Harmonic fluid sound synthesis

2009 ◽  
Author(s):  
Doug James
Keyword(s):  
Sound Synthesis

Music Neurotechnology for Sound Synthesis: Sound Synthesis with Spiking Neuronal Networks

Leonardo ◽  
2009 ◽  
Vol 42 (5) ◽  
pp. 439-442 ◽  
Author(s):  
Eduardo R. Miranda ◽  
John Matthias
Keyword(s):  
Cortical Neurons ◽  
Neuronal Networks ◽  
Research Area ◽  
Sound Synthesis ◽  
Ongoing Research ◽  
Computer Interfaces ◽  
Engineering Sciences ◽  
New Research ◽  
Sound Files

Music neurotechnology is a new research area emerging at the crossroads of neurobiology, engineering sciences and music. Examples of ongoing research into this new area include the development of brain-computer interfaces to control music systems and systems for automatic classification of sounds informed by the neurobiology of the human auditory apparatus. The authors introduce neurogranular sampling, a new sound synthesis technique based on spiking neuronal networks (SNN). They have implemented a neurogranular sampler using the SNN model developed by Izhikevich, which reproduces the spiking and bursting behavior of known types of cortical neurons. The neurogranular sampler works by taking short segments (or sound grains) from sound files and triggering them when any of the neurons fire.

Sound Synthesis for an Engine Air Induction System

2007 ◽  
Author(s):  
Paulo A. G. Zavala ◽  
José Roberto de França Arruda
Keyword(s):  
Sound Synthesis ◽  
Induction System

scholarly journals Statistical Modeling of Bowing Control Applied to Violin Sound Synthesis

2010 ◽  
Vol 18 (4) ◽  
pp. 855-871 ◽  
Author(s):  
Esteban Maestre ◽  
Merlijn Blaauw ◽  
Jordi Bonada ◽  
Enric Guaus ◽  
Alfonso Perez
Keyword(s):  
Statistical Modeling ◽  
Sound Synthesis

scholarly journals Clasp Together: Composing for Mind and Machine

2015 ◽  
Vol 9 (3-4) ◽  
pp. 263 ◽  
Author(s):  
J. Harry Whalley ◽  
Panagiotis Mavros ◽  
Peter Furniss
Keyword(s):  
Human Computer Interaction ◽  
Experimental Work ◽  
Sound Synthesis ◽  
Musical Performance ◽  
Brain Computer Interfaces ◽  
Live Electronics ◽  
Control Instrument ◽  
Computer Interfaces ◽  
Small Ensemble ◽  
Physical Gestures

This paper will explore questions of agency, control and interaction and the embodied nature of musical performance in relation to the use of human-computer interaction (HCI), through the experimental work <em>Clasp Together (beta)</em> [1] for small ensemble and live electronics by J. Harry Whalley. This practice-led research is situated at the intersection of music neurotechnology for sound synthesis and brain-computer interfaces (BCI, a subdomain of HCI), and explores the use of neural patterns from Electroencephalography (EEG) as a control instrument. The composition departed from the traditional composer/performer paradigm by using both non-instrumental physical gestures and cognitive or emotive instructions integrated into the score.

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