M. Amazonas, Thais Castro, Rosiane de Freitas, Bruno F. Gadelha
Urban public art is a kind of art that is produced and demonstrated in public places, based on the function and connotation of the city itself exerts. As an essential artistic content in the contact of human life, the introduction of technology is a significant trend in public art, and with it, the interaction has become an increasingly relevant aspect of public art in the digital context. In this way, this work presents an environment for creating random collaborative music from interaction in public spaces using mobile technology. The result is a composition that goes towards to John Cage’s methods. However, in our case, all participants are composers and their interactions with space work as the component that brings randomness to composition. A case study was conducted with volunteer students divided into groups. Participants made use of two versions of Compomus - an app developed for immersive interaction with sound. One version encourages movement through the environment, while the other explores the spatiality of sound in a simulated public environment within the university. The interaction of the participants generated ten compositions, five from the first version and five compositions from the second version of the developed application. The sounds resulting from the interaction were made available to the public through a website.
{"title":"Composing through Interaction: a framework for collaborative music composition based on human interaction on public spaces","authors":"M. Amazonas, Thais Castro, Rosiane de Freitas, Bruno F. Gadelha","doi":"10.5753/sbcm.2019.10421","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10421","url":null,"abstract":"Urban public art is a kind of art that is produced and demonstrated in public places, based on the function and connotation of the city itself exerts. As an essential artistic content in the contact of human life, the introduction of technology is a significant trend in public art, and with it, the interaction has become an increasingly relevant aspect of public art in the digital context. In this way, this work presents an environment for creating random collaborative music from interaction in public spaces using mobile technology. The result is a composition that goes towards to John Cage’s methods. However, in our case, all participants are composers and their interactions with space work as the component that brings randomness to composition. A case study was conducted with volunteer students divided into groups. Participants made use of two versions of Compomus - an app developed for immersive interaction with sound. One version encourages movement through the environment, while the other explores the spatiality of sound in a simulated public environment within the university. The interaction of the participants generated ten compositions, five from the first version and five compositions from the second version of the developed application. The sounds resulting from the interaction were made available to the public through a website.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"21 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":"125902092","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 is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and phonemes; instrumental tones; soundscapes; historical, political and cultural contexts. In this sense, Tecnofagia tries to go beyond techniques and technologies of interactive performance, as it provokes glances for a Brazilian art-technological miscegenation. That is, it seeks emergent characteristics of the encounters between media, art, spaces, culture, temporalities, objects, people and technologies, at the moment of performance.
这是一个巴西数字艺术的音乐会提案，它将巴西某些地区的历史和文化方面带入其创意核心。“technofagia”一词源于“食人运动”(始于20世纪的艺术运动，由诗人Oswald de Andrade和画家Tarsila do Amaral创立并提出理论)。“人食运动”是对文化吞噬目标的隐喻，在这种目标下，外国文化不会被否定，但也不应该被模仿。奥斯瓦尔德·德·安德拉德在他的笔记中提出，“从文化上吞食进口技术，自主地对它们进行重新加工，将它们变成一种出口产品。”Tecnofagia项目是一个合作的创意和集体表演团体，旨在拓宽现场电子音乐，视频艺术，即兴创作和表演的方面，将它们带入一个多模式的叙事背景，本质上是巴西的声音元素，如:口音和音位;仪器调;音景;历史、政治和文化背景。从这个意义上说，Tecnofagia试图超越互动表演的技术和技术，因为它引发了巴西艺术与技术混合的目光。也就是说，在表演的瞬间，它寻求媒体、艺术、空间、文化、时间性、物体、人和技术之间相遇的新兴特征。
{"title":"Tecnofagia: A Multimodal Rite","authors":"Luzilei Aliel, Rafael Fajiolli, Ricardo Thomasi","doi":"10.5753/sbcm.2019.10454","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10454","url":null,"abstract":"This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the \"cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product.\" The Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and phonemes; instrumental tones; soundscapes; historical, political and cultural contexts. In this sense, Tecnofagia tries to go beyond techniques and technologies of interactive performance, as it provokes glances for a Brazilian art-technological miscegenation. That is, it seeks emergent characteristics of the encounters between media, art, spaces, culture, temporalities, objects, people and technologies, at the moment of performance.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"27 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":"125368164","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 discusses a computer-aided musical analysis methodology anchored on psychoacoustics audio descriptors. The musicological aim is to analyze compositions centered on timbre manipulations that explore sound masses and granular synthesis as their builders. Our approach utilizes two psychoacoustics models: 1) Critical Bandwidths and 2) Loudness, and two spectral features extractors: 1) Centroid and 2) Spectral Spread. A review of the literature, contextualizing the state-of-art of audio descriptors, is followed by a definition of the musicological context guiding our analysis and discussions. Further, we present results on a comparative analysis of two acousmatic pieces: Schall (1995) of Horacio Vaggione and Asperezas (2018) of Micael Antunes. As electroacoustic works, there are no scores, therefore, segmentation and the subsequent musical analysis is an important issue to be solved. Consequently, the article ends discussing the methodological implication of the computational musicology addressed here.
{"title":"A computer-based framework to analyze continuous and discontinuous textural works using psychoacoustics audio descriptors","authors":"Micael Antunes, Danilo Rossetti, J. Manzolli","doi":"10.5753/sbcm.2019.10415","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10415","url":null,"abstract":"This paper discusses a computer-aided musical analysis methodology anchored on psychoacoustics audio descriptors. The musicological aim is to analyze compositions centered on timbre manipulations that explore sound masses and granular synthesis as their builders. Our approach utilizes two psychoacoustics models: 1) Critical Bandwidths and 2) Loudness, and two spectral features extractors: 1) Centroid and 2) Spectral Spread. A review of the literature, contextualizing the state-of-art of audio descriptors, is followed by a definition of the musicological context guiding our analysis and discussions. Further, we present results on a comparative analysis of two acousmatic pieces: Schall (1995) of Horacio Vaggione and Asperezas (2018) of Micael Antunes. As electroacoustic works, there are no scores, therefore, segmentation and the subsequent musical analysis is an important issue to be solved. Consequently, the article ends discussing the methodological implication of the computational musicology addressed here.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"23 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":"123015047","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}
João Teixeira, F. Schiavoni, Rogério Tavares Constante, Octávio Deluchi
Information and Communication Technologies (ICTs) have been characterized as a very effective resource for promoting innovation in the way of teaching and learning. In relation to the musical area, computer software of musical notation, like MuseScore, has been more and more used for the musical compositions and to teach and learn music writing, musical arrangement, composition and counterpoint. MuseScore is a free software that can easily be applied to academic purposes, such as universities, for teaching students in music fields and can also be used in the professional life of students who have graduated from courses that use it. In addition, it allows the implementation of plugins for various purposes, such as the analysis of scores in relation to various preset parameters. In this context, this work aims to present the development of the Harmonia, an open source plugin for MuseScore focused on teaching musical analysis and automatic verification of scores based in harmony predefined rules.
{"title":"Harmonia: a MuseScore's plugin to teach music","authors":"João Teixeira, F. Schiavoni, Rogério Tavares Constante, Octávio Deluchi","doi":"10.5753/sbcm.2019.10447","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10447","url":null,"abstract":"Information and Communication Technologies (ICTs) have been characterized as a very effective resource for promoting innovation in the way of teaching and learning. In relation to the musical area, computer software of musical notation, like MuseScore, has been more and more used for the musical compositions and to teach and learn music writing, musical arrangement, composition and counterpoint. MuseScore is a free software that can easily be applied to academic purposes, such as universities, for teaching students in music fields and can also be used in the professional life of students who have graduated from courses that use it. In addition, it allows the implementation of plugins for various purposes, such as the analysis of scores in relation to various preset parameters. In this context, this work aims to present the development of the Harmonia, an open source plugin for MuseScore focused on teaching musical analysis and automatic verification of scores based in harmony predefined rules.","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":"120967485","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}
F. Schiavoni, A. Gomes, João Teixeira, F. Resende, Igino Silva Junior, Gabriel Lopes Rocha, Avner Paulo, Igor Alves Estevam Andrade, Mauro César Fachina Canito, R. A. Costa
Located in the Computer Science Department of the Federal University of São João del-Rei, but not limited to just this space, ALICE has emerged as a research group focused on the development of software, art and technologies for the area of computer music and digital arts. Over the time, ALICE became the laboratory to develop technologies to an artistic group, called Orchidea, focused on the creation of digital art, encompassing students from diverse areas, such as Computer Science, Scenic Arts, Architecture and Music in a transdisciplinary context of art creation. In this way, this work aims to present the various initiatives and proposals carried out by the ALICE, addressing the development of technological products, through the tools implemented and the external tools used for teaching and for artistic creation. In addition, this work describes the current researches that are under development by the members of the groups, also highlighting the development of the digital performance titled “O Chaos das 5” and all the aspects and learning that we have obtained so far with this performance.
位于s o jo o del-Rei联邦大学计算机科学系，但不仅限于这个空间，ALICE已经成为一个专注于计算机音乐和数字艺术领域的软件，艺术和技术开发的研究小组。随着时间的推移，ALICE成为一个名为Orchidea的艺术团体开发技术的实验室，专注于数字艺术的创作，包括来自不同领域的学生，如计算机科学，风景艺术，建筑和音乐，在跨学科的艺术创作背景下。通过这种方式，本作品旨在展示爱丽丝开展的各种倡议和建议，通过实施的工具和用于教学和艺术创作的外部工具来解决技术产品的开发问题。此外，本作品描述了小组成员目前正在进行的研究，并重点介绍了名为“O Chaos das 5”的数字表演的发展以及我们迄今为止在这个表演中获得的所有方面和学习。
{"title":"Alice: Arts Lab in Interfaces, Computers, and Everything Else - Research report (2019)","authors":"F. Schiavoni, A. Gomes, João Teixeira, F. Resende, Igino Silva Junior, Gabriel Lopes Rocha, Avner Paulo, Igor Alves Estevam Andrade, Mauro César Fachina Canito, R. A. Costa","doi":"10.5753/sbcm.2019.10439","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10439","url":null,"abstract":"Located in the Computer Science Department of the Federal University of São João del-Rei, but not limited to just this space, ALICE has emerged as a research group focused on the development of software, art and technologies for the area of computer music and digital arts. Over the time, ALICE became the laboratory to develop technologies to an artistic group, called Orchidea, focused on the creation of digital art, encompassing students from diverse areas, such as Computer Science, Scenic Arts, Architecture and Music in a transdisciplinary context of art creation. In this way, this work aims to present the various initiatives and proposals carried out by the ALICE, addressing the development of technological products, through the tools implemented and the external tools used for teaching and for artistic creation. In addition, this work describes the current researches that are under development by the members of the groups, also highlighting the development of the digital performance titled “O Chaos das 5” and all the aspects and learning that we have obtained so far with this performance.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"6 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":"133723049","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}
Flávio Luiz Schiavoni, Adilson Siqueira, Rogério Tavares Constante, Igino Silva Junior, Thiago de Andrade Morandi, Fábio Dos Passos Carvalho, João Teixeira Araújo, André Lucas Nascimento Gomes, Frederico Resende, Luísa Lugon-Moulin Brazil Santos, Avner De Paulo, Carlos Souza, Allyson Da Cruz Rodrigues, Igor Alves Estevam Andrade, Aneliza Rodrigues Prado, Patrick Veniali Da Silva, João Lucas Ruas Teixeira, A. B. D. Lima, Bruna Guimarães Lima e Silva, Ívyla Nascimento Silva, Wanderson Andre Martins Pereira, Rafael Gomes De Oliveira, Octávio Ferreira Deluchi Cerqueira Da Silva, Valdir De Siqueira Santos Junior, Matteo Vinicius Alves Recinella
“O Chaos das 5” is an audiovisual digital performance. The guideline of the performance is inspired by Alice, from Lewis Carroll book - Alice in the Wonderland, as a metaphor to take the audience to a synthetic and disruptive wonder world. The concept of the performance is to conceive the possibility to the audience to interact through digital interfaces creating an immersive and participatory experience by combining three important layers of information (music, projections and gestures) through their cellphones. Once that the audience members take part of the show on an immersive aspect, there is no stage or another mark to limit the space of the performers and the audience.
“O Chaos das 5”是一场视听数字表演。演出的指导思想以刘易斯·卡罗尔的书《爱丽丝梦游仙境》中的爱丽丝为隐喻，将观众带入一个合成的、颠覆性的奇妙世界。表演的概念是设想观众通过数字界面进行互动的可能性，通过手机结合三个重要的信息层(音乐、投影和手势)，创造一种身临其境的参与式体验。一旦观众以身临其境的方式参与演出，就没有舞台或其他标志来限制表演者和观众的空间。
{"title":"O Chaos das 5","authors":"Flávio Luiz Schiavoni, Adilson Siqueira, Rogério Tavares Constante, Igino Silva Junior, Thiago de Andrade Morandi, Fábio Dos Passos Carvalho, João Teixeira Araújo, André Lucas Nascimento Gomes, Frederico Resende, Luísa Lugon-Moulin Brazil Santos, Avner De Paulo, Carlos Souza, Allyson Da Cruz Rodrigues, Igor Alves Estevam Andrade, Aneliza Rodrigues Prado, Patrick Veniali Da Silva, João Lucas Ruas Teixeira, A. B. D. Lima, Bruna Guimarães Lima e Silva, Ívyla Nascimento Silva, Wanderson Andre Martins Pereira, Rafael Gomes De Oliveira, Octávio Ferreira Deluchi Cerqueira Da Silva, Valdir De Siqueira Santos Junior, Matteo Vinicius Alves Recinella","doi":"10.5753/sbcm.2019.10457","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10457","url":null,"abstract":"“O Chaos das 5” is an audiovisual digital performance. The guideline of the performance is inspired by Alice, from Lewis Carroll book - Alice in the Wonderland, as a metaphor to take the audience to a synthetic and disruptive wonder world. The concept of the performance is to conceive the possibility to the audience to interact through digital interfaces creating an immersive and participatory experience by combining three important layers of information (music, projections and gestures) through their cellphones. Once that the audience members take part of the show on an immersive aspect, there is no stage or another mark to limit the space of the performers and the audience.","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":"117137730","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}
Music has been influenced by digital technology over the last few decades. With the computer, the musical composition could trespass the use of acoustic instruments demanding to musicians and composers a sort of computer programming skills for the development of musical applications. In order to simplify the development of musical applications, several tools and musical programming languages arose bringing some facilities to lay-musicians on computer programming to use the computer to make music. This work presents the development of a Visual Programming Language (VPL) for audio applications in the Mosaicode programming environment, simplifying sound design and making the synthesis and manipulation of audio more accessible to digital artists. It is also presented the implementation of libmosaic-sound library for the specific domain of Music Computing, which supported the VPL development.
{"title":"The development of libmosaic-sound: a library for sound design and an extension for the Mosaicode Programming Environment","authors":"L. Goncalves, F. Schiavoni","doi":"10.5753/sbcm.2019.10429","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10429","url":null,"abstract":"Music has been influenced by digital technology over the last few decades. With the computer, the musical composition could trespass the use of acoustic instruments demanding to musicians and composers a sort of computer programming skills for the development of musical applications. In order to simplify the development of musical applications, several tools and musical programming languages arose bringing some facilities to lay-musicians on computer programming to use the computer to make music. This work presents the development of a Visual Programming Language (VPL) for audio applications in the Mosaicode programming environment, simplifying sound design and making the synthesis and manipulation of audio more accessible to digital artists. It is also presented the implementation of libmosaic-sound library for the specific domain of Music Computing, which supported the VPL development.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"17 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":"126616718","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 poster describes the design in PureData of some audio signals processes in real time like delay, echo, reverb, chorus, flanger e phaser. We analyze the technical characteristics of each process and the psychoacoustic effects produced by them in human perception and audio applications. A deeper comprehension of the consequences of sound processes based on delay lines helps the decision-making in professional audio applications such as the audio recording, mixing, besides music composition that employs sound effects in preprocessed or real-time.
{"title":"Digital Design of Audio Signal Processing Using Time Delay","authors":"Mauricio Perez, Rodolfo Souza, Regis Faria","doi":"10.5753/sbcm.2019.10449","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10449","url":null,"abstract":"This poster describes the design in PureData of some audio signals processes in real time like delay, echo, reverb, chorus, flanger e phaser. We analyze the technical characteristics of each process and the psychoacoustic effects produced by them in human perception and audio applications. A deeper comprehension of the consequences of sound processes based on delay lines helps the decision-making in professional audio applications such as the audio recording, mixing, besides music composition that employs sound effects in preprocessed or real-time.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"60 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":"133625271","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 sonority is one of the definitions widely used by musicians when trying to define the color or timbral balances associated with individual or groups of instruments , such as for ensembles or orchestras. This definition obeys to subjective musical parameters associated with "color balance", "sound amplitude", among others. In the field of musical acoustics, it is well known that the sounds coming from musical instruments depend on several acoustic physical parameters such as Intensity, Frequency, and the number of harmonics, as well as other aspects including, association with its manufacturing process, such as geometry and materials used for construction. This work presents, from a spectral analysis of the timbre with the use of Fast Fourier Transform (FFT), Spectral Power Density (DPE) and Spectrograms, the characterization of the subjective concept of "sonority", for some instruments of the Woodwind family: Piccolo flute, transverse flute, clarinet and oboe. It is concluded that the stage of sound evolution as the attack and sustenance, allow the establishment of harmonics whose powers are fundamental to define the timbric "color" associated with each instrument, as well as the number of harmonics allowed to establish parameters of "sound identity", useful for the generation of a coefficient extracted from the obtained spectral analysis, which allows to advance in the characterization of the Sonority. The generalization of the method is suggested for all families of musical instruments.
{"title":"Characterization of the sonority associated to woodwinds instruments through spectral analysis","authors":"Yubiry Gonzalez, R. Prati","doi":"10.5753/sbcm.2019.10452","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10452","url":null,"abstract":"The sonority is one of the definitions widely used by musicians when trying to define the color or timbral balances associated with individual or groups of instruments , such as for ensembles or orchestras. This definition obeys to subjective musical parameters associated with \"color balance\", \"sound amplitude\", among others. In the field of musical acoustics, it is well known that the sounds coming from musical instruments depend on several acoustic physical parameters such as Intensity, Frequency, and the number of harmonics, as well as other aspects including, association with its manufacturing process, such as geometry and materials used for construction. This work presents, from a spectral analysis of the timbre with the use of Fast Fourier Transform (FFT), Spectral Power Density (DPE) and Spectrograms, the characterization of the subjective concept of \"sonority\", for some instruments of the Woodwind family: Piccolo flute, transverse flute, clarinet and oboe. It is concluded that the stage of sound evolution as the attack and sustenance, allow the establishment of harmonics whose powers are fundamental to define the timbric \"color\" associated with each instrument, as well as the number of harmonics allowed to establish parameters of \"sound identity\", useful for the generation of a coefficient extracted from the obtained spectral analysis, which allows to advance in the characterization of the Sonority. The generalization of the method is suggested for all families of musical instruments.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"17 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":"134071695","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 article approaches the subject of musical form from the standpoint of an algorithmic composition practice. It introduces the problem of ergodicity in music, a formal situation at which music development is perceived as static. The concepts of General Periodicity by Henri Pousseur and Temporal Gestalt by James Tenney gave support to a reflection on the nature of the problem, as well as to formulate a twofold structuring procedure based on ideas of continuity and segmentation of the musical course. The devised method was implemented as a computer program to produce entire pieces of music.
{"title":"Reflection and practice on generative music structuring: the formal problem of ergodicity","authors":"G. E. Silva, Clayton Mamedes","doi":"10.5753/sbcm.2019.10428","DOIUrl":"https://doi.org/10.5753/sbcm.2019.10428","url":null,"abstract":"This article approaches the subject of musical form from the standpoint of an algorithmic composition practice. It introduces the problem of ergodicity in music, a formal situation at which music development is perceived as static. The concepts of General Periodicity by Henri Pousseur and Temporal Gestalt by James Tenney gave support to a reflection on the nature of the problem, as well as to formulate a twofold structuring procedure based on ideas of continuity and segmentation of the musical course. The devised method was implemented as a computer program to produce entire pieces of music.","PeriodicalId":338771,"journal":{"name":"Anais do Simpósio Brasileiro de Computação Musical (SBCM 2019)","volume":"99 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":"132622705","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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