Proceedings of the 2008 International Computer Music Conference: August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots
Gespeichert in:
| Körperschaft: | |
|---|---|
| Format: | Tagungsbericht Buch |
| Sprache: | English |
| Veröffentlicht: |
San Francisco
International Computer Music Assoc.
2008
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XXVI, 794 S. Ill., graph. Darst. |
| ISBN: | 097131926x |
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| 245 | 1 | 0 | |a Proceedings of the 2008 International Computer Music Conference |b August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots |
| 264 | 1 | |a San Francisco |b International Computer Music Assoc. |c 2008 | |
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| 500 | |a Includes bibliographical references and index | ||
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Datensatz im Suchindex
| _version_ | 1804149427888193536 |
|---|---|
| adam_text | Table
of Contents
Monday, August 25th,
2008
Languages and Environments
1
RECENT DEVELOPMENTS IN THE DIFFERENT STROKES ENVIRONMENT
................................ 1
Mark
Zadel
and Gary Scavone, McGill University, Canada
A TOOLKIT FOR MUSIC AND AUDIO ACTIVITIES ON THE XO COMPUTER
................................ 5
Victor Lazzarini,
NUI Maynooth,
Ireland
I-MAESTRO: TECHNOLOGY-ENHANCED LEARNING FOR MUSIC
......................................... 9
Kia Ng, ICSRiM
-
University of Leeds, United Kingdom
A UNIFIED MODEL FOR AUDIO AND CONTROL SIGNALS IN PWGLSYNTH
............................... 13
Vesa
Norilo
and
Mikael
Laurson, Sibelius-Academy, Finland
Interaction and Improvisation
1
AUTONOMOUS DEVELOPMENT OF SINGING-LIKE INTONATIONS BY INTERACTING BABBLING ROBOTS
17
Eduardo
Miranda, University of Plymouth, ICCMR, United Kingdom
TECHNOLOGY, REAL-TIME NOTATION, AND AUDIENCE PARTICIPATION IN FLOCK
...................... 21
Jason Freeman and Mark Godfrey, Georgia Institute of Technology, United States
TWO APPROACHES FOR INTERACTION MANAGEMENT IN TIMBRE-AWARE IMPROVISATION SYSTEMS
. 25
William Hsu, San Francisco State University, United States
TABLA
GYAN: A SYSTEM FOR REALTIME
TABLA
RECOGNITION AND RESYNTHESIS
................... 29
Parag Chordia and Alex
Rae,
Georgia Institute of Technology, United States
ANTESCOFO: ANTICIPATORY SYNCHRONIZATION AND CONTROL OF INTERACTIVE PARAMETERS IN
COMPUTER MUSIC
........................................................................................ 33
Arshia
Cont,
U
CSD /
1 ream, France
Sound Synthesis
SPLIT-SIDEBAND SYNTHESIS
............................................................................. 41
Victor Lazzarini, Joseph Timoney and Thomas Lysaght,
NUI
Maynooth, Ireland
STOCHASTIC RESONANCE SOUND SYNTHESIS
........................................................... 45
Rodrigo
Cadiz and
Patricio De la Cuadra, Pontificia Universidad
Catolica
de Chile, Chile
ANALYSIS-SYNTHESIS MODEL FOR TRANSIENT IMPACT SOUNDS BY STATIONARY WAVELET
TRANSFORM AND SINGULAR VALUE DECOMPOSITION
.................................................. 49
Wasim Ahmad, Hiiseyin Hacihabiboglu and Ahmet
M
Kondoz, University of Surrey, United Kingdom
VOICE SYNTHESIS USING THE GENERALIZED PRESSURE-CONTROLLED VALVE
........................ 57
Tamara
Smyth, Simon
Fraser
University, Canada
XIII
Computational Modeling of Music
AUTOMATIC FITNESS IN GENERATIVE JAZZ IMPROVISATION
............................................ 61
Kjell Bäckman,
IT University, Sweden
EXPRESSIVE IRISH FIDDLE PERFORMANCE MODEL INFORMED WITH BOWING
......................... 65
Alfonso Perez
Carrillo, Esteban Maestre,
Stefan
Kersten
and Rafael Ramirez Perez,
Universität
Pompeii Fabra, Spain
THE CYCLOTRON: A TOOL FOR PLAYING WITH TIME
.................................................... 69
Dan Internan,
Princeton University, United States
Demos
1
OWT: A REAL-TIME OPTIMAL TUNING APPLICATION
.................................................... 73
Wei Pan, Dartmouth College, United States;
Micah
Johnson, Massachusetts Institute of Technology, United States; Larry
Polanský,
Daniel
Rockmore,
Dartmouth College, United States; and Douglas
Repetto,
Columbia University, United
States
APPLICATIONS OF GEOSCIENTIFIC SONIFICATION
....................................................... 77
Samantha Brough, Kingston University, United Kingdom
INTRODUCING VIDEO FEATURES AND SPECTRAL DESCRIPTORS INTO THE
ОМАХ
IMPROVISATION
SYSTEM
................................................................................................... 81
Georges Bloch, ¡ream, France; Shlomo Dubnov,
U
CSD,
United States; and Gerard Assayag, ¡ream, France
IKLAX
:
A NEW MUSICAL AUDIO FORMAT FOR INTERACTIVE MUSIC
................................... 85
Fabien
Gallot,
Owen Lagadec, iKlax Media, France; Myriam Desainte-Catherine and
Sylvain Marchand, SCRIME
/
LaBR¡
-
CNRS,
France
Posters
1
TWO CROSS-PLATFORM CSOUND-BASED
PLUGIN
GENERATORS
........................................ 89
Victor Lazzarini,
NUI Maynooth,
heland; Rory
Walsh and Martin Brogan, Dundalk Institute of Technology, Ireland
INTERACTIVE SWARM ORCHESTRA, A GENERIC PROGRAMMING ENVIRONMENT FOR SWARM BASED
COMPUTER MUSIC
........................................................................................ 93
Daniel Bisig, Martin
Neukom
and John Flury, ¡CST, Switzerland
TOWARDS BI-DIMENSIONAL CLASSIFICATION OF SYMBOLIC MUSIC BY AFFECTIVE CONTENT
........ 97
Antonio Pedro
Oliveira
and
Amílcar
Cardoso, University of
Coimbra,
Portugal
PATTERN-SPECIFIC PIANO EXERCISE RETRIEVAL
........................................................ 101
Min-Joon Yoo and ¡n-Kwon Lee, Yonsei University, South Korea
INTERACTIVE SWARM ORCHESTRA, AN ARTIFICIAL LIFE APPROACH TO COMPUTER MUSIC
........... 105
Daniel Bisig, Martin
Neukom
and John Flury, ¡CST, Switzerland
DIGITAL MUSIC COLLECTIONS: A PLACE OF KNOWLEDGE EMERGENCE
?.............................. 109
Francis Rousseaux, Alain Bonardi, ¡ream, France; and Benjamin Roadley; University of Reims, France
A MUSIC LOOP EXPLORER SYSTEM
...................................................................... 113
Sebastian
Streich
and Bee Suan Ong, YAMAHA Corp., Japan
XIV
CONSTRUCTION
OF AN
ELECTRONIC TIMBRE
DICTIONARY FOR ENVIRONMENTAL SOUNDS BY
TIMBRE SYMBOL
.......................................................................................... 117
Yohei
Kobayashi and Naotoshi Osaka,
Tokyo Denki
University, Japan
MAINTAINING AND USING PROVENANCE DATA IN COMPUTER MUSIC
.................................. 121
John Ffitch,
Codemist
Ltd, United Kingdom; and Julian Padget, University of Bath, United Kingdom
POLYPHONIC NOTE TRACKING USING
MULTIMODAL
RETRIEVAL OF MUSICAL EVENTS
............... 125
Garry Quested, Roger Boyle and Kia Ng, University of Leeds, United Kingdom
THE WALKING MACHINE
................................................................................. 129
Per Anders
Nilsson,
Academy of Music and Drama, Sweden
VISUALISATION OF MUSICAL STRUCTURE BY APPLYING IMPROVED EDITING ALGORITHMS
.......... 132
Pierre
Hanna,
Matthias
Robině
and Pascal
Ferrare,
LaBRI University Bordeaux I
,
France
COMPER: TOWARDS A MODEL FOR GENERATING COMPOSITIONS FROM EXPRESSIVE MUSIC
PERFORMANCES
.......................................................................................... 136
Alexis Kirke and
Eduardo
Miranda, Interdisciplinary Centre for Computer Music Research, United Kingdom
ADAPTIVE MELODIC SEGMENTATION AND MOTIVIC IDENTIFICATION
.................................. 140
Greg Wilder, Orpheus Media Research, LLC, United States
RHYTHMIC ANALYSIS FOR REAL-TIME AUDIO EFFECTS
................................................. 144
Adam Stark, Matthew Davies and Mark Plumbley, Queen Mary, University of London, United Kingdom
INTRODUCING ASANNOTATION: A TOOL FOR SOUND ANALYSIS AND ANNOTATION
.................... 148
Niels Bogaards, Chunghsin Yeh and
Juan José
Burred, 1RCAM, France
INTEGRATED RECOGNITION SYSTEM FOR MUSIC SCORES
.............................................. 152
Artur Capela,
Jaime Cardoso, Ana
Rebelo, 1NESC
Porto, Portugal; and Carlos
Guedes, ESMAE,
Portugal
CROSS-POLLINATION: TOWARDS AN AESTHETICS OF THE REAL
........................................ 156
Tom Davis, Sonic Arts Research Centre, Queen s University Belfast, United Kingdom
VISUALIZATION TOOLS FOR MUSICAL TIMING APPLIED TO AFRO-CUBAN PERCUSSION
............... 160
Matthew Wright, W. Andrew Schloss and George Tzanetakis, University of Victoria. Canada
MUSIC AND GESTURE FILE: PERFORMANCE VISUALISATION, ANALYSIS, STORAGE AND EXCHANGE
.. 164
Stuart Pullinger, Centre for Music Technology, United Kingdom; Douglas McGilvray and Nicholas Bailey, Centre For
Music Technology, United Kingdom
Interaction and Improvisation
2
REINFORCEMENT LEARNING FOR LIVE MUSICAL AGENTS
.............................................. 168
Nick Collins, University of Sussex, United Kingdom
EXPLORING NEW COMPOSER/PERFORMER INTERACTIONS THROUGH REAL-TIME NOTATION
......... 176
Christopher McClelland and Michael Alcorn, Sonic
Ans
Research Centre, United Kingdom
TIME AFTER TIME
:
SHORT-CIRCUITING THE EMOTIONAL DISTANCE BETWEEN ALGORITHM AND
HUMAN
IMPROVISORS.................................................................................... 180
David Plans
Casal,
University of East
Anglia,
United Kingdom
XV
Aesthetics, History, and Philosophy
1
PROJECT LOVELACE: TEENAGE GIRLS AND TECHNOLOGY-BASED COMPOSITION
...................... 187
Mary
Simoni
and Betty Anne Younker, University of Michigan, United States
WEEDS IN THE CRACKS: INTERDISCIPLINARY AND MUSIC TECHNOLOGY IN HIGHER EDUCATION
.. 193
Carola
Boehm, University of Wolverhampton, United Kingdom
ANALOGUE TO DIGITAL: AUTHENTICITY VS. SUSTAINABILITY IN STOCKHAUSEN S MANTRA
(1970)... 20)
Xenia
Festova,
Schulich
School of Music, CIRMMT, McGill University, Canada; Mark Marshall, 1DM1L, C1RMMT,
McGill University. Canada: and Jacob Stidol,
Caliti,
CRCA, UCSD, United States
Tuesday, August 26th,
2008
Miscellaneous
ONTOLOGY MANAGEMENT FOR PRESERVATION OF INTERACTIVE MULTIMEDIA PERFORMANCES
.... 205
Kia Ng, ICSRiM
-
University of Leeds, United Kingdom
GENERATING TARGETED RHYTHMIC EXERCISES FOR MUSIC STUDENTS WITH CONSTRAINT
SATISFACTION PROGRAMMING
........................................................................... 209
Graham Percival, University of Victoria, Canada;
Torsten
Anders, University of Plymouth, United Kingdom; and George
Tzanetakis, University of Victoria, Canada
HIGH-PERFORMANCE AUDIO COMPUTING
—
A POSITION PAPER
........................................ 213
Richard
Dobson,
Composer s Desktop Project, United Kingdom; John Ffitch,
Codemist
Ltd, United Kingdom; and
Russell Bradford, University of Bath, United Kingdom
Q3OSC OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE GAME
............................... 217
Robert Hamilton, Center for Computer Research in Music and Acoustics, United States
Algorithmic Composition Tools
1
HIGHER ORDER CONSTRAINT APPLICATORS FOR MUSIC CONSTRAINT PROGRAMMING
............... 225
Torsten
Anders and
Eduardo
Miranda, University of Plymouth, United Kingdom
FLEXIBLE CONTROL OF COMPOSITE PARAMETERS IN MAX/MSP
........................................ 233
Timothy Place, Electrotap, United States; Trond Lossius,
ВЕК,
Norway; Alexander Refsum Jensenius, University of
Oslo, Norway; and Nils Peters, McGill University, Canada
Network Performance
NETWORK MUSICS PLAY, ENGAGEMENT AND THE DEMOCRATIZATION OF PERFORMANCE
.......... 237
David Kim-Boyle, University of Maryland, Baltimore County, United States
PLAYING THE NETWORK: THE USE OF
ΉΜΕ
DELAYS AS MUSICAL DEVICES
............................ 244
Juan-Pablo Caceres, CCRMA, Stanford University, United States; and Alain
Renaud,
Sonic Arts Research Centre,
Queen s University Belfast, Ireland
TOWARDS THE IMPLEMENTATION OF A GENERIC PLATFORM FOR NETWORKED MUSIC
PERFORMANCE: THE DIAMOUSES APPROACH
........................................................... 251
Chrisoula Alexandraki, Panayotis Koutlemanis, Petros Gasteratos, Demosthenes Akoumianakis, Giannis Milolidakis
and Nikolas Valsamakis,
TEI
of Crete, Greece
XVI
PARAMETER
CONTROLLED
REMOTE PERFORMANCE (PCRP):
PLAYING TOGETHER DESPITE HIGH
DELAY
..................................................................................................... 259
Aristotelis Hadjakos,
Erwin Ailenbichler
and Max
Mühlhäuser, TU
Darmstadt, Germany
Computational Music Analysis
1
STABILITY SPACE AND THE BELOW-N THRESHOLD: A COMPUTATIONAL APPROACH TO MUSIC
ANALYSIS
................................................................................................. 265
Mike Solomon, University of Florida, United States
RAMEAU: A
SYSTEM FOR AUTOMATIC HARMONIC ANALYSIS
........................................... 273
Pedro Kroger,
Alexandre
Passos,
Marcos
Sampaio
and Givaldo
Cidra,
Federal University of
Bahia,
Brazil
IMPROVEMENTS OF SYMBOLIC KEY FINDING METHODS
................................................ 281
Matthias Robbie, Thomas
Rocher
and Pierre
Hanna, LaBRI
University· Bordeaux I, France
Panel
1:
Reinventing Audio and Music Computation for Many-Core Processors
REINVENTING AUDIO AND MUSIC COMPUTATION FOR MANY-CORE PROCESSORS
..................... 285
David
Wessel,
CNMAT
-
Music
-
UC Berkeley, United States
MULTICORE TECHNOLOGIES IN JACK AND FAUST
....................................................... 287
Yann Orlarey,
Stephane Letz
and Dominique Fober,
Grame,
France
IS MUSIC AUDIO PROCESSING EMBARASSINGLY PARALLEL?
............................................ 289
Roger Dannenberg, Carnegie Mellon University, United States
A COMMENT ON MANY-CORE COMPUTING AND REAL-TIME AUDIO SOFTWARE SYSTEMS
(2008)...... 291
Ge Wang, CCRMA, Stanford University, United States
THE CHALLENGES AND OPPORTUNITIES OF MULTIPLE PROCESSORS: WHY MULTICORE
PROCESSORS ARE EASY AND INTERNET IS HARD
........................................................ 292
Peter Van Roy, Catholic University of Louvain, Belgium
THOUGHTS ON PARALLEL COMPUTING FOR MUSIC
..................................................... 294
Miller Puckette, UCSD, United States
Panel
2:
Towards an Interchange Format for Spatial Audio Scenes
TOWARDS AN INTERCHANGE FORMAT FOR SPATIAL AUDIO SCENES
.................................... 295
Gary Kendall, Northwestern University, United States; Nils Peters, McGill University, Canada; and Matthias
Geier,
Deutsche Telekom Laboratories, Germany
ASDF: AUDIO SCENE DESCRIPTION FORMAT
............................................................. 297
Matthias
Geier
and
Sascha
Spors,
Deutsche Telekom Laboratories,
Technische Universität
Berlin, Germany
PROPOSING SPATD1F
-
THE SPATIAL SOUND DESCRIPTION INTERCHANGE FORMAT
.................... 299
Nils Peters, McGill University. Canada
INTERCHANGE FORMATS AND THE ART OF SPATIAL AUDIO
............................................. 301
Gary Kendall, Sonic Arts Research Center, Queen s University Belfast, United Kingdom
SPATIAL AUDIO AUTHORING AND RENDERING: FORWARD RESEARCH THROUGH EXCHANGE
......... 303
Gabriel Gatzsche and Frank
Melchior, Fraunhofer IDMT Ilmenau,
Germany
XVII
CONTROLLING
SPATIAL
SOUND
WITHIN AN
INSTALLATION ART
CONTEXT
............................. 305
Trond Lossius,
ВЕК
- Bergen Center
for
Electronic
Arts, Norway
CONDITIONS FOR DEVELOPMENT OF AN INTERCHANGE FORMAT FOR SPATIAL AUDIO
................ 307
Eric Lyon,
Queen s
Universit}:
Belfast, United Kingdom
INTERCHANGE FORMATS FOR SPATIAL AUDIO
........................................................... 309
Steven Travis Pope, UCSB, United States
Wednesday, August 27th,
2008
Studio Reports
1
LCAT STUDIO REPORT
.................................................................................... 311
Stephen Beck, Louisiana State University, United States
GOLDSMITHS ELECTRONIC MUSIC STUDIOS:
40
YEARS
................................................. 315
Michael Young, John
Dreve
r, Mick Grierson and Ian Stonehouse, Goldsmiths, University of London, United Kingdom
CONTINUAMENTE:
INTEGRATING PERCUSSION, AUDIOVISUAL AND IMPROVISATION
.................. 319
Jonatas Manzolli, University of Campinas, Brazil
CNMAT STUDIO REPORT
.................................................................................. 323
Richard Andrews, CNMAT, United States
THE MUSIC TECHNOLOGY PROGRAM AT MCGILL UNIVERSITY
......................................... 327
Gary Scavone and Nathan Whetsell, McGill University, Canada
Mobile Computer Ensemble Play
DO MOBILE PHONES DREAM OF ELECTRIC ORCHESTRAS?
.............................................. 331
Ge Wang, Stanford University, United States;
Georg Essi,
Deutsche Telekom, Germany; and Henri Penttinen, Helsinki
University of Technology, Finland
WORLDSCAPE LAPTOP ORCHESTRA
...................................................................... 339
A lex Harker, Angie Atmadjaja, University of York, United Kingdom; Jethro Bagust, Machine Records, United Kingdom;
and Ambrose Field, University of York, United Kingdom
NRCI: SOFTWARE TOOLS FOR LAPTOP ENSEMBLE
....................................................... 344
Christopher Burns and Greg Surges, University of Wisconsin-Milwaukee, United States
SOUND COMMUNICATION: A STANDARD SYNTAX FOR INTER-APPLICATION INTER-DEVICE AND
INTER-PLAYER COMMUNICATION OVER
OSC
................................... 348
Scott Hewitt and Pierre
Alexandre
Tremblay,
University of Huddersfield, United Kingdom
Demos
2
FRACTURING THE ACOUSMATIC: MERGING IMPROVISATION WITH DISASSEMBLED ACOUSMATIC
Adrian Moore, The University of Sheffield, United Kingdom
STAGE-WORTHY BLUETOOTH SENSOR BOWS
........................... 355
Keith McMillen, BEAM Foundation, United States
XVIII
ТНИ
ROSEGARDEN
CODICIL:
REHEARSING MUSIC IN NINETEEN-TONE EQUAL TEMPERAMENT
........ 357
Nicholas Bailey, Graham Hair, Douglas McGilvray, The University of Glasgow, United Kingdom;
Ingrid
Pearson, Royal
College of Music, London, United Kingdom; Amanda Morrison, Freelance Soprano, United Kingdom; and Richard
Parncutt, University of
Graz,
Austria
FREEDOM IN TAPESTREA! VOICE-AWARE TRACK MANIPULATIONS
..................................... 360
Tom Lieber.
Ananya Misra and Perry Cook, Princeton University, United States
Posters
2
INTERACTIVE AUDIO SIGNAL SCRIPTING
................................................................ 364
Victor Lazzarini,
NUI Maynooth,
Ireland
TOWARDS A BEAUTIFUL LAND : THE INFLUENCE OF ROTHKO AND ABSTRACT EXPRESSIONISM ON
FIVE PANELS NO.5
......................................................................................... 368
Mathew Adkins, University of Huddersfield, United Kingdom
SURVEY OF MUSIC ANALYSIS AND VISUALIZATION TOOLS IN PWGL
................................... 372
Mika
Kuuskankare and
Mikael Laurson,
Sibelius Academy, Finland
TEATRACKS: A DEMONSTRATION OF AN AUDITORY DISPLAY OF
A
MULTITRACK
SOUND SEQUENCER
376
Julio
D Escriván, Anglia
Ruskin
University, United Kingdom; and Jan Triitzschler
von Falkenstein,
University of Birm¬
ingham, United Kingdom
REALTIME MUSIC PROGRAMMING USING SND-RT
....................................................... 379
Kjetil Matheussen,
NOTAM,
Norway
SCORING THE COLOR OF WAITING AN INTERACTIVE, MULTIMEDIA SEMI-IMPROVISED
PERFORMANCE WORK
.................................................................................... 383
Margaret
Schedel,
Stony Brook University, United States; and Alison Rootberg, Kinesthetech sense. United States
THE USE OF MEL-FREQUENCY CEPSTRAL COMPONENTS IN MUSICAL INSTRUMENT IDENTIFICATION
387
Roisin Loughran, Jacqueline Walker, University of Limerick, Ireland; Michael O Neill, University College Dublin, Ire¬
land; and Marion O Farrell, University of Limerick, Ireland
A GAME THEORETICAL MODEL FOR MUSICAL INTERACTION
........................................... 39
і
Grace Leslie, Music Department; CRCA, UCSD, United States; and Navid Hassanpour, CRCA, UCSD, United States
USING THE CORDIS-
ANIMA
FORMALISM FOR THE PHYSICAL MODELING OF THE GREEK ZOURNAS
SHAWM
.................................................................................................... 395
A. Kontogeorgakopoulos, ACROE-ICA,
Institut
National
Polytechnique de
Grenoble, France
OUNK
-
AN AUDIO SCRIPTING ENVIRONMENT FOR SIGNAL PROCESSING AND MUSIC COMPOSITION
.. 399
Olivier
Bélanger, Université de Montréal, Canada
INTERACTION TYPOLOGIES
:
TRADITIONAL MUSIC
INSTRUMENTS VERSUS DIGITAL
MUSIC
INSTRUMENTS
............................................................................................ 403
Paulo Ferreira-Uypes,
CITAR,
Portugal
OUT OF SYNC: A SIMPLE SCORE BASED GUI FOR QUICK CORRECTION IN PERFORMER COMPUTER
INTERACTION
............................................................................................. 407
John Chowning, Stanford University, United States
SPECTRAL SYNTHESIS AND CONTROL WITH CELLULAR AUTOMATA
................................... 410
Jaime Serquera and
Eduardo
Miranda, ICCMR, United Kingdom
XIX
TRANSPELL
............................................................................................... 414
Kaz.uaki Shiota,
University of
Cincinnati,
College-Conservatory of Music, United States
S
YNTHBOT:AN UNSUPERVISED SOFTWARE SYNTHESIZER PROGRAMMER
.............................. 418
Matthew Yee-King, University of Sussex, United Kingdom; and Martin Roth, Unaffiliated, United Kingdom
IMPLICIT PHYSIOLOGICAL INTERACTION FOR THE GENERATION OF AFFECTIVE MUSICAL SOUNDS
.. 422
Sylvain Le
Groux,
Aleksander
Valjamae, IUA, Pompeii Fabra University, Spain; Jonatas Manzolli, Campinas University,
Brazil; and Paul Verschure, IUA, Pompeu Fabra University, Spain
Algorithmic Composition Tools
2
AN INSTANCE-BASED MODEL FOR GENERATING EXPRESSIVE PERFORMANCE DURING COMPOSITION
426
Alexis Kirke and
Eduardo
Miranda, Interdisciplinary Centre for Computer Music Research, United Kingdom
INFNO: GENERATING SYNTH POP AND ELECTRONIC DANCE MUSIC ON DEMAND
...................... 430
Nick Collins, University of Sussex, United Kingdom
THE MUSICDB: A MUSIC DATABASE QUERY SYSTEM FOR RECOMBINANCE-BASED COMPOSITION IN
MAX/MSP
.................................................................................................. 434
James B. Maxwell and
Arne
Eigenfeldt, Simon
Fraser
University, Canada
ARTICULATED NOISE
..................................................................................... 438
Eric Lyon,
Queen s University Belfast, United Kingdom
Interface, Gesture, and Control
1
A FULL-BODY GESTURE RECOGNITION SYSTEM AND ITS INTEGRATION IN THE COMPOSITION
3RD.
POLE
................................................................................................. 442
Miha Ciglar,
University of Music and Dramatic Arts
Graz,
Austria
VOCABLE SYNTHESIS
..................................................................................... 448
Alex McLean and Geraint Wiggins, Centre for Cognition, Computation and Culture, Goldsmiths College, United King¬
dom
DRAWING ELECTROACOUSTIC MUSIC
.................................................................... 452
Jean-Baptiste Thiebaut, Patrick G.T. Healey and Nick Bryan
Kinns,
Queen Mary, University of London, United Kingdom
Thursday, August 28th,
2008
Interface, Gesture, and Control
2
DEVELOPMENT OF A REAL-TIME GESTURAL INTERFACE FOR HANDS-FRFE MUSICAL
PERFORMANCE CONTROL
....................................
459
Klaus Petersen, Jorge
Solis
and Atsuo Takanishi, Waseda University, Japan
EXPLORING MUSICAL MAPPINGS AND GENERATING ACCOMPANIMENT WITH CHAOTIC SYSTEMS
467
Enrico Cupelhni University of Turin, Italy; Costantino Riuuti,
Eleonora
Bilotta,
Pietro Pantano,
University of Cal¬
abria, Italy; Michael Wozmewski and Jeremy Cooperstock, McGill University, Canada
INVESTIGATING ARTISTIC POTENTIAL OF THE DREAM INTERFACE: THE AURAL PAINTING
.... 475
Ivica Bukvíc,
Dems Gracanin and Francis Quek, Virginia Tech, United States
XX
Languages and Environments
2
MAXSCORH: MUSIC NOTATION IN MAX/MSP
............................................................. 483
Nick Didkovsky, Algomusic, United States; and
Georg
Hajdu,
Hochschule für Musik und Theater Hamburg,
Germany
THE NYQUIST
COMPOSITION ENVIRONMENT: SUPPORTING TEXTUAL
PROGRAMMING
WITH A
TASK-ORIENTED USER
INTEREACE.......................................................................
487
Roger Dannenberg, Carnegie Mellon University, United States
NOT JUST MORE FMS: TAKING IT TO THE NEXT LEVEL
.................................................. 494
Tae Hong Park, Zhiye Li and Jonathan Biguenet, Tulane University, United States
FOUNDATIONS FOR ON-THE-FLY LEARNING IN THE CHUCK PROGRAMMING LANGUAGE
.............. 501
Rebecca Fiebrink, Princeton University, United States; Ge Wang, Stanford University, United States; and Perry Cook,
Princeton University, United States
Spatialization
1
TEXTURAL
COMPOSITION: IMPLEMENTATION OF AN INTERMEDIARY AESTHETIC
..................... 509
Kerry
Hagan,
University of Limerick, Ireland
SPECTRAL SPATIALIZATION
-
AN OVERVIEW
............................................................. 515
David Kim-Boyle, University of Maryland, Baltimore County, United States
THE EFFECT OF AIR TURBULENCE ON SOUND AND ITS APPLICATION TO MUSICAL SIGNAL
PROCESSING
.............................................................................................. 522
Matthew
Bruns
and Gary Kendall, Northwestern University, United States
Computational Music Analysis
2
AN EFFICIENT OFF-LINE BEAT TRACKING METHOD FOR MUSIC WITH STEADY TEMPO
................. 526
Bee Suan Ong and Sebastian
Streich,
Yamaha Corporation, Japan
VOICE SEPARATION IN POLYPHONIC MUSIC: A DATA-DRIVEN APPROACH
............................... 530
Anna Jordanous, University of Sussex, United Kingdom
MULTI-AGENT MULTIMODAL PERFORMANCE ANALYSIS
................................................ 534
Arne
Eigenfeldt, Simon
Fraser
University, Canada; and Ajay Kapur, California Institute of the Arts, United States
Panel
3:
Network Performance
TELEMATIC MUSIC RESTRICTIONS AND ADVANTAGES COMPARED TO TRADITIONAL ONE-SITE
MUSIC EVENTS
............................................................................................ 538
Jonas Braasch, Rensselaer Polytechnic Institute, United States
NOT BEING THERE
........................................................................................ 540
Miller Puckette, UCSD, United States
COMPOSING FOR RELATIVE
ΉΜΕ
IN DISTRIBUTED PERFORMANCE
.................................... 542
Robert Rowe, New York University, United States
TAPPING INTO THE INTERNET AS AN ACOUSTICAL AND MUSICAL MEDIUM
............................ 544
Chris Chafe, CCRMA Stanford University, United States
XXI
NETWORKED MUSIC: LOW AND HIGH TECH
............................................................. 546
Pauline
Oliveros, Rensselaer
Polytechnic Institute, United States
REAL
-ΉΜΕ
COMPOSITION AND NOTATION IN NETWORK MUSIC ENVIRONMENTS
...................... 547
Georg
Hajdu, HfMT Hamburg, Germany
RICHARD WAGNER WAS THE FIRST NETWORK ARTIST
.................................................. 549
Andrew Gerzso, IRC AM, France
NETWORK DRAMATURGY: BEING ON THE NODE
......................................................... 551
Pedro
Rebelo,
Franziska Schroeder
and Alain
Renaud,
Sonic Arts Research Centre, United Kingdom
NETWORKED SONIC SPACES
.............................................................................. 553
Jerome Joy and Sinclair Peter, Locus Sonus, France
THE NETWORKED PERFORMANCE PROJECT FOR
LO SPECCHIO CONFUSO DALL OMBRA
BY
ROBERTO
GIROLIN
........................................................................................ 556
Antonio Camurri, Corrado
Сапера,
Paolo Coletta,
Simone
Ghisio, Roberto Girolin and Gualtìero Volpe,
University of
Genova,
Italy
REMOTE 3D-AUDIO PERFORMANCE
WITH SPATIALIZED DISTRIBUTION
................................. 558
Winfried Ritsch, Institute
of
Electronic
Music and Acoustics
Graz,
Austria, Austria
MUSIC THAT LISTENS TO WHAT S GOING TO HAPPEN: INTERNET ENHANCED, SELF-ADAPTING
SOUNDSCAPES............................................................................................ 561
Andrea
Cera, Accademia di
Belle
Arti di Brera, Milano,
Italy
Demos
3
INTERACTIVE COMPOSITION AND IMPROVISATION ON THE
HYPER-FLUTE
............................. 563
Cleo
Palacio-Quintín,
Université de Montréal, Canada;
and
Mark
Zadel, McGill
University,
Canada
TWO
NETWORK INSTALLATIONS:
1133 &
COMPUTER
VOICES
........................................ 567
Vincent
Akkermans
and Than Van
Nispen
tot Pannerden, Utrecht
School of Music and Technology, Netherlands
SPATIAL SWARM GRANULATION
.......................................................................... 571
Scott Wilson, University of Birmingham Music Department, United Kingdom
ERRANT SOUND SYNTHESIS
.............................................................................. 575
Nick Collins, University of Sussex, United Kingdom
AN INTERACTIVE BIO-MUSIC IMPROVISATION SYSTEM
................................................. 579
Koray Tahiroglu, Media Lab, University of Art and Design Helsinki, Finland; Hannah Dray son, Faculty of Technology,
University of Plymouth, United Kingdom; and Cumhur Erkut, Department of Signal Processing and Acoustics, Helsinki
University of Technology, Finland
ADAPTIVE BOTTLE
.....................................................
5g3
Kamil
Adiloglu, Robert Annies, Klaus Obermayer, Berlin Institute of Technology, Germany; Yon
Viseli,
Zurich University
of the Arts, Switzerland; and Carlo Drioli, University Verona, Italy
PERFORMING THE CITY. AN URBAN PERFORMANCE WORKSHOP
............. 587
G. Douglas Barrett and Francesco
Gagliardi,
SUNY
at Buffalo, United States
XXII
INTEROPERABILITY AND THE MARSYAS-O^ RUNTIME
.................................................. 588
George Tzanetakis, Randy Jones, Carlos Castillo, University of Victoria, Canada; Luis Martins, Luis F.
Teixeira,
INESC
Porto, Portugal; and
Mathieu
Lagrange, McGill
University; Canada
Posters
3
AMBISONICS EQUIVALENT PANNING AEP
................................................................ 592
Martin
Neukom
and
Jan Schacher, ICST,
Switzerland
A LOW-COST SPHERICAL LOUDSPEAKER ARRAY FOR ELECTROACOUSTIC MUSIC
...................... 596
Peter
Hulen,
Wabash College, United States
COMPUTER INTERFACE FOR STRINGED INSTRUMENTS
.................................................. 600
Keith McMillen, BEAM Foundation. United States
DIGITAL TIME: COMPLEXITY AND PERCEPTION
......................................................... 603
Dante
Tanzi, L.I.M.
-
Universita
degli Studi di Milano,
Italy
HOW TO MAKE YOUR WIFE LISTEN
....................................................................... 607
Kristine
Burns, Florida International University, United States
EQUIPPING ARTIFICIAL GUITAR PLAYERS WITH BIOMECHANICAL CONSTRAINS: A CASE STUDY OF
PRECISJON
AND SPEED
................................................................................... 611
Leandro Costalonga
and
Eduardo
Miranda, University of Plymouth, United Kingdom
TECHNOLOGY, CULTURE AND LOCATION IN A RECENT NEW ZEALAND SONIC ART PROJECT
.......... 615
Ian Whalley, University ofWaikato, New Zealand
COMPOSING WITH BRAINWAVES: MINIMAL TRIAL P300 RECOGNITION AS AN INDICATION OF
SUBJECTIVE PREFERENCE FOR THE CONTROL OF A MUSICAL INSTRUMENT.
........................... 619
Mick Grierson, Goldsmiths College, United Kingdom
OUR RESEARCH FOR LOST ROUTE TO ROOT
............................................................. 623
Jerome
Barthélémy,
Alain Bonardi,
Guillaume Boutard,
Raffaele Ciavarella, IRCAM,
France; Alex Mikroyannidis, Bee
Ong and Kia Ng, University of Leeds, United Kingdom
ADAPTING POLYPHONIC PICKUP TECHNOLOGY FOR SPATIAL MUSIC PERFORMANCE
.................. 627
Enda
Bates, Trinty College Dublin, Ireland
RESOUND: OPEN SOURCE SOUND SPATIALISATION
...................................................... 631
James Mooney, Newcastle University, United Kingdom; and David Moore, University of Sheffield, United Kingdom
POPULARITY OF MUSIC PLAYER PARAMETERS AND FEATURES
......................................... 635
Jukka Holm, Nokia Research Center, Finland
VISUAL AND SOUND GENERATION DRIVEN BY BRAIN, HEART AND RESPIRATION SIGNALS
........... 639
Jean-Julien
Filatriau, Communication Lab,
Université Catholique de
Umvain,
Belgium; and
Loie
Kessous, LIMSI,
France
EVALUATING THE WIIMOTE AS A MUSICAL CONTROLLER
.............................................. 643
Chris
Kiefer, Nick
Collins and
Geraldine Fitzpatrick,
University of Sussex, United Kingdom
XXIII
DO YOU SOUND LIKE YOUR FRIENDS? EXPLORING ARTIST SIMILARITY VIA ARTIST SOCIAL
NETWORK RELATIONSHIPS AND AUDIO SIGNAL PROCESSING
.......................................... 647
Benjamin Fields, Goldsmiths Digital Studio, Goldsmiths, University of London, United Kingdom; Kurt
Jacobson,
Cen¬
ter for Digital Music, Queen Mary, University of London, United Kingdom; Michael Casey, Goldsmiths Digital Studio,
Goldsmiths, University of London, United Kingdom; and Mark Sandier, Center for Digital Music, Queen Mary, Univer¬
sity of London, United Kingdom
THE SILENT DRUM CONTROLLER: A NEW PERCUSSIVE GESTURAL INTERFACE
........................ 651
Jaime Oliver and Matthew Jenkins, CRCA
-
UCSD, United States
IMPLEMENTATION AND APPLICATIONS OF OPEN SOUND CONTROL
ТШЕЅТАМРЅ
...................... 655
Andy Schmede
r
and Adrian Freed, Center for New Music and Audio Technologies, Department of Music, UC Berkeley,
United States
VICTORIA COUNTS A CASE STUDY WITH ELECTRONIC VIOLIN BOW
.................................... 659
Knut
Guettler, Norwegian Academy of Music, Norway; Hans Wilmers,
NOTAM,
Norway; and Victoria Johnson, Norwe¬
gian Academy of Music, Norway
DESIGNING NEW INSTRUMENTS FOR THE HUMAN TOUCH
-
CASE SORMINA
........................... 663
Juhani Räisänen,
University of Arts and Design Helsinki, Finland
CUANDO
CANTO
BAJAN LOS CERROS:
AN INITIATIVE FOR INTERFACE DEVELOPMENT INFORMED BY
A LATIN-AMERICAN CONTEXT.
........................................................................... 667
Jose I. Lopez Ramirez-Gaston, CRCA, United States
DESIGN AND DEVELOPMENT OF AN INTERACTIVE SONIFICATION INTERFACE FOR HEARING IMAGES
671
Charles O Neill and Kia Ng, ICSRiM
-
University of Leeds, United Kingdom
INTERCULTURAL EXPLORATION: THE COMPUTER AND TRADITIONAL MUSIC CULTURES
.............. 675
Mara
Helmuth, CCM,
University of Cincinnati, United States
THE IMPORTANCE OF
HUSSERL S
PHENOMENOLOGY OF INTERNAL TIME-CONSCIOUSNESS FOR
MUSIC ANALYSIS AND COMPOSITION
.................................................................... 679
Georg
Boenn, University of Glamorgan, United Kingdom
NOVEL PERCUSSIVE INSTRUMENT DESIGN CONVERTING MATHEMATICAL FORMULAE INTO
ENGAGING MUSICAL INSTRUMENTS
..................................................................... 683
Katarzyna
Chuchacz, Roger Woods and
Sile
O Modhrain,
SARC,
United Kingdom
Friday, August 29th,
2008
Sound Processing
ANALYSIS, VISUALIZATION, AND TRANSFORMATION OF AUDIO SIGNALS USING DICTIONARY-BASED
METHODS
............................................................................
687
Bob Sturm, Curtis Roads, Aaron McLeran and John Shynk, University of California, Santa Barbara, United States
DATA-DRIVEN
RECOMPOSITION
USING THE HIERARCHICAL DIRICHLET PROCESS HIDDEN MARKOV
MODEL
.......................................................................
695
Matthew Hoffman, Perry Cook and David
Blei,
Princeton University,
Dept
of
Сотр.
Sci,
United States
..............
WHAT NEXT? CONTINUATION IN REAL-TIME CORPUS-BASED
CONCATENATI VE
SYNTHESIS
702
Diemo
Schwarz,
Ircam, France;
Sylvain
Cadars,
Sound Engineer and Researcher, France; and
Norbert Schnell, ircam.
France
XXIV
UNDERGROUND SOUNDS -
EXPERIMENTING WITH THE SOUNDS OF EARTHQUAKES
................. 706
Anna
Saranti
and
Manuela
Meier, University of Music and Dramatic Arts
Graz,
Austria
Aesthetics, History, and Philosophy
2
AUTHENTICITY AND EMULATION: CHIPTUNE IN THE EARLY TWENTY-FIRST CENTURY
................ 712
Sebastian Tomczak, University of Adelaide, Australia
THE SPATIAL POLITICS OF RADIO: ANNA FRIZ S CRITICAL UTOPIAS
.................................... 716
Gascia Ouzounian, Queen s University Belfast, United Kingdom
THE ENIGMA OF VITRU
VIAN
RESONATING VASES AND THE RELEVANCE OF THE CONCEPT FOR TODAY
723
Rob Godman, University of Hertfordshire, United Kingdom
WHAT IS AN EVENT? THE EVENT SCHEMA, CIRCUMSTANCES, METAPHOR AND GIST
................... 731
Gary Kendall, Sonic Arts Research Center, Queen s University Belfast, United Kingdom
Interface, Gesture, and Control
3
DIGITAL MUSIC INSTRUMENTS AND SOUND EXPRESSION
............................................... 739
Paulo Ferreira-Lopes and
Filipe
Jensen,
CITAR,
Portugal
A MULTILAYERED GDIF-BASED SETUP FOR STUDYING COARTICULATION IN THE MOVEMENTS OF
MUSICIANS
................................................................................................ 743
Alexander Refsum Jensenius,
Kristian Nymoen
and Rolf Inge God0y, University of Oslo, Norway
MULTI-USER HAND GESTURE BASED MUSICAL ELEMENT MAPPING WITH TRADITIONAL MUSICAL
ELEMENTS
................................................................................................ 747
Yip Sang To and
Kam
Wong, City University of Hong Kong, China
Spatialization
2
IN FLUX
-
A NEW APPROACH TO SOUND DIFFUSION PERFORMANCE PRACTICE FOR FIXED MEDIA
MUSIC
..................................................................................................... 751
David Berezan, University of Manchester, United Kingdom
SPATIAL SOUND RENDERING IN MAX/MSP WITH VIMIC
................................................. 755
Nils Peters, Tristan Matthews, McGill University, Canada; Jonas Braasch, Rensselear Polytechnic Institute
-
School of
Architecture, United States; and Stephen Me Adams, McGill University, Canada
A STUDY INTO THE PERCEPTION OF ENVELOPMENT IN ELECTROACOUSTIC MUSIC
.................... 759
Sarah Bass, Queen s University, Belfast, United Kingdom
Algorithmic Composition Tools
3
MELODY MORPHING METHOD BASED ON GTTM
......................................................... 763
Masatoshi Hamanaka, University ofTsukuba, Japan; Keiji Hirata, NTT Communication Science Laboratories, Japan;
and Satoshi
Tojo,
Japan Advanced Institute of Science and Technology, Japan
THE BIGBANG RUBETTE: GESTURAL MUSIC COMPOSITION WITH
RUBATO
COMPOSER
................ 767
Florian Thalmann,
University of Bern, Switzerland; and Guerino
Mazzola,
University of Minnesota, United States
XXV
CONSTRAINT-BASED COMPOSITION IN REALTIME
....................................................... 775
Torsten
Anders and
Eduardo
Miranda, University of Plymouth, United Kingdom
Studio Reports
2
THE MEXICAN CENTRE FOR MUSIC AND SONIC ARTS STUDIO REPORT
................................. 782
Rodrigo Sigal,
Mexican Centre for Music and Sonic Arts, Mexico
STUDIO REPORT:
DIGITÓPIA
AT
CASA DA MÙSICA
....................................................... 784
Rui Penha,
University of
Aveiro,
Portugal; Paulo
Rodrigues,
Casa da Mùsica,
Portugal;
Fabien Gouyon, Luis
Martins,
1NESC Porto, Portugal; Carlos
Guedes,
ESMAE, Portugal; and Ivaro
Barbosa,
CITAR,
Portugal
NOVARS RESEARCH CENTRE,
UNIVERSITY OF
MANCHESTER,
UK.
STUDIO REPORT
.................... 788
Ricardo dimeni,
David Berezan and Andrew Davison, Novars Research Centre,
University of
Manchester, United
King¬
dom
CCRMA STUDIO REPORT
.................................................................................. 791
Carr Wilkerson, Sasha Leitman and Fernando Lopez-Lezcano, CCRMA, United States
Author
Index
...........................................................
і
XXVI
|
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| spelling | International Computer Music Conference 2008 Belfast Verfasser (DE-588)1025373855 aut Proceedings of the 2008 International Computer Music Conference August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots San Francisco International Computer Music Assoc. 2008 XXVI, 794 S. Ill., graph. Darst. txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Computer music Computer music / Congresses Computermusik (DE-588)4113239-7 gnd rswk-swf (DE-588)1071861417 Konferenzschrift 2008 Belfast gnd-content Computermusik (DE-588)4113239-7 s DE-604 Digitalisierung BSB Muenchen 3 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025237980&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Proceedings of the 2008 International Computer Music Conference August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots Computer music Computer music / Congresses Computermusik (DE-588)4113239-7 gnd |
| subject_GND | (DE-588)4113239-7 (DE-588)1071861417 |
| title | Proceedings of the 2008 International Computer Music Conference August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots |
| title_auth | Proceedings of the 2008 International Computer Music Conference August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots |
| title_exact_search | Proceedings of the 2008 International Computer Music Conference August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots |
| title_full | Proceedings of the 2008 International Computer Music Conference August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots |
| title_fullStr | Proceedings of the 2008 International Computer Music Conference August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots |
| title_full_unstemmed | Proceedings of the 2008 International Computer Music Conference August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots |
| title_short | Proceedings of the 2008 International Computer Music Conference |
| title_sort | proceedings of the 2008 international computer music conference august 24 29 2008 belfast northern ireland icmc 2008 routes roots |
| title_sub | August 24-29, 2008, Belfast, Northern Ireland ; ICMC 2008 ; Routes/Roots |
| topic | Computer music Computer music / Congresses Computermusik (DE-588)4113239-7 gnd |
| topic_facet | Computer music Computer music / Congresses Computermusik Konferenzschrift 2008 Belfast |
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