Ircam-Centre Pompidou

Recherche

  • Recherche simple
  • Recherche avancée

    Panier électronique

    Votre panier ne contient aucune notice

    Connexion à la base

  • Identification
    (Identifiez-vous pour accéder aux fonctions de mise à jour. Utilisez votre login-password de courrier électronique)

    Entrepôt OAI-PMH

  • Soumettre une requête

    Consulter la notice détailléeConsulter la notice détaillée
    Version complète en ligneVersion complète en ligne
    Version complète en ligne accessible uniquement depuis l'IrcamVersion complète en ligne accessible uniquement depuis l'Ircam
    Ajouter la notice au panierAjouter la notice au panier
    Retirer la notice du panierRetirer la notice du panier

  • English version
    (full translation not yet available)
  • Liste complète des articles

  • Consultation des notices


    Vue détaillée Vue Refer Vue Labintel Vue BibTeX  

    %0 Conference Proceedings
    %A Einbond, Aaron
    %A Schwarz, Diemo
    %T Corpus-Based Concatenative Synthesis: Perceptual Descriptors as an Approach to Composing and Analyzing Timbre
    %D 2011
    %B Crossing the Corpus Callosum II: Neuroscience, Healing & Music
    %C Cambridge, MA
    %F Einbond11a
    %K CBCS
    %K Corpus-Based Concatenative Synthesis
    %K synthèse sonore
    %K transcription
    %K orchestration
    %K Neuroscience
    %K therapy
    %X How can sound descriptors arising from studies in music perception be applied to inform composing and hearing? Perceptual research by Wessel and Grey suggest timbre can be organized by listeners into a multi-dimensional spatial representation. Building on this work, we propose an approach to timbre that is based on computer analysis of perceptually-relevant descriptors. Using the recent concept of corpus-based concatenative synthesis (CBCS), a database of samples is plotted in a spatial representation corresponding to any two or three of these descriptors. A musical phrase may be generated by drawing a curve in the space or by closest matches to an external target sound file. While this technique can be used for more traditional sounds, it is especially effective for organizing non-pitched sounds based on their timbral characteristics, both in the contexts of electronic music and computer-assisted composition for acoustic instruments. We implement this technique with the CataRT package for computer programs Max/MSP and OpenMusic (OM). Recent works for instruments, interactive electronics, and sound installation illustrate this approach. Examples include What the Blind See for five instruments and live electronics, as well as a version of the same work for sound installation, in which the the listener is simultaneously the performer and part of the space itself. The title, taken from an article by neurologist Oliver Sacks, suggests perception as the focus of the musical experience. While these tools are already being effectively exploited by composers, they can be adapted for broader uses in improvisation, scholarship, and therapy.
    %1 6
    %2 3
    %U http://articles.ircam.fr/textes/Einbond11a/

    © Ircam - Centre Pompidou 2005.