João Tragtenberg, Filipe Calegario, G. Cabral, Geber Ramalho
This paper presents the development process of “TumTá”, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and “Pisada,” a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is described in the three prototyping phases conducted by three approaches: building blocks, artisanal, and digital fabrication. The process of designing digital technology inspired by Brazilian traditions is analyzed, lessons learned, and future works are presented.
{"title":"TumTá and Pisada: Two Foot-controlled Digital Dance and Music Instruments Inspired by Popular Brazillian Traditions","authors":"João Tragtenberg, Filipe Calegario, G. Cabral, Geber Ramalho","doi":"10.5753/sbcm.2019.10426","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10426","url":null,"abstract":"This paper presents the development process of “TumTá”, a wearable Digital Dance and Music Instrument that triggers sound samples from foot stomps and “Pisada,” a dance-enabled MIDI pedalboard. It was developed between 2012 and 2017 for the use of Helder Vasconcelos, a dancer and musician formed by the traditions of Cavalo Marinho and Maracatu Rural from Pernambuco. The design of this instrument was inspired by traditional instruments like the Zabumba and by the gestural vocabulary from Cavalo Marinho, to make music and dance at the same time. The development process of this instrument is described in the three prototyping phases conducted by three approaches: building blocks, artisanal, and digital fabrication. The process of designing digital technology inspired by Brazilian traditions is analyzed, lessons learned, and future works are presented.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130595160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper describes the state of art of realtime singing voice synthesis and presents its concept, applications and technical aspects. A technological mapping and a literature review are made in order to indicate the latest developments in this area. We made a brief comparative analysis among the selected works. Finally, we have discussed challenges and future research problems. Keywords: Real-time singing voice synthesis, Sound Synthesis, TTS, MIDI, Computer Music.
{"title":"State of art of real-time singing voice synthesis","authors":"L. A. Z. Brum, E. Moreno","doi":"10.5753/sbcm.2019.10422","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10422","url":null,"abstract":"This paper describes the state of art of realtime singing voice synthesis and presents its concept, applications and technical aspects. A technological mapping and a literature review are made in order to indicate the latest developments in this area. We made a brief comparative analysis among the selected works. Finally, we have discussed challenges and future research problems. Keywords: Real-time singing voice synthesis, Sound Synthesis, TTS, MIDI, Computer Music.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117024407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
C. Gomes, Josue Da Silva, Marco Leal, Thiago Nascimento
At every moment, innumerable emotions can indicate and provide questions about daily attitudes. These emotions can interfere or stimulate different goals. Whether in school, home or social life, the environment increases the itinerant part of the process of attitudes. The musician is also passive of these emotions and incorporates them into his compositions for various reasons. Thus, the musical composition has innumerable sources, for example, academic formation, experiences, influences and perceptions of the musical scene. In this way, this work develops the mAchine learning Algorithm Applied to emotions in melodies (3A). The 3A recognizes the musician’s melodies in real time to generate accompaniment melody. As input, The 3A used MIDI data from a synthesizer to generate accompanying MIDI output or sound file by the programming language Chuck. Initially in this work, it is using the Gregorian modes for each intention of composition. In case, the musician changes the mode or tone, the 3A has an adaptation to continuing the musical sequence. Currently, The 3A uses artificial neural networks to predict and adapt melodies. It started from mathematical series for the formation of melodies that present interesting results for both mathematicians and musicians.
{"title":"3A: mAchine learning Algorithm Applied to emotions in melodies","authors":"C. Gomes, Josue Da Silva, Marco Leal, Thiago Nascimento","doi":"10.5753/sbcm.2019.10450","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10450","url":null,"abstract":"At every moment, innumerable emotions can indicate and provide questions about daily attitudes. These emotions can interfere or stimulate different goals. Whether in school, home or social life, the environment increases the itinerant part of the process of attitudes. The musician is also passive of these emotions and incorporates them into his compositions for various reasons. Thus, the musical composition has innumerable sources, for example, academic formation, experiences, influences and perceptions of the musical scene. In this way, this work develops the mAchine learning Algorithm Applied to emotions in melodies (3A). The 3A recognizes the musician’s melodies in real time to generate accompaniment melody. As input, The 3A used MIDI data from a synthesizer to generate accompanying MIDI output or sound file by the programming language Chuck. Initially in this work, it is using the Gregorian modes for each intention of composition. In case, the musician changes the mode or tone, the 3A has an adaptation to continuing the musical sequence. Currently, The 3A uses artificial neural networks to predict and adapt melodies. It started from mathematical series for the formation of melodies that present interesting results for both mathematicians and musicians.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123047126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The creation of Digital Musical Instruments (DMI) tries to keep abreast the technological progress and sometimes it does not worry about some possible side effects of its development. Obsolescence and residues, rampant consumption, constant need to generate innovation, code ephemerality, culture shock, social apartheid, are some possible traps that an equivocated DMI development can bring up to society. Faced all these possibilities, we are trying to understand what can be a sustainable Digital Instrument analyzing several dimensions of sustainability, from economical to cultural, from social to environmental. In this paper, we point out some possibilities to try to reach up more sustainable instruments development bringing up the human being and values like cooperation and collaboration to the center of the DMI development discussion. Through some questions, we seek to instigate a paradigm shift in art-science and provide a fertile field for future research.
{"title":"Sustainable Interfaces for Music Expression","authors":"Igino Silva Junior, F. Schiavoni","doi":"10.5753/sbcm.2019.10424","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10424","url":null,"abstract":"The creation of Digital Musical Instruments (DMI) tries to keep abreast the technological progress and sometimes it does not worry about some possible side effects of its development. Obsolescence and residues, rampant consumption, constant need to generate innovation, code ephemerality, culture shock, social apartheid, are some possible traps that an equivocated DMI development can bring up to society. Faced all these possibilities, we are trying to understand what can be a sustainable Digital Instrument analyzing several dimensions of sustainability, from economical to cultural, from social to environmental. In this paper, we point out some possibilities to try to reach up more sustainable instruments development bringing up the human being and values like cooperation and collaboration to the center of the DMI development discussion. Through some questions, we seek to instigate a paradigm shift in art-science and provide a fertile field for future research.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"369 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123433723","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This workshop will bring to the audience an introduction to the Chuck audio programming language, to the Unity game engine within a hands-on experience how one can use such technologies to achieve a new level of immersion through procedural generated sounds responding to game events and visual effects. The workshop is intended to a broad audience ranging from programmers to ones with little to no knowledge in the field.
{"title":"Procedural Music in Games","authors":"J. Ayres, Pedro Arthur, Vitor G. Rolla, L. Velho","doi":"10.5753/sbcm.2019.10462","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10462","url":null,"abstract":"This workshop will bring to the audience an introduction to the Chuck audio programming language, to the Unity game engine within a hands-on experience how one can use such technologies to achieve a new level of immersion through procedural generated sounds responding to game events and visual effects. The workshop is intended to a broad audience ranging from programmers to ones with little to no knowledge in the field.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125940115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
MusTIC is a research and innovation group concerned in conceiving and developing products and experiences that have an impact on music, education, visual and performing arts, and entertainment. In particular, we have been working with tools, methods, and concepts from physical computing, interaction design, and signal processing to build new interfaces for artistic expression, to develop tools for rapid prototyping, and to improve education through robotics and gamification.
{"title":"MusTIC: Research and Innovation Group on Music, Technology, Interactivity and Creativity","authors":"Filipe Calegario, G. Cabral, Geber Ramalho","doi":"10.5753/sbcm.2019.10441","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10441","url":null,"abstract":"MusTIC is a research and innovation group concerned in conceiving and developing products and experiences that have an impact on music, education, visual and performing arts, and entertainment. In particular, we have been working with tools, methods, and concepts from physical computing, interaction design, and signal processing to build new interfaces for artistic expression, to develop tools for rapid prototyping, and to improve education through robotics and gamification.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123961742","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Online streaming platforms have become one of the most important forms of music consumption. Most streaming platforms provide tools to assess the popularity of a song in the forms of scores and rankings. In this paper, we address two issues related to song popularity. First, we predict whether an already popular song may attract higher-than-average public interest and become “viral”. Second, we predict whether sudden spikes in public interest will translate into long-term popularity growth. We base our findings in data from the streaming platform Spotify and consider appearances in its “Most-Popular” list as indicative of popularity, and appearances in its “Virals” list as indicative of interest growth. We approach the problem as a classification task and employ a Support Vector Machine model built on popularity information to predict interest, and vice versa. We also verify if acoustic information can provide useful features for both tasks. Our results show that the popularity information alone is sufficient to predict future interest growth, achieving a F1-score above 90% at predicting whether a song will be featured in the “Virals” list after being observed in the “Most-Popular”.
{"title":"Predicting Music Popularity on Streaming Platforms","authors":"C. V. Araujo, Marco Cristo, Rafael Giusti","doi":"10.5753/sbcm.2019.10436","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10436","url":null,"abstract":"Online streaming platforms have become one of the most important forms of music consumption. Most streaming platforms provide tools to assess the popularity of a song in the forms of scores and rankings. In this paper, we address two issues related to song popularity. First, we predict whether an already popular song may attract higher-than-average public interest and become “viral”. Second, we predict whether sudden spikes in public interest will translate into long-term popularity growth. We base our findings in data from the streaming platform Spotify and consider appearances in its “Most-Popular” list as indicative of popularity, and appearances in its “Virals” list as indicative of interest growth. We approach the problem as a classification task and employ a Support Vector Machine model built on popularity information to predict interest, and vice versa. We also verify if acoustic information can provide useful features for both tasks. Our results show that the popularity information alone is sufficient to predict future interest growth, achieving a F1-score above 90% at predicting whether a song will be featured in the “Virals” list after being observed in the “Most-Popular”.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116864776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An interaction design that lean towards musical traits based on and constrained by our cognitive and biological system could, not only provide a better user experience, but also minimize collateral effects of excessive use of such technology to make music. This paper presents and discuss innate abilities involved in musical activities that - in the authors´ viewpoint - could be considered in design guidelines to computer music technologies, especially those related to ubimus.
{"title":"Cognitive Offloading: Can ubimus technologies affect our musicality?","authors":"L. Costalonga, M. Pimenta","doi":"10.5753/sbcm.2019.10427","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10427","url":null,"abstract":"An interaction design that lean towards musical traits based on and constrained by our cognitive and biological system could, not only provide a better user experience, but also minimize collateral effects of excessive use of such technology to make music. This paper presents and discuss innate abilities involved in musical activities that - in the authors´ viewpoint - could be considered in design guidelines to computer music technologies, especially those related to ubimus.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128998443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The following report presents some of the ongoing projects that are taking place in the group’s laboratory. One of the noteable characteristics of this group is the extensive research spectrum, the plurality of research areas that are being studied by it’s members, such as Music Information Retrieval, Signal Processing and New Interfaces for Musical Expression.
{"title":"Computer Music Research Group - IME/USP Report for SBCM 2019","authors":"Paulo Vitor Itaboraí De Barros","doi":"10.5753/sbcm.2019.10443","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10443","url":null,"abstract":"The following report presents some of the ongoing projects that are taking place in the group’s laboratory. One of the noteable characteristics of this group is the extensive research spectrum, the plurality of research areas that are being studied by it’s members, such as Music Information Retrieval, Signal Processing and New Interfaces for Musical Expression.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121032593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become "naturalized" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that field have been crucial to its constitution. When it comes to computer music we are comfortably used to its applied perspective: tools, logical models, and algorithms are created to solve problems without questioning the (non-computational) origin of these problems or the directions taken by the solutions we give to them. The idea of computing as a set of abstract machines often hides the various aspects of the sonic cultures that are at play when we develop tools and models in computer music. The way we connect the development of computer tools with the contingencies and contexts in which these tools are used is what I call the politics of computer music. This connection is often overshadowed in the development of computer music. However, I would like to argue that this connection is behind everything we do in terms of computer music to the point that it often guides the research, development, and results within the field.
{"title":"The Politics of Computer Music","authors":"Fernando Iazzetta","doi":"10.5753/sbcm.2019.10464","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10464","url":null,"abstract":"When a set of objects, actions, and procedures begin to coalesce and gain some coherence, they become perceived as a new, cohesive field. This may be related to the emergence of a new discipline, a new craft, or a new technological configuration. As this new field shows some coherence and unity, we tend to overlook the conditions that gave rise to it. These conditions become \"naturalized\" as if they were inherent in that field. From this point on, we do not wonder anymore to what extent the contingencies (formal, social, economic, technological, aesthetic, religious) that gave rise to that field have been crucial to its constitution. When it comes to computer music we are comfortably used to its applied perspective: tools, logical models, and algorithms are created to solve problems without questioning the (non-computational) origin of these problems or the directions taken by the solutions we give to them. The idea of computing as a set of abstract machines often hides the various aspects of the sonic cultures that are at play when we develop tools and models in computer music. The way we connect the development of computer tools with the contingencies and contexts in which these tools are used is what I call the politics of computer music. This connection is often overshadowed in the development of computer music. However, I would like to argue that this connection is behind everything we do in terms of computer music to the point that it often guides the research, development, and results within the field.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130419623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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