This thesis explores how granular synthesis can be used in live performances. The early explorations of granular synthesis are first investigated, leading up to modern trends of electronic performance involving granular synthesis. Using this background it sets about to create a granular synthesis instrument that can be used for live performances in a range of different settings, from a computer quartet, to a flute duet. The instrument, an electronic fish called the poseidon, is documented from the creation and preparation stages right through to performance.

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Orientador: Adolfo Maia Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T22:31:10Z (GMT). No. of bitstreams: 1 Souza_FernandoFalcide_M.pdf: 3955022 bytes, checksum: 2d2645ebb027e68cd1966906af1daa6e (MD5) Previous issue date: 2010 / Resumo: Esta dissertação trata principalmente da pesquisa de métodos matemáticos e algoritmos com a finalidade de gerar e controlar fluxos de som em tempo real dentro do escopo da síntese granular. Inicialmente abordamos os fundamentos matemáticos da Síntese Granular proposta pelo Prêmio Nobel de Física Dennis Gabor. Em seguida apresentamos uma breve revisão histórica do uso desta técnica em composições eletroacústicas e analisamos alguns dos mais conhecidos aplicativos atuais para síntese granular. Com base nestes estudos desenvolvemos um software para síntese granular em tempo real que denominamos EVOGrain. Este aplicativo apresenta uma interface gráfica intuitiva e amigável com a qual o compositor controla a síntese granular desenhando, com uso do mouse, retângulos de diferentes tamanhos e posição. As coordenadas destes retângulos fornecem informação que guia a execução de um algoritmo genético, que por sua vez controla os parâmetros de um módulo de síntese granular em tempo real resultando em sonoridades e texturas que evoluem dinamicamente. Na segunda parte da dissertação apresentamos os resultados da nossa pesquisa realizada no laboratório Input Devices for Music Interaction Lab (IDMIL) da McGill University através de um estágio pelo programa de intercâmbio canadense Emerging Leaders from the Americas Program (ELAP). Nesta pesquisa, foram feitos diversos experimentos com os chamados Instrumentos Musicais Digitais (DMIs). Os módulos do sistema original EVOGrain foram reformulados em três sistemas independentes, GranularStreamer, Genetic Algorithm Mapper e GranularDrawer, responsáveis respectivamente pela execução da síntese sonora, aplicação de algoritmo genético e síntese de imagens. Além deles, diversos controladores gestuais foram avaliados no contexto da síntese granular, sendo eles os comerciais PC-1600x, SpaceNavigator e o T-Stick desenvolvido no IDMIL, o que culminou na prototipagem de um novo dispositivo, de nossa autoria e que denominamos RedController / Abstract: This dissertation deals mostly with the application of mathematical methods and algorithms in order to generate and control streams of sound in real time within the scope of granular synthesis. Initially we studied the mathematical foundations of Granular Synthesis proposed by the Nobel Prize in Physics, Dennis Gabor. Next, we presented a brief historical review of the use of this technique in electroacoustic compositions and analyzed some of the most popular software of granular synthesis available today. We developed a new software for real-time granular synthesis we named EVOGrain. This application provides an intuitive and friendly graphical interface where the composer controls the granular sound stream by drawing rectangles of different sizes and positions on a window interface using the mouse. The coordinates of these rectangles provide information that guide the resulting process of a running genetic algorithm, which in turn controls the parameters of a granular synthesis engine in real time resulting in sound streams and textures that evolve dynamically. The second part of this dissertation presents the results of our research in the Input Devices for Music Interaction Laboratory (IDMIL) of McGill University through the Canadian Fellowship Emerging Leaders from the Americas Program (ELAP). In this research, several experiments with so-called Digital Musical Instruments (DMIs) took place. The modules of the original system EVOGrain were reformulated into three independent systems, GranularStreamer, Genetic Algorithm Mapper and GranularDrawer, responsible respectively for the synthesis of granular sounds, application of genetic algorithm and image synthesis. In addition to this diversification of software, some gestural controllers were evaluated in the context of our granular synthesis model, the PC-1600X, SpaceNavigator (available commercially) and the T-Stick (developed at the IDMIL), culminating in the prototyping of a new device designed by us and named RedController / Mestrado / Fundamentos Teoricos / Mestre em Música

Modern day musicians rely on a variety of instruments for musical expression. Tones produced from electronic instruments have become almost as commonplace as those produced by traditional ones as evidenced by the plethora of artists who can be found composing and performing with nothing more than a personal computer. This desire to embrace technical innovation as a means to augment performance art has created a budding field in computer science that explores the creation and manipulation of sound for artistic purposes. One facet of this new frontier concerns timbral creation, or the development of new sounds with unique characteristics that can be wielded by the musician as a virtual instrument. This thesis presents Timcat, a software system that can be used to create novel timbres from prerecorded audio. Various techniques for timbral feature extraction from short audio clips, or grains, are evaluated for use in timbral feature spaces. Clustering is performed on feature vectors in these spaces and groupings are recombined using concatenative synthesis techniques in order to form new instrument patches. The results reveal that interesting timbres can be created using features extracted by both newly developed and existing signal analysis techniques, many common in other fields though not often applied to music audio signals. Several of the features employed also show high accuracy for instrument separation in randomly mixed tracks. Survey results demonstrate positive feedback concerning the timbres created by Timcat from electronic music composers, musicians, and music lovers alike.

Orientador: Adolfo Maia Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T23:03:27Z (GMT). No. of bitstreams: 2 Rimoldi_Gabriel_M.pdf: 4111537 bytes, checksum: c97c96d2f2a3272f97c2895b3b82e914 (MD5) Lima_GabrielRimoldiDe_M_Anexo.zip: 71564485 bytes, checksum: a7fc3171d3e3a698be2ed561f33b8675 (MD5) Previous issue date: 2013 / Resumo: Este trabalho apresenta um estudo sobre modelos interativos aplicados à síntese e espacialização sonora em tempo real. Mais especificamente, aborda sobre o desenvolvimento de métodos matemáticos e algorítmicos para geração e controle espacial de fluxos granulares através de parâmetros sonoros extraídos do sinal sonoro dos grãos. Abordamos inicialmente aspectos teóricos que fundamentam o campo da pesquisa proposta e, em seguida, apresentamos um modelo computacional desenvolvido para controle espacial de fluxos granulares. Discutimos primariamente acerca de elementos conceituais sobre a espacialização sonora, relacionados à escuta espacial, contextos históricos da espacialização na música, técnicas de auralização e sistemas de espacialização em tempo real e, em seguida, apresentamos um estudo sobre o domínio microtemporal como modelo de representação musical, abordando aspectos referentes à análise, síntese sonora e composição musical. Com base nestes estudos, desenvolvemos um software em Pure Data (PD) para espacialização de sons granulares em tempo real que denominamos GTSpat - Granular Timbre Spatialization. No modelo elaborado, um vetor de características extraído através de descritores acústicos é atribuído a cada grão, que por sua vez é virtualmente localizado na espacialização sonora em função do mesmo. Através de três distintas propostas interativas, criamos módulos interativos em que o usuário pode manipular diferentes propriedades da espacialização e da síntese sonora. Propomos ainda dois modelos de distribuição espacial automática dos grãos sonoros, baseando-se em estratégias adaptativas do sistema em função da interação proposta pelo usuário. Por último, apresentamos algumas aplicações artísticas que utilizam o sistema GTSpat como suporte para criação e que, deste modo, servem como mecanismo de avaliação das ferramentas desenvolvidas / Abstract: This dissertation presents a study on interactive models applied to the real time synthesis and sound spatialization. More specifically addresses on the development of mathematical and algorithmic methods for generation and spatial control of granular flows through similarities measures between the grains. Initially approached theoretical aspects underlying the field of proposed research and then present a computational model developed for spatial control of granular flows. We discuss primarily about conceptual elements on the sound spatialization, related to spatial hearing, historical contexts of spatial music, techniques and systems for real time auralization, and then present a study of microtemporal representation as support for analysis, sound synthesis and music composition. Based on these studies, we developed a software in Pure Data (PD) for real time granular spatialization called GTSpat - Granular Timbre spatialization. In this model, one feature vector extracted by audio features are assigned to each grain, which is virtually located in the spatialization as a function thereof. Via three distinct interactive proposals, we create modules that the user can manipulate the different properties of sound synthesis and spatialization. We also propose two models of the automatic spatial distribution of the grains, based on adaptive strategies of the system depending on the proposed user interaction. Finally, we present some artistic applications using the system for creating GTSpat as support and, thus, serve as a mechanism for assessing the developed tools / Mestrado / Fundamentos Teoricos / Mestre em Música

GranCloud is new application for the generation of real-time granular synthesis in the SuperCollider programming environment. Although the software was initially programmed for use in the interactive composition Creo, it was implemented as an independent program for use in any computer music project. GranCloud consists of a set of SuperCollider classes representing granular clouds and parameter objects defining control data for the synthesis. The software is very flexible, allowing users to create their own grain synthesis definitions and control parameters. Cloud objects encapsulate all of the control data and methods necessary to render virtually any type of granular synthesis. Parameter objects provide several simple methods for mapping grain parameters to complex changing data sets or to external data sources. GranCloud simplifies the complex task of generating granular synthesis, allowing composers to focus less on technological issues and more on musical considerations during the compositional process.

For a long time, the function of the musical score has been to support activity in video games, largely by reinforcing the drama and excitement. Rather than leave the score in the background, this project explores the interaction possibilities of an adaptive video game score using real-time modulation of granular synthesis. This study evaluates a vertically re-orchestrated musical score with elements of the score being played back with granular synthesis. A game level was created where parts of the musical score utilized one granular synthesis stem, the parameters of which were controlled by the player. A user experience study was conducted to evaluate the granular synthesis interaction. The results show a wide array of user responses, opinions, impression and recommendations about how the granular synthesis interaction was musically experienced. Some results show that the granular synthesis stem is regarded as an interactive feature and have a direct relationship to the background music. Other results show that interaction went unnoticed. In most cases, the granular synthesis score was experienced as comparable to a more conventional game score and so, granular synthesis can be seen a new interactive tool for the sounddesigner. The study shows that there is more to be explored regarding musical interactions within games. / <p>For contact with the author or request of videoclips, audio or other resources</p><p>Mail: olliver.andersson@gmail.com</p>

Audiovisual concatenative synthesis is an analysis-driven granular technique using a corpus of multimedia data to sequence audio and video streams on a microtemporal level. This text outlines my development of this technique as a tool for multimedia composition, using my work, Replica, as a case study. The paper illustrates how the concepts of granular structure, gesture capture, and replication are integral not only to the software but to the architecture of the composition. In doing so, machine learning approaches to music and visual art are reviewed and related to my personal compositional practice. Additionally, I attempt to show how audiovisual concatenative synthesis provides a composer with strategies for shaping one's sense of time through disorienting audiovisual cues and tightly organized counterpoint between sound and image, stage and screen, and the real and virtual.

Suite à un état de l'art détaillant la création et l'utilisation de l'espace sonore dans divers environnements urbains virtuels (soundmaps, jeux vidéo, réalité augmentée), il s'agira de déterminer une méthodologie et des techniques de conception pour les espaces sonores urbains virtuels du point de vue de l'immersion, de l'interface et de la dramaturgie.ces développements se feront dans le cadre du projet terra dynamica, tendant vers une utilisation plurielle de la ville virtuelle (sécurité et sureté, transports de surface, aménagement de l'urbanisme, services de proximité et citoyens, jeux). le principal objectif du doctorat sera de déterminer des réponses informatiques concrètes à la problématique suivante : comment, en fonction de leur utilisation anticipée, les espaces sonores urbains virtuels doivent-ils être structurés et avec quels contenus?la formalisation informatique des solutions étayées au fil du doctorat et la création du contenu sonore illustrant le projet seront basés sur l'analyse de données scientifiques provenant de domaines variés tels que la psychologie de la perception, l'architecture et l'urbanisme, l'acoustique, la recherche esthétique (musicale) ainsi que sur l'observation et le recueil de données audio-visuelles du territoire urbain, de manière à rendre compte tant de la richesse du concept d'espace sonore que de la multiplicité de ses déclinaisons dans le cadre de la ville virtuelle. / In video gaming and interactive media, the making of complex sound ambiences relies heavily on the allowed memory and computational resources. So a compromise solution is necessary regarding the choice of audio material and its treatment in order to reach immersive and credible real-time ambiences. Alternatively, the use of procedural audio techniques, i.e. the generation of audio content relatively to the data provided by the virtual scene, has increased in recent years. Procedural methodologies seem appropriate to sonify complex environments such as virtual cities.In this thesis we specifically focus on the creation of interactive urban sound ambiences. Our analysis of these ambiences is based on the Soundscape theory and on a state of art on game oriented urban interactive applications. We infer that the virtual urban soundscape is made of several perceptive auditory grounds including a background. As a first contribution we define the morphological and narrative properties of such a background. We then consider the urban background sound as a texture and propose, as a second contribution, to pinpoint, specify and prototype a granular synthesis tool dedicated to interactive urban sound backgrounds.The synthesizer prototype is created using the visual programming language Pure Data. On the basis of our state of the art, we include an urban ambiences recording methodology to feed the granular synthesis. Finally, two validation steps regarding the prototype are described: the integration to the virtual city simulation Terra Dynamica on the one side and a perceptive listening comparison test on the other.

Discusses the creation and performance at a concert on Feb. 12, 1990, in the Merrill Ellis Intermedia Theater at the University of North Texas of three computer music-intermedia compositions: Shakespeare quartet for 4 acoustic guitars; A noite, porem, rangeu e quebrou, for instrument of low pitch range, tape and computer; and Help me remember, for performer, Synclavier, interactive MIDI computer music system and slides.