The present work consists of a study about compositional strategies in the use of Machine Listening (ML) and Music Information Retrieval (MIR) techniques applied to live-electronic music, proposing a technical, contextual, and creative study. As a conclusion, this research aims to give interpretations of those emergence features in music by means of the analysis of the singularities (saliences and pregnances) that arise in the works analyzed. These tools developed are discussed, and the information achieved is interpreted from two biases: 1) the emergence of sound features related to the interaction of spectral components, and 2) the emergence of macroform of the musical works by perception. We present a methodology of musical analysis that aims to represent these emergent phenomena that arise through perception by computer-aided tools based on acoustic and psychoacoustic descriptors. Along with the expansion of compositional possibilities, new problems in musical analysis arise, such as how to incorporate emergences of sound and form in the analysis work. Moreover, with recording techniques and technological advances available, a new culture centered on sound became relevant. In the 20th and 21st centuries, after the advent of electroacoustic music and its influences in instrumental music, the expansion of the sound palette employed in musical compositions is considerable. Finally, we discuss forth-coming work relating to the manipulation of timbre in space and its reflections in perception. In conclusion, we address the prelimi-nary results of the experiment relating them with the cre-ative process of composition. A short analysis of the piece is pre-sented considering its form, spectral features, and spati-alization strategy. Further, we describe how thestudied sounds where used in the acousmatic composition Substâncias Moldáveis (2018) for 8-channel. Our approach was to study the relation between granular sounds and sound diffusion by controlling digi-tally the generated sounds and correlating granular syn-thesis parameters with different orders of ambisonics. We address the methodology of an experiment performed at the CIRMMT of McGill University, in July 2018. The relation of timbre and space regarding these techniques of sound synthesis and spatialization isdis-cussed. This article introduces a dialogue between an experimental study and a creative process of an acousmatic piece.
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