O principal problema desta tese é a aplicação da teoria psicoacústica sobre percepção de dissonância em novas ferramentas de computação musical em tempo real. Os objetivos e contribuições incluem: Prover uma revisão critica do Estado da Arte em teoria psicoacústica de modelos de dissonância, projetar trabalhos futuros; Explorar um potencial criativo negligenciado de modelos psicoacústicos de dissonância em Eletrônica ao Vivo; Desenvolver novas ferramentas computacionais baseadas na teoria; Investigar o potencial e limitações da teoria e técnicas. Discutir sua pertinência e impacto; Tornar a teoria e técnicas mais acessíveis a músicos por meio deste texto e as ferramentas desenvolvidas. A percepção de Dissonância é um fenômeno complexo em que a abordagem psicoacústica cobre apenas uma porção. Além disso, ainda há muito debate na área da psicoacústica sobre o desenvolvimento de modelos de dissonância. Portanto, a tese apresenta uma revisão crítica do Estado da Arte da teoria psicoacústica, apontando pontos fracos e fortes do atual conhecimento, e futuros desenvolvimentos no campo. Um teste perceptivo também foi elaborado para gerar ponderações relevantes. Os modelos foram implementados em Pure Data, e uma série de patches foi desenvolvida para testar o potencial criativo em eletrônica ao vivo. Esse processo culminou em um sistema desenvolvido em Pure Data que agrega diversas das técnicas baseadas nos modelos psicoacústicos. Suas possibilidades incluem, por exemplo, encontrar intervalos consonantes de acordo com um espectro, ou alterar componentes espectrais para que estejam de acordo com uma escala musical ou afinação particular. Essas ferramentas foram empregadas em um duo de improvisação livre com o autor e um saxofonista. O autor também compôs uma peça orquestral que utilizou o sistema desenvolvido na parte de eletrônica ao vivo. / The problem of this research is to apply the state of the art in psychoacoustic theories about dissonance perception in the development of novel creative computer music tools for composition and live electronics. Goals and contributions include: To provide a critical review of the State of the Art in Psychoacoustic theory regarding dissonance modeling, project further work; To explore neglected creative potential of psychoacoustic dissonance models in Live Electronics; To develop novel computer music tools based on the theory; To investigate the potential and limitations of the theory and techniques; To discuss its creative musical impact and pertinence; To make the theory and techniques more accessible to musicians through the text and the free developed tools. The perception of Dissonance is a complex phenomenon in which the psychoacoustical approach covers just a portion thereof. Not only that, but psychoacoustic theory is still in debate about the development of dissonance models. Therefore, the thesis provides a critical review of the state of the art in psychoacoustic theory, pointing out weaknesses and strong points of the current knowledge, and future developments in the field. A perceptual test was also designed to generate data for relevant insights. Apart from the theoretical review, the models were implemented in Pure Data, and a series of patches was developed in order to test their creative potential in Live Electronics. This culminated in a system developed as a Pure Data Patch that aggregates several techniques based on the psychoacoustic models. Their possibilities include, for example, finding consonant intervals according to a spectrum, or altering spectral components so they are in accordance to musical intervals and particular tunings. These tools were used in a Free Improvisation duo with the author and a sax player, and the author also composed an orchestral piece that applied the developed system in the Live Electronics section.

O principal problema desta tese é a aplicação da teoria psicoacústica sobre percepção de dissonância em novas ferramentas de computação musical em tempo real. Os objetivos e contribuições incluem: Prover uma revisão critica do Estado da Arte em teoria psicoacústica de modelos de dissonância, projetar trabalhos futuros; Explorar um potencial criativo negligenciado de modelos psicoacústicos de dissonância em Eletrônica ao Vivo; Desenvolver novas ferramentas computacionais baseadas na teoria; Investigar o potencial e limitações da teoria e técnicas. Discutir sua pertinência e impacto; Tornar a teoria e técnicas mais acessíveis a músicos por meio deste texto e as ferramentas desenvolvidas. A percepção de Dissonância é um fenômeno complexo em que a abordagem psicoacústica cobre apenas uma porção. Além disso, ainda há muito debate na área da psicoacústica sobre o desenvolvimento de modelos de dissonância. Portanto, a tese apresenta uma revisão crítica do Estado da Arte da teoria psicoacústica, apontando pontos fracos e fortes do atual conhecimento, e futuros desenvolvimentos no campo. Um teste perceptivo também foi elaborado para gerar ponderações relevantes. Os modelos foram implementados em Pure Data, e uma série de patches foi desenvolvida para testar o potencial criativo em eletrônica ao vivo. Esse processo culminou em um sistema desenvolvido em Pure Data que agrega diversas das técnicas baseadas nos modelos psicoacústicos. Suas possibilidades incluem, por exemplo, encontrar intervalos consonantes de acordo com um espectro, ou alterar componentes espectrais para que estejam de acordo com uma escala musical ou afinação particular. Essas ferramentas foram empregadas em um duo de improvisação livre com o autor e um saxofonista. O autor também compôs uma peça orquestral que utilizou o sistema desenvolvido na parte de eletrônica ao vivo. / The problem of this research is to apply the state of the art in psychoacoustic theories about dissonance perception in the development of novel creative computer music tools for composition and live electronics. Goals and contributions include: To provide a critical review of the State of the Art in Psychoacoustic theory regarding dissonance modeling, project further work; To explore neglected creative potential of psychoacoustic dissonance models in Live Electronics; To develop novel computer music tools based on the theory; To investigate the potential and limitations of the theory and techniques; To discuss its creative musical impact and pertinence; To make the theory and techniques more accessible to musicians through the text and the free developed tools. The perception of Dissonance is a complex phenomenon in which the psychoacoustical approach covers just a portion thereof. Not only that, but psychoacoustic theory is still in debate about the development of dissonance models. Therefore, the thesis provides a critical review of the state of the art in psychoacoustic theory, pointing out weaknesses and strong points of the current knowledge, and future developments in the field. A perceptual test was also designed to generate data for relevant insights. Apart from the theoretical review, the models were implemented in Pure Data, and a series of patches was developed in order to test their creative potential in Live Electronics. This culminated in a system developed as a Pure Data Patch that aggregates several techniques based on the psychoacoustic models. Their possibilities include, for example, finding consonant intervals according to a spectrum, or altering spectral components so they are in accordance to musical intervals and particular tunings. These tools were used in a Free Improvisation duo with the author and a sax player, and the author also composed an orchestral piece that applied the developed system in the Live Electronics section.

This thesis deals with creating a software guitar looper in a visual programming language called Pure Data and also building a specific remote controller for it. The remote cont- roller will be based on a MIDI protocol. As a part of the software, there will be a special aligning algorithm, that will take care of precise alignment of the created loop on beat in the way that no other intrusive rhythmical or tempo related elements are present.

Målet med projektet är att skapa en fungerande hörseltränings prototyp som kan vara användbar för en vidareutveckling av träningssystem för personer med nedsatt hörsel. Idén bygger på “The Music Puzzle” (Hansen et al. 2012). Prototypen benämndes SoundCubes och består av tre kuber med olika motiv (Fiducial markörer) på fyra av de sex sidorna. Ett ljudspår delades i tre delar och tilldelades till kuberna. Varje del fragmenterades i fyra nivåer där den första spelar upp ett instrument ända fram till att alla instrumenten hörs. Dessa faser tilldelades till Fiducial markörerna på kubens fyra sidor. Kuberna är slumpmässigt placerade horisontellt framför en kamera som är ansluten till en dator. Alla fyra sidor av kuberna som har motivet fastsatt kommer att spela upp reproduktionen av ett fragment från ljudspåret när de ställs inför kamerans synfält. Endast en specifik kombination av sidorna och horisontell ordning av kuberna kommer att leda till de fullständiga ljudspårskomponenterna och till ett applådljud som signalerar den framgångsrika reproduktionen av det ursprungliga ljudspåret. SoundCubes prototypen utvecklades funktionellt genom TUIO, ReacTIVision och Pure Data. För att kunna fastställa ifall prototypens interaktion fungerade så testades SoundCubes på 15 friska personer utan nedsatt hörsel. Testpersonerna introducerades individuellt till prototypen, och de fick sedan lyssna på det kompletta ljudspåret. Därefter fick de uppgiften att reproducera det kompletta ljudspåret genom att hitta kubernas rätta sidor och horisontella ordning. Av totalt 15 individer klarade 12 av testet inom tidsgränsen (tio minuter). Vi kunde därför komma fram till att prototypen och dess interaktion fungerar, vi kunde även observera att användningen av SoundCubes upplevdes som underhållande och engagerande. Detta första test kan därför lägga grund för vidareutveckling av SoundCubes konceptet för hörselträning på ett interaktivt och underhållande sätt. / The aim of the present project was to create a functional sound-training prototype which may be useful for further development of training systems for individuals with impaired hearing. The idea is based on the concept of “The Music Puzzle” (Hansen et al. 2012). The prototype proposed here was termed SoundCubes and it is composed of three cubes with different motives (Fiducial markers) on four of the six sides. A soundtrack was divided into three parts and was assigned to the cubes. Each part was fragmented into four parties where the first playing an instrument until all the instruments could be heard. These parts were assigned to Fiducial markers on the four sides of the cube. The cubes are randomly placed horizontally in front of a camera attached to a computer. All of the four sides with a motive of the cubes will induce the reproduction of fragments of a soundtrack when exposed to the field of the camera thanks to the specific motives attached on it. Only one specific combination of the sides and horizontal order of the cubes will lead to the complete soundtrack instrumental components and to a clapping sound which signals the successful reproduction of the2initial soundtrack. The SoundCubes prototype was developed functionally through Tuio, ReacTIVision and Pure Data. SoundCubes was tested on 15 healthy individuals without hearing impairments to determine if the prototype’s interaction works. The test individuals were individually introduced to SoundCubes, and they were allowed to hear the complete soundtrack. Thereafter, they were given the task of reproducing the complete track by finding the right side and horizontal order of the cubes. Out of a total of 15 individuals, 12 completed the test successfully within the maximum given time frame (ten minutes).We could therefore conclude that the system works properly, and we also observed that the test was experienced as very entertaining and engaging. this first test puts therefore the basis for further development of the SoundCubes concept to train people’s hearing in an interactive and entertaining way.Kjetil

Музыкальное сопровождение положительно влияет на продуктивность во время работы. Для повышения концентрации и снятия напряжения среди студентов предложено создать звуковую инсталляцию в коворкинге университета. В данной работе за основу берется экосистема, с которой датчики снимают показания температуры, давления и влажности воздуха, температуры и влажности почвы, а также освещенности. На основе данных показаний с помощью языка программирования Pure Data генерируется музыкальное сопровождение, которое соответствует текущему состоянию системы. С использованием платформы Node-RED реализован дашборд для мониторинга и управления состоянием экосистемы. Кроме того, в работе выявлены основные спринты и задачи, позволяющие реализовать управление похожим проектом с точки зрения владельца продукта. / Musical accompaniment has a positive effect on productivity during work. To increase concentration and relieve stress among students, it was proposed to create a sound installation in the coworking of the university. In this work, an ecosystem is taken as a basis, from which sensors take readings of temperature, pressure and air humidity, soil temperature and moisture, as well as illumination. Based on these readings, a musical accompaniment is generated using the Pure Data programming language, which corresponds to the current state of the system. Using the Node-RED platform, a dashboard was implemented to monitor and manage the state of the ecosystem. In addition, the work identified the main sprints and tasks that make it possible to implement the management of a similar project from the point of view of the product owner.

Effective game music is typically adaptive, interactive, or both. Changes in game music are usually influenced by the current state of the game or the actions of the player. To provide another dimension of interactivity, it would be useful to know the affective state of the human player. Biosignals are continuous signals generated by a person that can be measured over time, and have been shown to reflect affective state. This project demonstrates that control signals can be gathered from the player and mapped to musical parameters. Using a heart rate sensor and galvanic skin response sensor built from open source designs, we have used biosignals to control music playback while playing four games from different genres. A system for controlling game music with biosignals is computationally cheap, and can provide data that is useful to other game systems. The prototype developed for this project is basic, but with further research and development, we believe such a system will greatly improve the immersive experience of video games by involving the player on a new level. / text

abstract: Electronic music, including the subgenre of interactive electronic music, has a century-old history and has established itself as a vital and important element of modern music cultures throughout the world. Acoustic musicians in the twenty-first century will be expected to perform and interact with electronic music. Currently, however, few resources are available to either the student or teacher to help advancing young musicians develop their skills working with electronic musical components. A considerable amount of electronic music is prohibitive due to cost, access to equipment, and degree of difficulty. Therefore, a set of works designed to specifically reduce these prohibitive costs seems necessary. As a performer/composer that plays clarinet and as an electronic musician that regularly utilizes the open-source programming software Pure Data (Pd), I feel my composing, performing, and technical experience uniquely positions me to create educational materials. For this project, I will compose/program a collection of electronic etudes for clarinet and electronics that: (1) utilizes Pd to provide electronic accompaniment, (2) is composed for clarinetists of varying experience levels, (3) and will be commercially available as electronic PDF and Pd files. / Dissertation/Thesis / Doctoral Dissertation Music 2020

No description available.

Transfigurations is a symphonic work in one movement for orchestra and live computer processing utilizing the graphical audio programming language Pure Data. The score and patch for this piece are accompanied by an essay describing the audio processing techniques and the compositional processes employed in this work. Programming methods discussed include strategies for data capture, patch structure, user interface, and processor management. All audio processing in the work is realized in realtime. These sounds are derived directly from the orchestra in performance, except for the last. The processes involved in Transfigurations include pitch and amplitude tracking, pitch-shifting, filtering, frequency and amplitude modulation, granular synthesis, delay, and convolution. The final sounds from the computer employ stochastic processes for synthesis which are derived from the germinal materials of the piece. The essay also discusses the aesthetic philosophy and formal structure of the work, principle themes and motives, and formative pitch materials, as well as the compositional processes in each section. The final discourse of the essay considers microphone and loudspeaker setups, patch preparation and leveling, and strategies for rehearsal and performance. / Music Composition / Accompanied by one .pdf file, Transfigurations for orchestra and live computer processing: Full score, and one .pd file.

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.