The secondary audience is identified as those aged 30-37. Techniques are described for appealing to each group through shots, sound design, and use of technology.
The document discusses the roles of composers and sound designers in creating audio for video games. It focuses on their work for The Last of Us. Composers convey emotion through a variety of instruments and experimenting with sounds from the environment. They also use a combination of electronic and traditional music to add tension and atmosphere while still allowing emotion to come through traditional instruments. Sound designers layer different sounds to create realistic effects and ensure the audio enhances the game experience without losing dynamics through compression. Their creativity is key in developing foley sounds to further immerse the player.
A speaker was announced and introduction music played. An actor spoke dialogue and the speaker also spoke dialogue, with music audio cues between. The speaker and actor had further dialogue separated by additional music audio cues.
This document discusses conventions used in media products and how the student's slide share and music video challenge or develop conventions of real media products in the indie alternative genre. It provides examples of symbolic conventions like setting, costumes, and facial expressions as well as technical conventions like editing, camerawork, and website design. The student aims to portray their band and genre accurately while also adding their own creative flair, such as using close-up shots and connecting different elements of their marketing campaign visually.
The document summarizes several workshops held from October 2010 to April 2011 related to the Plan4all project. It describes workshops held in Rome, Italy; Pilsen, Czech Republic; Ostrava, Czech Republic; Riga, Latvia focused on spatial planning data harmonization; Brussels, Belgium on spatial planning in Europe and INSPIRE; and additional workshops convened by EUROGI members. The workshops aimed to disseminate information about the Plan4all project and its data models, facilitate discussion of spatial data harmonization, and explore relationships between spatial planning and INSPIRE initiatives.
This document describes the results of the first stage of the Plan4all data deployment task. It provides details on the LandUse and LandCover conceptual models used, describes the harmonization process, and reports on data deployment in each partner region. Key outputs include transformed local data published using web maps and services following the common models. Lessons learned and recommendations for the next stage are also provided.
This document summarizes a presentation on the farm of the future given by Walter H. Mayer. Key points of the presentation include:
- In the future, European farmers will need to effectively manage information both on and off their farms to improve economic viability and reduce environmental impact.
- An integrated information system is needed to advise farm managers on best practices and help ensure regulatory compliance at the point of decision making during the crop cycle.
- The EU project FUTUREFARM aims to design appropriate tools and technologies like precision farming and robotics to develop a new Farm Information Management System to improve crop management and documentation.
presented by John Milinovich and Andreas Weigend at the IEG Advanced Analytics and Big Data Innovation Forum on April 25, 2012 in San Francisco.
For more information please visit http://www.socialdatalab.com
This document summarizes a study investigating studio production techniques that remove elements of human performance from music, specifically looking at the genre of djent. The study included a literature review of sources on djent's origins and characteristics as well as practical work experimenting with djent production in a studio. Key findings were that djent relies heavily on MIDI drum programming and digital audio sequencing which replace live human drumming. Additionally, djent and some electronic music genres both utilize minimal home studio setups and share influences from technological advances in recording.
Steve Reich Music as a Gradual Process Part IIAuthor(s.docxpoulterbarbara
Steve Reich: Music as a Gradual Process Part II
Author(s): K. Robert Schwarz
Source: Perspectives of New Music, Vol. 20, No. 1/2 (Autumn, 1981 - Summer, 1982), pp.
225-286
Published by: Perspectives of New Music
Stable URL: https://www.jstor.org/stable/942414
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STEVE REICH: MUSIC AS A
GRADUAL PROCESS
PART II
K. Robert Schwarz
This content downloaded from 130.166.3.5 on Mon, 11 May 2020 01:45:47 UTC
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In 1968, Steve Reich codified his compositional aesthetic in the single
most important essay he has ever written, "Music as a Gradual Process." This
article, which has been reprinted several times,38 must be examined in detail,
as it is here that Reich clarifies all the trends that have been developing in his
music since 1965, and sets the direction for the future.
The terse, inexpressive wording of "Music as a Gradual Process"
serves to reinforce four important points in the concisest of manners. First of
all, Reich is concerned with clarity of structure, which he feels can only be
achieved by creating compositions in which structure ("process") and musical
content are identical. He has no use for hidden constructive devices that serve
to obscure a musical process. Secondly, musical processes, once set into
motion, have a life of their own, and need no further meddling from the
composer to progress; they are impersonal and objective procedures. Thirdly,
improvisation can play no part in a musical process; on the contrary, one must
subvert one's own feelings and allow the inexorable forward thrust of the
process to take charge. Lastly, no matter how objective the process, unexpected
events will still occur: these are the resulting patterns.
To appreciate these concepts in Reich's own distinctive wording,
excerpts from "Music as a Gradual Process" are quoted below. One should
realize, however, that Reich has since disavowed many of these viewpoints, at
least for his own recent compositions. Nevertheless, this essay provides a
framework for our understanding of Reich's music through 1971.
I do not mean the process of composition, but rather pieces of
music that are, literally, processes. The distinctive thing about
.
This document provides an overview of game audio essentials for developers in Turkey. It introduces Alpan Aytekin and his background and experience in game audio. It then lists other game audio professionals in Turkey and provides links to audio resources. The document discusses topics like the importance of game audio, differences between film and game scoring, interactive audio approaches, sound effects, sampling and formats, and includes a reference section.
This lesson plan focuses on using visual images to generate musical ideas for ambient compositions. Students will watch excerpts from an audiovisual work to see how sound and images are combined. They will then choose a picture from a book to use as inspiration for an in-class ambient composition. Various instruments will be used to improvise and experiment with sounds that match the mood of the selected image. The goal is for students to learn how different art forms can be integrated to spark musical creativity.
This talk extracts insights from my diploma thesis [Computer Science, Dresden University of Technology, 2011]. I dealt with research and development of an interactive audiovisual environment, named AMVIS, which is a motion-driven natural interface that enables several users to make music together by using simple embodied interaction techniques.
TOPICS:
Visual Music (image-sound relationships, classification proposal)
Generative Design (generative art, generative designing
AMVIS - an audible, motiondriven, visualizing environment)
"Now art is the contrary of chaos." - this statement made by Igor Stravinsky in his "Poetics of Music" emphasizes the fundamental problem of music, which is organizing sound into a coherent logical whole.
This problem of opposing chaos has been up until till now only partially solved, hence many different music composition methods and styles.
We propose structure theory, which is a system for organizing sounds by means of a mathematical graph model, that can form the basis of any musical piece, independent of style.
The foundations of the model are two sets of rules for modeling: the perception of time and the perception of sound in the horizontal and vertical contexts.
To provide a tool for composers and music theoreticians to experiment with structure theory, we further propose the Forte Framework for Music Composition.
The framework consists of two embedded domain-specific languages: the Forte DSL and the Graph DSL.
The domain of the former is the music analysis theory of Allen Forte which we describe, systematize and enhance with several generalizations.
Besides proposing a DSL for this domain we contribute by showing how to use the knowledge of the domain itself, indexed type families and phantom types to achieve: (1) implementation swapping, (2) self-optimizing library code and (3) boilerplate code reduction.
We provide the aforementioned features in a purely functional setting and without building an abstract syntax tree (we use a shallow embedding).
Our second proposal, the Graph DSL, is an implementation of our structure theoretic graph model.
To materialize our ideas for music organizing we describe an algebra for directed acyclic graph manipulation and show how structure theory can be translated onto this algebra.
The Graph DSL itself is general enough to be used for creating and transforming graphs from other domains, but we focus on presenting our DSL in the context of the Forte Framework, with the Forte DSL being the drop-in language for node specification.
We also show an extended example of music analysis that demonstrates one of the two possible applications of our framework, with the other major use being music composition. We chose Haskell to implementent both the Forte DSL and Graph DSL of the Forte Framework.
Trends in Answer Set-Programming - Focus Musik - PresentationErhard Dinhobl
This document summarizes a presentation on automatic music composition using answer set programming. It discusses using the ANTON system to composition melodies and harmonies by applying declarative rules. ANTON uses 191 lines of code and answer set programming to represent 28 melodic and harmonic rules to generate valid musical pieces. The system can compose for multiple voices and outputs pieces in standard music formats. Future work aims to improve performance and expand ANTON's capabilities to real-time improvisation and more complex musical structures.
Real Time Drum Augmentation with Physical ModelingBen Eyes
This document discusses augmenting acoustic drums with physical modeling to create new sounds and performances. It summarizes previous research that used convolution or spectral processing to digitally process drum sounds. The author then describes his own project that uses a physical model of strings as a VST plugin to process drum sounds from a snare drum and rototoms in real time. An interview with the percussionist discusses the collaborative composition process and how playing with the system required experimenting with extended techniques. The author concludes that future work will involve developing their own drum models and exploring new interfaces like facial recognition to control sound parameters.
Enhancing a Digital Sheet Music Collection A report for LIS-435 ...crysatal16
The document discusses enhancing an existing digital sheet music collection by adding sound files to accompany the sheet music and synchronizing the two file formats so they can be viewed and listened to simultaneously. The author created sound files for 5 pieces in the collection using music notation software and synchronized the sheet music and audio in PowerPoint presentations. The results were presented to the librarians managing the collection, who were interested in implementing the enhancements on the website.
Computational models of symphonic musicEmilia Gómez
Computational models of symphonic music face various challenges due to the genre's formal complexity, long durations, complex instrumentation, and overlapping sources. Researchers are developing approaches to address melody extraction, structural analysis, source separation, and music visualization for symphonic works. For melody extraction, current methods perform best on simple excerpts but struggle with density and complexity, indicating the need for combined audio-score approaches. Structural analysis of symphonies requires consideration of tonality, orchestration, and discrepancies between expert analyses. Source separation aims to isolate instrument sections from multi-channel recordings.
This document summarizes research into collaborative music making using multi-touch surfaces. It describes a study with 12 participants testing a simple music prototype. The study found that the prototype facilitated conversation and group productivity between participants, even for novices. It also provided evidence that roles were shared between participants rather than one person dominating. Future work could improve responsiveness and add both shared and individual controls to better support experts and novices.
Creative Language and Creative Process Across Disciplines: Music, Programming...jwettersten
This presentation examines the overlapping concepts across the creative languages of art, mathematics, programming, and music and the implications for the creative process and craft.
Teaching Music Technology Concepts with Few Music Technology Resourcesbradfordswanson
This document provides suggestions for teaching music technology concepts with limited resources, including free and low-cost digital audio workstations, multitrack stems and acapellas from various websites, notation and music theory software, and miscellaneous music software resources. It discusses analyzing commercially released songs in detail to learn about form, instrumentation, mixing, and production techniques. It also offers ideas for practical hands-on projects using lo-fi signal processing and the acoustics of different spaces to teach important concepts without advanced equipment.
Sous le feu des critiques: Trop moderne! Pas assez subversive aux yeux de certains! Pas créative! Un effet de mode passager pour les "djeunz"! Ou pire une musique de drogués!! Permettez moi au cours de cette session de vous éclairer sur cette culture et également sur les coulisses de la création des musiques assistées par ordinateur (MAO), et de voir ensemble les relations intéressantes que l'on peut tisser avec nos pratiques du développement logiciel (Software Craftsmanship).
On a pu lire quelques analogies entre pratique des musiques jazz, somme toute une musique très classique, et la pratique du développement logiciel tel que nous la concevons tous ici ("agile" diront certain). Pourtant il y a bien des façons de faire de la musique et en tant que spécialistes de la programmation j'ai été étonné de constater que peu d'entre nous s’intéressent à la musique dite "électronique". Pourtant, dans ces musiques aussi, nous nous servons d'outils logiciels au service de notre inspiration et notre créativité. On retrouve l'approche incrémentale, la technique imposée par les machines, des patterns évidemment, mais aussi de la pratique répétée, de l'amélioration continue et la coopération quand nous formons des groupes collaboratifs.
Au cours de cette session, après les généralités d'usage, je vous montrerai un DAW (digital audio workstation) logiciel, très couramment employé, et pas que pour la musique électronique, j'ai nommé "Live 9" d'Ableton avec sa surface de contrôle dédiée: Push (une sorte de clavier multi-fonctions pour la musique). Live est également extensible grâce à Max MSP, une API de programmation qui permet de scripter/patcher ce logiciel sous bien des formes.
J'espère vous montrer que création et programmation ne sont pas si éloignés que cela... et vous ferai partager mon expérience au sein de la Do It Yourself Music Academy
write 2 pages (double space) with watching three videos. STOCK.docxkeilenettie
write 2 pages (double space) with watching three videos.
STOCKHAUSEN
, Karlheinz
http://en.wikipedia.org/wiki/Karlheinz_Stockhausen
Stockhausen is one of the 20th century’s foremost eclectic and experimental composers. He is known mostly for his pitch-based compositions such as his piano works and electronic mixtures with voice and works with percussion. But he aimed for more intensity, sonic complexity in his piece combining helicopter sounds + flight + string quartet instruments + vocal sounds. The Wiki page has details about this unusual piece.
STOCKHAUSEN:
"Helicopter String Quartet"
ABOUT
http://en.wikipedia.org/wiki/Helikopter-Streichquartett
HEAR
http://www.youtube.com/watch?v=13D1YY_BvWU&feature=related
WRITING hints: Is this pitch, noise, both? Is there any recognizable structure/ plan? Flight formation?
How is tension created? Are any sounds percussive? Are there rhythm patterns or a pulse?
How is this multi-media? Are electronics used? Is the venue typical?
---------------------------
HANATARASH
, 1980s noise band: Noise aesthetic. Counter-culture (not in the mainstream).
The performance uses a variety of noise-making objects, including power tools, drills, and heavy machinery (bulldozers), vocal shrieks and yelling, shrill and persistent electronic feedback. Danger and destruction are part of their shows. Sometimes the venue itself is damaged and destroyed.
ABOUT:
http://en.wikipedia.org/wiki/Hanatarash
Counterculture
http://theendofbeing.com/2010/05/19/hanatarash-backhoe-concert-slideshow/
http://en.wikipedia.org/wiki/Counterculture
HANATARASH
performance
http://www.youtube.com/watch?v=TPuf2adIwZ8
WRITING hints: What is your impression of the performance? Was this planned? Is this also theater?
Performance art?
What would an audience of fans find interesting about it? What does it express? Is this performance only about the sound, or are there psychological effects it evokes from the listener-viewer? Was this planned? What are the sonic “instruments”? What if you hear only the sounds without seeing an image?
---------------------------
And now…for something different.
Machine sounds +digital sampling/editing, pitch+noise+image used in an aesthetically different expression from the above music:
R.D. JAMES
also know as
“APHEX TWIN”
. British electronic (“electronica”) musician/composer.
http://en.wikipedia.org/wiki/Aphex_Twin
Aphex Twin: “
Nannou
”, 1999 (mechanical sounds+pitch tones of a music box)
R.D. James (Aphex Twin) digitally sampled sounds of a music box to create his composition
Nannou.
He used sonic elements of the music box including pitch and noise sounds (such as the windup key “noise” sounds.) He edited and mixed these sonic elements to create a composition.
The work was featured in a film.
ABOUT
music boxes
http://en.wikipedia.org/wiki/Music_box
HEAR:
Aphex Twin: “Nannou”:
https://www.youtube.com/watch?v=A-Pkx37kYf4
WRITING hints: how does this music differ from the Hanat.
10 Minute Research Presentation on Ambisonics and ImpactBruce Wiggins
Dr. Bruce Wiggins discusses his research into ambisonic mixing techniques that allow for a single audio mix to be reproduced over any speaker configuration, allowing more flexibility than traditional 5.1 surround sound. His work involves developing algorithms to map audio sources to irregular speaker layouts and distance coding techniques. He has applied this research through software plugins and it is being used by companies like Codemasters for video games to save storage space and make audio more reactive to in-game positioning.
The passage discusses the benefits of regular exercise for both physical and mental health. It notes that working out helps reduce stress and anxiety while improving mood and cognitive function. Staying active also has significant long-term health benefits and can help prevent various diseases like heart disease and diabetes.
a set of slides introducing the application of machine learning to music related applications; intended for audience not with computer science background;
Similar to The Creative Process Behind Dialogismos I: Theoretical and Technical Considerations (20)
The Creative Process Behind Dialogismos I: Theoretical and Technical Considerations
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.
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
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
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 (
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