scholarly journals Graphical representation: an analytical and publication tool for electroacoustic music

2004 ◽  
Vol 9 (1) ◽  
pp. 109-113 ◽  
Author(s):  
PIERRE COUPRIE
Keyword(s):  
Graphical Representation ◽  
Music Analysis ◽  
Electroacoustic Music ◽  
The Other ◽  
Music Research

When, in 1998, I began my research into the analysis of electroacoustic music, analysis and representation were two distinct disciplines. One was an integral part of music research and the other was just a possible option for publication.

Analysis of Granular Acousmatic Music: Representation of sound flux and emergence

2019 ◽  
Vol 24 (02) ◽  
pp. 205-216 ◽  
Author(s):  
Danilo Rossetti ◽  
Jônatas Manzolli
Keyword(s):  
Graphical Representation ◽  
Electroacoustic Music ◽  
Musical Composition ◽  
Technological Equipment ◽  
Analytical Methodology ◽  
Iannis Xenakis ◽  
Audio Recordings ◽  
Acousmatic Music ◽  
Music Representation ◽  
Sound Spectrum

Analysing electroacoustic music is a challenging task that can be approached by different strategies. In the last few decades, newly emerging computer environments have enabled analysts to examine the sound spectrum content in greater detail. This has resulted in new graphical representation of features extracted from audio recordings. In this article, we propose the use of representations from complex dynamical systems such as phase space graphics in musical analysis to reveal emergent timbre features in granular technique-based acousmatic music. It is known that granular techniques applied to musical composition generate considerable sound flux, regardless of the adopted procedures and available technological equipment. We investigate points of convergence between different aesthetics of the so-called Granular Paradigm in electroacoustic music, and consider compositions employing different methods and techniques. We analyse three works: Concret PH (1958) by Iannis Xenakis, Riverrun (1986) by Barry Truax, and Schall (1996) by Horacio Vaggione. In our analytical methodology, we apply such concepts as volume and emergence, as well as their graphical representation to the pieces. In conclusion we compare our results and discuss how they relate to the three composers’ specific procedures creating sound flux as well as to their compositional epistemologies and ontologies.

scholarly journals Artificial Intelligence inOrganised Sound

2015 ◽  
Vol 20 (1) ◽  
pp. 76-81 ◽  
Author(s):  
Eduardo R. Miranda ◽  
Duncan Williams
Keyword(s):  
Artificial Intelligence ◽  
Artificial Life ◽  
Electroacoustic Music ◽  
The Other ◽  
Musical Form ◽  
Biologically Inspired ◽  
Interactive Performance ◽  
Music Community ◽  
The One ◽  
Artificial Intelligence Systems

Artificial Intelligence is a rich and still-developing field with a number of musical applications. This paper surveys the use of Artificial Intelligence in music in the pages ofOrganised Sound, from the first issue to the latest, at the time of writing. Traditionally, Artificial Intelligence systems for music have been designed with note-based composition in mind, but the research we present here finds that Artificial Intelligence has also had a significant impact in electroacoustic music, with contributions in the fields of sound analysis, real-time sonic interaction and interactive performance-driven composition, to cite but three. Two distinct categories emerged in theOrganised Soundpapers: on the one hand, philosophically and/or psychologically inspired, symbolic approaches and, on the other hand, biologically inspired approaches, also referred to as Artificial Life approaches. The two approaches are not mutually exclusive in their use, and in some cases are combined to achieve ‘best of both’ solutions. That said, asOrganised Soundis uniquely positioned in the electroacoustic music community, it is somewhat surprising that work addressing important compositional issues such as musical form and structure, which Artificial Intelligence can be readily applied to, is not more present in these pages.

Making the Archive and Archiving the Making: insights and outcomes from a major research project

2006 ◽  
Vol 11 (2) ◽  
pp. 143-147 ◽  
Author(s):  
SIMON WATERS
Keyword(s):  
Real Time ◽  
Performance Practice ◽  
Electroacoustic Music ◽  
The Other ◽  
Technical Level ◽  
Research Projects ◽  
Major Research ◽  
Research Project ◽  
Aesthetic Judgement ◽  
And Performance

This paper seeks to address some of the problems faced by those archiving an area of musical practice – electroacoustic music and the sonic arts – which is, by definition, involved with technologies which change and develop, and which unsurprisingly is itself in a state of flux and transformation. Drawing on the experience gained from two linked research projects – one looking at the development of the practice, the other seeking to archive it – it is suggested that the two apparently disparate areas of activity can be fruitfully regarded as overlapping in many respects. Both activities involve selection and aesthetic judgement, both strive for an elusive ‘completeness’ while acknowledging its impossibility, and at a technical level the strategies now emerging for searching and collating information from ‘separate’ archives look increasingly like the strategies used in some areas of ‘real-time’ composition and performance practice. It is argued that archivists of material from such a disparate and rapidly developing practice, rather than aiming for spurious ‘coverage’ of the field, should acknowledge and celebrate their difference from each other, while conforming to simple principles which will allow their archived content to be searched and collated dynamically by individual users, each querying and configuring the material optimally for their own purposes.

Music Theory, Phenomenology, and Modes of Perception

1986 ◽  
Vol 3 (4) ◽  
pp. 327-392 ◽  
Author(s):  
David Lewin
Keyword(s):  
Artificial Intelligence ◽  
Music Theory ◽  
Formal Model ◽  
Music Analysis ◽  
The Other ◽  
Musical Activity ◽  
Literary Theories

Recent years have seen an increasing influence on music theory of perceptual investigations that can be called phenomenological in the sense of Husserl, either explicitly or implicitly. The trend is problematic, particularly in what one might call its sociology, but it is also very promising. Potential or at least metaphorical links with Artificial Intelligence are especially suggestive. A formal model for "musical perceptions," incorporating some of the promising features, reveals interesting things in connection with Schubert's song Morgengruβ. The model helps to circumvent some traditional difficulties in the methodology of music analysis. But the model must be used with caution since, like other perceptual theories, it appears to make " listening" a paradigmatic musical activity. Composer/ performer/playwright/actor/director/poet can be contrasted here to listener/reader. The two genera can be compared in the usual ways, but also in some not-so-usual ways. The former genus may be held to be perceiving in the creative act, and some influential contemporary literary theories actually prefer members of this genus to those of the other as perceivers. The theories can be modified, I believe, to allow a more universal stance that also regards acts of analytic reading/listening as poetry.

The Visual Sound-Shapes of Spectromorphology: an illustrative guide to composition

2011 ◽  
Vol 16 (1) ◽  
pp. 5-13 ◽  
Author(s):  
Manuella Blackburn
Keyword(s):  
Music Analysis ◽  
Electroacoustic Music ◽  
Music Community

Since its conception, Denis Smalley's spectromorphology has equipped listeners and practitioners of electroacoustic music with appropriate and relevant vocabulary to describe the sound-shapes, sensations and evocations associated with experiences of acousmatic sound. This liberation has facilitated and permitted much-needed discussion about sound events, structures and other significant sonic detail. More than 20 years on, it is safe to assume that within the electroacoustic music community there is an agreed and collective understanding of spectromorphological vocabulary and its descriptive application. Spectromorphology's influence has been far reaching, inciting approaches to electroacoustic music analysis (Thoresen 2007), notation (Patton 2007), composition and education through its flexible functionality and accessible pool of vocabulary.

scholarly journals Um mapa da tendências de composição pós-1980 que utilizam recursos tecnológicos

2010 ◽  
Vol 2 (2) ◽  
Author(s):  
Leandro Pedrotti Coradini ◽  
Edson Zampronha
Keyword(s):  
Computer Music ◽  
Electroacoustic Music ◽  
New Music ◽  
Music Research

O presente trabalho apresenta um mapa das principais tendências de composição musical pós-1980 que utilizam meios tecnológicos, seja como recurso auxiliar à composição, seja para a criação do resultado final da obra, ou seja, como um suporte para diferentes formas de interação musical. Para a realização deste mapa foram analisados todos os artigos dedicados ao tema publicados entre 1980 e 2001 em sete periódicos dedicados à música comtenporanêa: Perspectives of New Music, Ars Sonora, Comtemporary Music Review, Computer Music Journal, Journal of New Music Research. Organised Sound, e Journal of Electroacoustic Music. Os artigos selecionados foram divididos em três tendências principais. Cada tendência é apresentada individualmente, indicando suas características mais destacadas. Uma característica comum a todas elas é uma reação a métodos de composição centrados em combinatórias de parâmetros ou de eventos sonoros presentes em certas propostas anteriores a 1980. O resultado desta reação, no entanto, não se limita a uma superação dos problemas que detectam. As respostas que oferecem terminam, efetivamente, por introduzir novas perspectivas e princípios composicionais.

Analysis of anomaly correlations

Geophysics ◽  
1997 ◽  
Vol 62 (1) ◽  
pp. 342-351 ◽  
Author(s):  
Ralph R. B. von Frese ◽  
Michael B. Jones ◽  
Jeong Woo Kim ◽  
Jeong‐Hee Kim
Keyword(s):  
Graphical Representation ◽  
The Other ◽  
Digital Data ◽  
Data Sets ◽  
Correlation Filters ◽  
Geophysical Interpretation ◽  
Frequency Domains ◽  
Mean And Variance ◽  
The Mean ◽  
Normalization Factors

Recognizing correlations between data sets is the basis for rationalizing geophysical interpretation and theory. Procedures are presented that constitute an effective process for identifying correlative features between two or more digital data sets. The procedures include the development of normalization factors from the mean and variance properties of the data sets. Using these factors, the data sets may be transformed so that they have common amplitude ranges, means, and variances, thereby allowing a common graphical representation of the data sets that facilitates the visualization of feature correlations. Anomaly features that show direct, inverse, or no correlations between data sets may be separated by the application of correlation filters in the frequency domains of the data sets. The correlation filter passes or rejects wavenumbers between coregistered data sets based on the correlation coefficient between common wavenumbers as given by the cosine of their phase difference. Standardizing and summing the filtered outputs where directly correlative features have been enhanced yields local favorability indices that optimize the perception of these features. Differencing the standardized outputs where inversely correlative features have been enhanced, on the other hand, provides favorability indices that improve the perception of the inverse correlations. This study includes a generic example, as well as magnetic and gravity anomaly profile examples that illustrate the usefulness of these procedures for extracting correlative features between digital data sets.

Base Distribution in Dengue Nucleotide Sequences Differs Significantly from Other Mosquito-Borne Human-Infecting Flavivirus Members

2018 ◽  
Vol 15 (1) ◽  
pp. 29-44 ◽  
Author(s):  
Proyasha Roy ◽  
Sumanta Dey ◽  
Ashesh Nandy ◽  
Subhash C. Basak ◽  
Sukhen Das
Keyword(s):  
Vaccine Development ◽  
Graphical Representation ◽  
Peptide Vaccine ◽  
Nucleotide Sequences ◽  
The Other ◽  
Dengue Viruses ◽  
Sequence Composition ◽  
Quantitative Estimates ◽  
Viral Genes ◽  
Representation Technique

Introduction: Among the mosquito-borne human-infecting flavivirus species that include Zika, West Nile, yellow fever, Japanese encephalitis and Dengue viruses, the Zika virus is found to be closest to Dengue virus, sharing the same clade in the Flavivirus phylogenetic tree. We consider these five flaviviruses and on closer examination in our analyses, the nucleotide sequences of the Dengue viral genes (envelope and NS5) and genomes are seen to be quite widely different from the other four flaviviruses. We consider the extent of this distinction and determine the advantage and/or disadvantage such differences may confer upon the Dengue viral pathogenesis. </P><P> Methods: We have primarily used a 2D graphical representation technique to show the differences in base distributions in these five flaviviruses and subsequently, obtained quantitative estimates of the differences. Similarity/dissimilarity between the viruses based on the genes were also determined which showed that the differences with the Dengue genes are more pronounced.Results:We found that the Dengue viruses compared to the other four flaviviruses spread rapidly worldwide and became endemic in various regions with small alterations in sequence composition relative to the host populations as revealed by codon usage biases and phylogenetic examination.We conclude that the Dengue genes are indeed more widely separated from the other aforementioned mosquito-borne human-infecting flaviviruses due to excess adenine component, a feature that is sparse in the literature. Such excesses have a bearing on drug and vaccine, especially peptide vaccine, development and should be considered appropriately.

Warner, Sylvia Townsend (1893–1978)

2018 ◽  
Author(s):  
Judy Suh
Keyword(s):  
Short Stories ◽  
Literary Criticism ◽  
Communist Party ◽  
International Association ◽  
Class Struggle ◽  
The Other ◽  
Non Fiction ◽  
Sylvia Townsend Warner ◽  
Music Research ◽  
Lifelong Partner

Sylvia Townsend Warner was the author of novels, short stories, poetry, journalistic non-fiction, and literary criticism. Her works often inhabit settings at opposite ends of the modernist-era spectrum: on one hand, fantasy and fable worlds, and on the other, detailed contemporary domestic and historical settings incorporating themes of war, revolution, and class struggle. Warner is regarded as a pioneer of anti-colonial, LGBT, Marxist, and anti-fascist narrative, particularly in her novels of the 1920s and 1930s. Warner was born and raised in Harrow, Middlesex, England, where her father was schoolmaster at the boys’ public school. She resided in London between 1917 and 1927 to work as a musicologist and editor on the Carnegie UK Trust’s Tudor Church Music Research Project. In 1926, she met her lifelong partner, Valentine Ackland, a poet and writer in her own right, and in 1930 they moved in with each other in Dorset. Both women were committed leftist activists who joined the Communist Party in 1935. In the year, Warner joined the Executive Committee of the International Association of Writers for the Defence of Culture (IAWDC), and in 1936, she served as Secretary of the Association of Writers for Intellectual Liberty (AWIL); both were anti-fascist organisations. During the war, Warner wrote anti-fascist and Marxist articles for leftist newspapers and magazines, including Time and Tide, the Left Review, the Daily Worker, and Our Time.

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