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Littérature scientifique sur le sujet « Music resynthesi »

Auteur : Grafiati
Publié le 9 mars 2023
Mis à jour le 10 mars 2023

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Articles de revues sur le sujet "Music resynthesi"

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O’Callaghan, James. « Mimetic Instrumental Resynthesis ». Organised Sound 20, no 2 (7 juillet 2015) : 231–40. http://dx.doi.org/10.1017/s1355771815000114.

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This article provides a brief survey of composition in which field recordings or other referential sounds are transcribed for acoustic instruments. Through a discussion of how electroacoustic music and scholarship have conceptualised the notion of mimesis, and how various forms of contemporary acoustic music have adopted electroacoustic techniques, it identifies a recent musical practice in which these concerns are brought together. The article proposes the term mimetic instrumental resynthesis as a way of describing the common threads behind works that employ electronic-assisted or computer-assisted techniques towards instrumental imitations of environmental and extra-musical sounds. The article also highlights some of the conceptual and aesthetic questions emerging from such a practice, including the idea of transformation, issues of referentiality, listening, the influence of different technologies and their aesthetic implications, and the tension between abstract and concrete conceptions of the works discussed. Finally, the article raises concerns surrounding the language of discussing what is necessarily an interdisciplinary venture.
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Settel, Zack, et Cort Lippe. « Real-time timbral transformation : FFT-based resynthesis ». Contemporary Music Review 10, no 2 (janvier 1994) : 171–79. http://dx.doi.org/10.1080/07494469400640401.

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Haus, Goffredo, et Alberto Sametti. « Score analysis/resynthesis environment of the “intelligent music workstation” ». Journal of New Music Research 24, no 3 (septembre 1995) : 230–46. http://dx.doi.org/10.1080/09298219508570684.

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Koutsomichalis, Marinos. « From Music to Big Music : Listening in the Age of Big Data ». Leonardo Music Journal 26 (décembre 2016) : 24–27. http://dx.doi.org/10.1162/lmj_a_00962.

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Following a series of technological breakthroughs and the proliferation of new, cloud-based media, listening in the 21st century has become dynamic, fragmented, interactive and distributed. Contemporary audiences are typically expected to traverse (big) music databases and, employing several overlapping interfaces, to resynthesize, rather than to merely access, content. On this construal, new ways of both experiencing and thinking about music have been laid out. This article attempts to sketch the “big music” phenomenon, discussing its genesis, outlining its implications and, finally, suggesting a typology for the classification of its carrier media.
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MASRI, PAUL, ANDREW BATEMAN et NISHAN CANAGARAJAH. « The importance of the time–frequency representation for sound/music analysis–resynthesis ». Organised Sound 2, no 3 (novembre 1997) : 207–14. http://dx.doi.org/10.1017/s1355771898009054.

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The time–frequency representation (TFR) is the initial stage of analysis in sound/music analysis–resynthesis (A–R) systems. Given a time-domain waveform, the TFR makes temporal and spectral detail available to the remainder of the analysis, so that the component features may be extracted. The resulting ‘feature set’ must represent the sound as completely as the original time-domain signal, if the A–R system is to be capable of effective transformation and good synthesis sound quality. Therefore the system as a whole is reliant upon the TFR to make the sound components detectable, separable and measurable. Yet the standard TFR to-date is the short-time Fourier transform (STFT), of which the shortcomings, in terms of resolution, are well recognised. The purpose of this paper is to demonstrate the importance of the TFR to system function and system design. Poor feature extraction is shown to result from the use of inappropriate TFRs, whose underlying assumptions and expectations do not match those of the system. Existing models are used as case studies, with examples of performance for different sound types. A philosophy for A–R system design that includes TFR design is presented and a methodology for implementing it is proposed.
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Sinclair, Stephen. « Sounderfeit : cloning a physical model using a conditional adversarial autoencoder ». Revista Música Hodie 18, no 1 (19 juin 2018) : 44–60. http://dx.doi.org/10.5216/mh.v18i1.53570.

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An adversarial autoencoder conditioned on known parameters of a physical modeling bowed string syn- thesizer is evaluated for use in parameter estimation and resynthesis tasks. Latent dimensions are provided to cap- ture variance not explained by the conditional parameters. Results are compared with and without the adversarial training, and a system capable of “copying” a given parameter-signal bidirectional relationship is examined. A real- -time synthesis system built on a generative, conditioned and regularized neural network is presented, allowing to construct engaging sound synthesizers based purely on recorded data.
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Kiefer, Chris. « Sample-level sound synthesis with recurrent neural networks and conceptors ». PeerJ Computer Science 5 (8 juillet 2019) : e205. http://dx.doi.org/10.7717/peerj-cs.205.

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Conceptors are a recent development in the field of reservoir computing; they can be used to influence the dynamics of recurrent neural networks (RNNs), enabling generation of arbitrary patterns based on training data. Conceptors allow interpolation and extrapolation between patterns, and also provide a system of boolean logic for combining patterns together. Generation and manipulation of arbitrary patterns using conceptors has significant potential as a sound synthesis method for applications in computer music but has yet to be explored. Conceptors are untested with the generation of multi-timbre audio patterns, and little testing has been done on scalability to longer patterns required for audio. A novel method of sound synthesis based on conceptors is introduced. Conceptular Synthesis is based on granular synthesis; sets of conceptors are trained to recall varying patterns from a single RNN, then a runtime mechanism switches between them, generating short patterns which are recombined into a longer sound. The quality of sound resynthesis using this technique is experimentally evaluated. Conceptor models are shown to resynthesise audio with a comparable quality to a close equivalent technique using echo state networks with stored patterns and output feedback. Conceptor models are also shown to excel in their malleability and potential for creative sound manipulation, in comparison to echo state network models which tend to fail when the same manipulations are applied. Examples are given demonstrating creative sonic possibilities, by exploiting conceptor pattern morphing, boolean conceptor logic and manipulation of RNN dynamics. Limitations of conceptor models are revealed with regards to reproduction quality, and pragmatic limitations are also shown, where rises in computation and memory requirements preclude the use of these models for training with longer sound samples. The techniques presented here represent an initial exploration of the sound synthesis potential of conceptors, demonstrating possible creative applications in sound design; future possibilities and research questions are outlined.
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MASRI, PAUL, ANDREW BATEMAN et NISHAN CANAGARAJAH. « A review of time–frequency representations, with application to sound/music analysis–resynthesis ». Organised Sound 2, no 3 (novembre 1997) : 193–205. http://dx.doi.org/10.1017/s1355771898009042.

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Analysis–resynthesis (A–R) systems gain their flexibility for creative transformation of sound by representing sound as a set of musically useful features. The analysis process extracts these features from the time domain signal by means of a time–frequency representation (TFR). The TFR provides an intermediate representation of sound that must make the features accessible and measurable to the rest of the analysis. Until very recently, the short-time Fourier transform (STFT) has been the obvious choice for time–frequency representation, despite its limitations in terms of resolution. Recent and ongoing developments are providing several alternative schemes that allow for a more considered choice of TFR. This paper reviews these contemporary approaches in comparison with the more classical ones and with reference to their applicability, merits and shortcomings for application to sound analysis. (Where they have been successfully applied, details are provided.) The techniques reviewed include linear, bilinear and higher-order spectra, nonparametric and parametric methods and some sound-model-specific TFRs.
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Keller, Damián. « Compositional Processes from an Ecological Perspective ». Leonardo Music Journal 10 (décembre 2000) : 55–60. http://dx.doi.org/10.1162/096112100570459.

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The author discusses the conceptual basis of an ecological approach to music composition, considering the epistemological and compositional concepts involved. The author's text-and-tape piece, touch'n'go/toco y me voy, is presented as an example of an ecologically based musical work, in which the sound event functions as the basic unit of multilevel musical structures. Digital resynthesis techniques are integrated in the compositional process by means of environmental sound models. Ecological models establish formal relationships without obscuring the recognizability of everyday sounds. Materials, techniques, perceptual constraints and references to social issues are integrated in a consistent compositional method.
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Hold, Christoph, Thomas Mckenzie, Georg Götz, Sebastian J. Schlecht et Ville Pulkki. « Resynthesis of Spatial Room Impulse Response Tails With Anisotropic Multi-Slope Decays ». Journal of the Audio Engineering Society 70, no 6 (25 juillet 2022) : 526–38. http://dx.doi.org/10.17743/jaes.2022.0017.

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Thèses sur le sujet "Music resynthesi"

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SIMONETTA, FEDERICO. « MUSIC INTERPRETATION ANALYSIS. A MULTIMODAL APPROACH TO SCORE-INFORMED RESYNTHESIS OF PIANO RECORDINGS ». Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/918909.

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This Thesis discusses the development of technologies for the automatic resynthesis of music recordings using digital synthesizers. First, the main issue is identified in the understanding of how Music Information Processing (MIP) methods can take into consideration the influence of the acoustic context on the music performance. For this, a novel conceptual and mathematical framework named “Music Interpretation Analysis” (MIA) is presented. In the proposed framework, a distinction is made between the “performance” – the physical action of playing – and the “interpretation” – the action that the performer wishes to achieve. Second, the Thesis describes further works aiming at the democratization of music production tools via automatic resynthesis: 1) it elaborates software and file formats for historical music archiving and multimodal machine-learning datasets; 2) it explores and extends MIP technologies; 3) it presents the mathematical foundations of the MIA framework and shows preliminary evaluations to demonstrate the effectiveness of the approach
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Nunn, Douglas John Edgar. « Analysis and resynthesis of polyphonic music ». Thesis, Durham University, 1997. http://etheses.dur.ac.uk/4759/.

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This thesis examines applications of Digital Signal Processing to the analysis, transformation, and resynthesis of musical audio. First I give an overview of the human perception of music. I then examine in detail the requirements for a system that can analyse, transcribe, process, and resynthesise monaural polyphonic music. I then describe and compare the possible hardware and software platforms. After this I describe a prototype hybrid system that attempts to carry out these tasks using a method based on additive synthesis. Next I present results from its application to a variety of musical examples, and critically assess its performance and limitations. I then address these issues in the design of a second system based on Gabor wavelets. I conclude by summarising the research and outlining suggestions for future developments.
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McCulloch, Peter. « UNRAVEL : Acoustic and Electronic Resynthesis ». Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/mcculloch%5Fpeter/index.htm.

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Adán, Víctor Gabriel. « Hierarchical music structure analysis, modeling and resynthesis : a dynamical systems and signal processing approach ». Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33896.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.
Includes bibliographical references (p. 153-156).
The problem of creating generative music systems has been approached in different ways, each guided by different goals, aesthetics, beliefs and biases. These generative systems can be divided into two categories: the first is an ad hoc definition of the generative algorithms, the second is based on the idea of modeling and generalizing from preexistent music for the subsequent generation of new pieces. Most inductive models developed in the past have been probabilistic, while the majority of the deductive approaches have been rule based, some of them with very strong assumptions about music. In addition, almost all models have been discrete, most probably influenced by the discontinuous nature of traditional music notation. We approach the problem of inductive modeling of high level musical structures from a dynamical systems and signal processing perspective, focusing on motion per se independently of particular musical systems or styles. The point of departure is the construction of a state space that represents geometrically the motion characteristics of music. We address ways in which this state space can be modeled deterministically, as well as ways in which it can be transformed to generate new musical structures. Thus, in contrast to previous approaches to inductive music structure modeling, our models are continuous and mainly deterministic.
(cont.) We also address the problem of extracting a hierarchical representation of music from the state space and how a hierarchical decomposition can become a second source of generalization.
by Víctor Gabriel Adán.
S.M.
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Chapitres de livres sur le sujet "Music resynthesi"

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« Fourier Analysis and Resynthesis ». Dans The Theory and Technique of Electronic Music, 267–99. WORLD SCIENTIFIC, 2007. http://dx.doi.org/10.1142/9789812770899_0009.

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Settel, Zack, et Cort Lippe. « Real-Time Timbral Transformation : FFT-based Resynthesis ». Dans Timbre Composition in Electroacoustic Music, 171–79. Routledge, 2019. http://dx.doi.org/10.4324/9781315077376-16.

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