Of a communicative process, and formalises the workings of the Musical Middleware Musical Middleware system, which can be implemented computationally, and allowsĭistributed agents to collaborate on music in real-time a computational model of musical interaction, which allows musical agents to analyse the playing of others as part The work here can be separated into four main contributions: a specification for a
This is a novel theory, which models musical interactions between agents, allowing aĭialogue oriented analysis of music, and an exploration of intention and communication in the context of musical performance. In order to address these issues, this thesis develops Musical Act Theory (MAT). The ability to structure their output in terms of a communicative dialogue, and reason Current systems in this area lackĬertain features which are necessary for a high quality musician in particular, they lack Musical Agents are an emerging technology, designed to provide a range of new musical opportunities to human musicians and composers. Ultimately, earGram helps musicians to easily manipulate audio signals in creative contexts-particularly by assisting in and automating a sound mosaic, which allows greater focus on the creative aspects of music making. In addition, the sound objects’ descriptions are highly flexible and allow the manipulation of audio signals in known computer-aided algorithmic composition strategies linked to symbolic music representations. In sum, this dissertation proposes a description scheme for representing sound objects that offers relevant information for the sound-based composer as well as suitable descriptions for automatically modeling the temporal evolution of musical structure. I also critically analyze some common issues in concatenative sound synthesis and propose the following three solutions that increase user flexibility and control, in particular for creative purposes: (1) meaningful visualizations of the corpus in relation to specific sound typologies (2) prioritization strategies and/or weights in the unit selection adapted to particular application contexts and (3) minimization of concatenation discontinuities between audio units by audio processing techniques.
8BIT DRUMMER SOFTWARE
Using these frameworks, I finally present algorithmic strategies for style imitation and genuine composition that recombine collections of annotated sound objects for a variety of musical contexts from installations to concert music.ĮarGram, the proof-of-concept software I developed as a result of this study, integrates the proposed analysis-synthesis framework in a concatenative sound synthesis system. The proposed strategies for audio stream segmentation and description rely on musicological theories, psychoacoustic dissonant models, and content- based audio processing techniques.
I address problems raised by the implementation of audio signals in algorithmic composition by creating higher-level descriptions of sound objects, which drastically reduces their audio data representation and yet provides meaningful and highly flexible information. My dissertation addresses the aforementioned mismatch by proposing an analysis- synthesis framework for assisting musicians in the daunting tasks of selecting and assembling audio signals, namely by incorporating algorithmic music strategies in the processing chain.
A major reason for the disconnect between the state-of-the-art technology and current compositional practice is the lack of effective browsing methods for selecting, manipulating, and assembling samples for a particular application context. Yet, composing with audio samples is still a very time-consuming task. Musicians today have access to a vast array of multimedia content on personal and public databases, which consequently expands the possibilities for audio processing.
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