'PALM' is an acronym of Pathway Language of Mapping, which is inspired by the movement of the northern lights (aurora borealis). The display dynamic patterns of brilliant lights that appear as curtains, rays, spiral, or dynamic flickers covering the entire sky. These moving visual images are resembled in the terms of sound spectra, which allow actualizing a temporal sonic world in panoramic sound landscape is heard as moving texture and timbre in twenty one groups under ten large shifts. To succeed in an approach of the listening perception, the groups of movements by frequency modulations in interlacing texture are shaped selectively through the observation of the 24-hour cycle live cam of the northern lights.

This research study investigates how music technology can enhance and develop the musical ideas of students, focusing on the creative processes involved in computer-assisted composition and multimedia composition. The study investigates the Creative Multimedia Music Project, a module of the Associate of Arts (Music) Degree where students are using computers as music workstations. The aims of the study are (a) to evaluate the use of music technology for composing; (b) to describe the creative process of composing and investigate how the students comprehend this; and (c) to analyze the relationship between the creative process of the musical treatment and the visual image in multimedia composition. The study is conducted in an exploratory, self-directed environment where the students make musical decisions about their compositions. From the preliminary survey, 10 out of 45 music-major students (Year Two) from the Associate Degree Music Program at the Hong Kong Institute of Education (HKIEd) were selected. Composition activities took place over 15 sessions. The first phase focused on computer-assisted composition and the second phase focused on multimedia composition. The students attended lectures on alternate weeks. This gave them enough time to compose in the laboratory or at home, allowing them to explore, make decisions, and evaluate decisions. Data were collected from four sources: (1) written reports including a musical analysis of the creative process, (2) one-to-one interviews conducted during and after the creative process (15 questions were asked in each phase), (3) self-reflective journals that students maintained during their creative process, and (4) MIDI file observations after the creative process had occurred. After data collection, commonalities between each of these data sources were analyzed. This highlighted that during the creative process, a developmental pattern emerged that extends Webster's model (2003) of creative thinking in music. The relationships between the findings and the lite rature review were articulated to reinforce the creative thinking model, trends, and perspectives from different sources. Through an analysis of these students' creative processes and the strategies they adopted while composing with music technology, research projects such as this one may provide composers, music technologists, and music educators with insights into how students approach the task of composing using music technology. The findings might prove as a useful guidance to music educators on how to structure computer-assisted composition and multimedia composition programs for different age groups from school to university.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU). / La recherche propose une analyse des stratégies qui entrent en jeu dans la composition de musique mixte et la composition assistée par ordinateur. Elle met en relief les caractéristiques de trois écritures (instrumentale, électroacoustique et programmation informatique) afin de les postuler comme fondements de différentes approches musicales. Ces approches sont ensuite examinées en tant qu’entrées possibles dans un projet, démarches impliquant un statut spécifique du compositeur, et caractéristiques qui résultent de leur interaction, afin de former l’ensemble des stratégies de composition. À travers la réalisation de projets musicaux, la recherche propose d’appliquer quatre stratégies différentes dans l’objectif d’explorer de nouvelles méthodologies. L’expérimentation a mis en évidence les facteurs conduisant au respect ou à la déviation des partis pris, et a ouvert la voie au questionnement de l’influence du « faire » sur « l’entendre ». / This research proposes an analysis of the strategies that come into play in the composition of mixed and computer-assisted musical works. It highlights the characteristics of three compositional practices (instrumental, electroacoustic, and computer programming) in order to represent them as the foundation of different musical approaches. These approaches are then analyzed as possible starting points for a project, as processes implying a particular status of the composer and characteristics which result from their interaction, in order to form the entirety of compositional strategies. Through the realization of musical projects, the research proposes to apply four different strategies with the goal of exploring new methodologies. This experimentation has demonstrated the factors leading to the respect for or the deviation from biases and has opened the way to the questioning of the influence of the “doing” on the “hearing”.

Submitted by ALEX KANTOROWICZ BUCK (alexbuck16@gmail.com) on 2018-11-09T10:59:50Z No. of bitstreams: 1 dissertacao_ALEXBUCK_FloMenezes.pdf: 17127016 bytes, checksum: 650f5b37fc496787da1c11fd2a06cc4d (MD5) / Rejected by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: - os itens “capa” e “folha de rosto” nos itens pré-textuais são obrigatórios segundo as normas da ABNT, portanto devem constar no arquivo anexo. Caso seja necessário, consulte o modelo em: http://www.ia.unesp.br/Home/Biblioteca/orientacoes-para-a-normalizacao-de-trabalhos-academicos_iaunesp_26_03.pdf Caso haja dúvidas, consulte a biblioteca. Agradecemos a compreensão. on 2018-11-09T16:15:48Z (GMT) / Submitted by ALEX KANTOROWICZ BUCK (alexbuck16@gmail.com) on 2018-11-09T18:51:18Z No. of bitstreams: 1 dissertacao_ALEXBUCK_VFcorrigida.pdf: 17311327 bytes, checksum: dba48ccfa3746f5de4394a82e1e9f33c (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-11-09T23:25:39Z (GMT) No. of bitstreams: 1 buck_ak_me_ia.pdf: 17280007 bytes, checksum: be673561d77174ea5cddd7887280050c (MD5) / Made available in DSpace on 2018-11-09T23:25:39Z (GMT). No. of bitstreams: 1 buck_ak_me_ia.pdf: 17280007 bytes, checksum: be673561d77174ea5cddd7887280050c (MD5) Previous issue date: 2018-09-17 / Durante o período renascentista, Leonardo da Vinci cunhou o termo Fantasia Essata para descrever processos nos quais arte e ciência estivessem integrados, quando dispositivos desenvolvidos pelo conhecimento científico se colocavam a serviço da invenção artística. O objetivo do primeiro capítulo da dissertação é apresentar uma discussão sobre os efeitos produzidos pela inserção dessas máquinas, desenvolvidas especificamente para o fazer musical, sobre o campo da composição. Para isso, parti da escolha de alguns exemplos de máquinas musicais respeitando uma linha cronológica que compreende o período de meados do século XIX, com a invenção dos autômatos de Jaques de Vaucanson, aos dias atuais, com o surgimento do computador e, mais recentemente, da inteligência artificial. No segundo capítulo, trato estritamente do processo de elaboração das duas obras acusmáticas que produzi durante o Mestrado — Jazzex no1 (octofônica) e Fantasia Essata (estéreo) — e apresento uma breve discussão sobre as particularidades do processo composicional acusmático, uma modalidade de composição que estrutura o discurso a partir de sons prontos (sons concretos). No terceiro capítulo, apresento alguns patches produzidos durante o Mestrado nas linguagens de programação SuperCollider e OpenMusic. / During Renaissance period, Leonardo da Vinci coined the term Fantasia Essata to describe processes in which art and science were integrated; when devices developed by scientific knowledge were used to serve artistic invention. First chapter’s main goal is to present a discussion about effects produced by incorporation of these machines, developed specifically for musical making, into compositional field. To accomplish this goal, I arbitrarily chose some examples of those musical machines, respecting a chronological line that covers the mid-nineteenth century, with the invention of Jaques de Vaucanson’s automata, to the present day, with the emergence of computer and, more recently, artificial intelligence. In the second chapter, I deal strictly with aspect concerning the elaborating of the two acousmatic works produced during my Master degree - Jazzex nº1 (octophonic) and Fantasia Essata (stereo) - and a brief discussion on the particularities of acousmatic compositional process, a composition modality in which the discourse is constructed from ready-made sounds (concrete sounds). In the third chapter, I present some patches produced during my research in the programming languages SuperCollider and OpenMusic.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU)

Type de dépôt #5 (version complète) / De plus en plus de tâches humaines sont prises en charge par les algorithmes dans le domaine des arts. Avec les nouvelles techniques d’intelligence artificielle (IA) disponibles, qui reposent généralement sur le concept d’autoapprentissage, la frontière entre l’assistance informatique et la création algorithmique proprement dite s’estompe. À titre de mise en contexte, je présente, à l’aide d’exemples récents, un aperçu de la manière dont les artistes utilisent des algorithmes sophistiqués dans leur travail - et comment cette nouvelle forme d’art piloté par l’IA pourrait différer des premières formes d’art générées par ordinateur. Ensuite, sur la base de théories récentes issues d’une société post-humaniste et la montée de ce que certains auteurs appellent le dataisme, j’aborde des questions liées à l’autonomie, à la collaboration, aux droits d’auteur et au contrôle de la composition sur la création sonore et musicale. D’un point de vue pratique, je présente les logiciels libres et open source (FLOSS, de l’anglais Free/Libre and Open Source Software) qui ont pris une place constante dans mon processus de composition ; et je discute de la façon dont leur écosystème, principalement dans le domaine de l’IA, a façonné mon travail au fil des ans, tant d’un point de vue esthétique que pratique. Une série de trois pièces mixtes produites dans le cadre de ce projet de recherche-création est ensuite analysée. Je présente les différentes dimensions dans lesquelles le concept d’autorité algorithmique a pris part à mon processus de composition, des approches techniques aux choix esthétiques. Enfin, je propose des stratégies de notation musicale, basées sur des standards ouverts, visant à assurer la lisibilité, et donc la pérennité de mon travail. / Algorithms have taken over an increasing number of human tasks in the realm of the arts. With newly available AI techniques, typically relying on the concept of self-learning, the line separating computer assistance from actual algorithmic creation is blurring. To contextualize, through recent illustrative examples I elaborate an overview of ways in which artists are making use of sophisticated algorithms in their work – and how this new form of AI-driven art might differ from early computer-generated art. Then, based on recent theories concerning a post-humanist society and the rise of what some authors call dataism, I discuss issues related to autonomy, collaboration, authorship and compositional control over the creation of sound and music. From a practical perspective, I present the Free/Libre and Open Source Software (FLOSS) that have been a consistent presence in my compositional process; and discuss how their ecosystem, mainly in the domain of AI, has shaped my work over the last decade from both aesthetic and practical standpoints. A series of three mixed pieces produced as part of this research-creation project is then analyzed. I present the different dimensions in which the concept of algorithmic authority took part in my composition process, from technical approaches to aesthetic choices. Finally, I propose some strategies for music notation, based on open standards, aiming to assure the readability, and therefore the perpetuity of my work.

No description available.

La « pensée mixte » est une approche de la composition caractérisée par l’interaction de trois pensées: la pensée instrumentale, la pensée électroacoustique et la pensée informatique. Elle prend la forme d’un réseau où le compositeur fait des aller-retours entre les trois pensées et réalise des équivalences paramétriques. La pensée instrumentale se rattache à la tradition de l’écriture occidentale, la pensée électroacoustique fait allusion aux pratiques du studio analogique et de la musique acousmatique, et la pensée informatique fait référence aux pratiques numériques de la programmation visuelle et de l’analyse spectrale. Des lieux communs existent où s’opèrent l’interaction des trois pensées: la notion du studio instrumental de Ivo Malec, la notion de musique concrète instrumentale de Helmut Lachenmann, la composition assistée par ordinateur, la musique spectrale, l’approche instrumentale par montage, la musique acousmatique s’inspirant de la tradition musicale écrite et les musiques mixtes. Ces domaines constituent les influences autour desquelles j’ai composé un corpus de deux cycles d’œuvres: Les Larmes du Scaphandre et le Nano-Cosmos. L’analyse des œuvres met en évidence la notion de « pensée mixte » en abordant la pensée électroacoustique dans ma pratique instrumentale, la pensée informatique dans ma pratique musicale, et la pensée instrumentale dans ma pratique électroacoustique. / “Mixed-method thinking” is an approach to composition characterized by the interaction of three streams of compositional thought: instrumental, electroacoustic and computing-based. It takes the form of a network within which the composer goes back and forth between these three types of conceptualization and succeeds in finding equivalences between parameters. Instrumental thinking is connected to the Western notated compositional tradition, electroacoustic thinking alludes to practices derived from the analog studio environment and the acousmatic music tradition, and computing-based thinking refers to visual programming and spectral analysis practices. Common areas exist where all three forms of thinking interact: Ivo Malec’s notion of the instrumental studio, Helmut Lachenmann’s notion of musique concrète instrumentale, computer-assisted composition, spectral music, the montage approach to instrumental composition, acousmatic music inspired by the written musical tradition and genres combining instruments with fixed media or electronics. These areas comprise the influences around which I composed a corpus of two cycles of works: Les Larmes du Scaphandre and Nano-Cosmos. Analysis of these works demonstrates the notion of “mixed-method thinking” through the adoption of electroacoustic thinking in my instrumental composition practice, computational thinking in my musical practice, and instrumental thinking in my electroacoustic practice.

No description available.

Mémoire en recherche-création ; Aide financière octroyée : CIRMMT Student Award / Les conditions d'utilisation de théories scientifiques au cours du processus de composition musicale et plus généralement pour l'élaboration de théories esthétiques musicales sont au coeur du travail proposé. Une position critique est tout d'abord avancée relativement aux nombreux écueils historiques relevés. Elle permet d'en dégager quelques pistes d'exploration pour les processus compositionnels que je me suis proposé de suivre au fur et à mesure des pièces électroacoustiques et mixtes présentées. En particulier, des spécificités empruntées aux mécanismes vibratoires non-linéaires, aux modèles sociologiques déterministes ou prédictifs sont injectés au sein même des processus de création des mes oeuvres. Cinq pièces sont présentées. Les thématiques et les contraintes occasionnées par les modèles empruntés sont décrits ainsi que les réalisations techniques qui leur ont servi de support. Chaque pièce présente donc une démarche et des outils technologiques et informatiques particuliers. Ces pistes exploratoires feront intervenir contrainte formelle, limitation du contrôle du compositeur, improvisation, traitement et spatialisation en temps réel et développements originaux implémentés en Max/MSP et en Python. Par ailleurs, un outil d'aide à la composition spatiale proposant une perspective inédite de visualisation du champs de pression produit par les trajectoires et par le système de reproduction virtuel, et développé pendant ma maîtrise est présenté. / The use of science theories during the compositionnal process, especially in a purpose of esthetical properties abstraction is questionned. First, a criticist point-of-vue is adressed, on the basis of several historical examples. A personnal method dedicated to the development of original compositionnal process were deduced. In particular, the specific mecanisms related to nonlinear vibrations and deterministic sociological model could be inserted into the creative processes. Five electroacoustic and contemporay music pieces are presented. Themes and constraints provoked by the model insertion are detailed. They gather form-contraints, control limitations, improvisation, real-time processing and real-time spatialization implemented in Max/MSP and Python. Moreover, a refined sound-field rendering tool dedicated to computer-assisted composition is introduced.