|
Funded by
 |
 |
|
Launch Day 17 Dec 2002 - Abstracts
See also: Launch Day, Slides, Photos
Gestural Control of Digital Sound Synthesis
Daniel Arfib (CNRS-LMA, Marseille)
"Creative gesture in computer music" concerns the
control by gesture of sounds created by computers. It is then
a relationship between synthesis or transformation (audio effects)
processes and gestural devices, be them experimental or commercial,
musical (MIDI based) or Computer-human interfaces. This research
starts from sound and goes to gesture. One first looks at psychoacoustic
features (meta parameters) that can define a sound listening,
and then establishes a mapping between the gestural data or
intention and these features.
Very concretely this project has led to the building of several
instruments played on stage. Three these instrument are named
the voicer, the scanned synthesiser and the photosonic emulator
They are based on the "bimanuality principle", the
fact that we have two hands so that it becomes an ergonomic
instrument.
During this conference, the link between sound and gesture
will be exemplified, in its theory and its application. As will
be explained for me "an effect without a gesture is only
half of the story".
See also: Slides of talks
Extracting and Exploiting High-level
Music Descriptors for Electronic Music Distribution
Francois Pachet (Head of Music Team, Sony CSL, Paris)
Within the grand goal of Electronic Music Distribution, we are
interested in facilitating access to large scale databases of
music titles, through content-based access methods. In this
context, we will present recent research work conducted at Sony
CSL in the field of high-level music descriptors. More particularly
we focus on the notion of "unary descriptor", describing
music titles in their entirety. We will first describe several
of these descriptors
and the associated automatic signal extractors designed at CSL,
including rhythm and timbre. We will then sketch a novel approach
in the automatic design of unary extractors, using
a genetic programming approach, and will show preliminary results.
We will finally illustrate the use of descriptors in the context
of the Music Browser developped within the Cuidado IST project.
Challenges and Opportunities for Music
Technology in Higher Education
Carola Boehm, Nick Bailey (Univ of Glasgow)
To integrate an interdisciplinary field, such as Music Technology,
into an academic discipline-segregated structure, such as that
existing in our Universities, provides, in many ways, more challenges
than opportunities: in research as well as teaching and administration.
This report will present an overview of this situation, fed
by personal and professional experiences working with or in
various academic institutions. Several working groups and workshops,
such as the EC funded CIRCUS project (Content Integrated Research
into Creative User Systems) , the invited EPSRC Music Technology
workshop as well as the invited EC "creativity and technology"
, have addressed relating issues of teaching creative and music
technology courses in HE, with the result of giving it an even
broader perspective.
Although this is within a European context, most issues are
possibly restricted to the British continent. In this light,
this report tries to provide a deeper understanding into the
inherent problems and the immense potential in which this discipline
is currently standing: a potential which many universities are
managing to exploit to a great academic benefit.
The report will cover an initial attempt of defining the area
of "music technology" within a realistic academic
context, and subsequently look at some challenges of teaching
this discipline within HE institutions. The changing face of
research funding opportunities are sketched and described, and
a conclusion based on this discussion is given.
Digital Music in the 21st Century
Prof Mark Sandler (Queen Mary, University of London)
Once, it was all simple: you buy a hi-fi and some records and
you're away. If you were into making music, you bought a Minimoog.
Since the early eighties, when the CD was introduced, we have
seen how digital integrated electronics have transformed the
recording and distribution of music, as well as its creation
and composition.
In this paper we will look at what we can expect to come next,
mainly focussing on two related developments: the Internet and
advanced signal analysis techniques. These will allow (business
models permitting) new ways to create music both individually
and collectively, and new ways to search, buy and sell music.
|
