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Littérature scientifique sur le sujet « Music resynthesi »

Auteur : Grafiati
Publié le 9 mars 2023
Mis à jour le 31 juillet 2025

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Articles de revues sur le sujet "Music resynthesi"

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O’Callaghan, James. "Mimetic Instrumental Resynthesis." Organised Sound 20, no. 2 (2015): 231–40. http://dx.doi.org/10.1017/s1355771815000114.

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This article provides a brief survey of composition in which field recordings or other referential sounds are transcribed for acoustic instruments. Through a discussion of how electroacoustic music and scholarship have conceptualised the notion of mimesis, and how various forms of contemporary acoustic music have adopted electroacoustic techniques, it identifies a recent musical practice in which these concerns are brought together. The article proposes the term mimetic instrumental resynthesis as a way of describing the common threads behind works that employ electronic-assisted or computer-a
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Settel, Zack, and Cort Lippe. "Real-time timbral transformation: FFT-based resynthesis." Contemporary Music Review 10, no. 2 (1994): 171–79. http://dx.doi.org/10.1080/07494469400640401.

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Vassallo, Juan. "SYMBOLIC MUSICAL RESYNTHESIS AS AN EKPHRASTIC COMPOSITIONAL PRACTICE USING COMPUTATIONAL METHODS." Culture Crossroads 22 (September 13, 2023): 129–47. http://dx.doi.org/10.55877/cc.vol22.443.

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In my artistic work, I explore the affordances of computational methods from the discipline of artificial intelligence for music composition. Grounded in philosophical perspectives that revolve around the notions of trans- and post-humanism and cybernetics, I understand the mediating role of computers in music composition as having the potential to expand a composer’s creative process by providing him with novel ways of exploring relationships between musical material and structure. Under this premise, music composition becomes a process that occurs through the assemblage between human actors
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Haus, Goffredo, and Alberto Sametti. "Score analysis/resynthesis environment of the “intelligent music workstation”." Journal of New Music Research 24, no. 3 (1995): 230–46. http://dx.doi.org/10.1080/09298219508570684.

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Koutsomichalis, Marinos. "From Music to Big Music: Listening in the Age of Big Data." Leonardo Music Journal 26 (December 2016): 24–27. http://dx.doi.org/10.1162/lmj_a_00962.

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Following a series of technological breakthroughs and the proliferation of new, cloud-based media, listening in the 21st century has become dynamic, fragmented, interactive and distributed. Contemporary audiences are typically expected to traverse (big) music databases and, employing several overlapping interfaces, to resynthesize, rather than to merely access, content. On this construal, new ways of both experiencing and thinking about music have been laid out. This article attempts to sketch the “big music” phenomenon, discussing its genesis, outlining its implications and, finally, suggesti
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MASRI, PAUL, ANDREW BATEMAN, and NISHAN CANAGARAJAH. "The importance of the time–frequency representation for sound/music analysis–resynthesis." Organised Sound 2, no. 3 (1997): 207–14. http://dx.doi.org/10.1017/s1355771898009054.

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The time–frequency representation (TFR) is the initial stage of analysis in sound/music analysis–resynthesis (A–R) systems. Given a time-domain waveform, the TFR makes temporal and spectral detail available to the remainder of the analysis, so that the component features may be extracted. The resulting ‘feature set’ must represent the sound as completely as the original time-domain signal, if the A–R system is to be capable of effective transformation and good synthesis sound quality. Therefore the system as a whole is reliant upon the TFR to make the sound components detectable, separable and
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Sinclair, Stephen. "Sounderfeit: cloning a physical model using a conditional adversarial autoencoder." Revista Música Hodie 18, no. 1 (2018): 44–60. http://dx.doi.org/10.5216/mh.v18i1.53570.

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 An adversarial autoencoder conditioned on known parameters of a physical modeling bowed string syn- thesizer is evaluated for use in parameter estimation and resynthesis tasks. Latent dimensions are provided to cap- ture variance not explained by the conditional parameters. Results are compared with and without the adversarial training, and a system capable of “copying” a given parameter-signal bidirectional relationship is examined. A real- -time synthesis system built on a generative, conditioned and regularized neural network is presented, allowing to construct engaging
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Kiefer, Chris. "Sample-level sound synthesis with recurrent neural networks and conceptors." PeerJ Computer Science 5 (July 8, 2019): e205. http://dx.doi.org/10.7717/peerj-cs.205.

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Conceptors are a recent development in the field of reservoir computing; they can be used to influence the dynamics of recurrent neural networks (RNNs), enabling generation of arbitrary patterns based on training data. Conceptors allow interpolation and extrapolation between patterns, and also provide a system of boolean logic for combining patterns together. Generation and manipulation of arbitrary patterns using conceptors has significant potential as a sound synthesis method for applications in computer music but has yet to be explored. Conceptors are untested with the generation of multi-t
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MASRI, PAUL, ANDREW BATEMAN, and NISHAN CANAGARAJAH. "A review of time–frequency representations, with application to sound/music analysis–resynthesis." Organised Sound 2, no. 3 (1997): 193–205. http://dx.doi.org/10.1017/s1355771898009042.

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Analysis–resynthesis (A–R) systems gain their flexibility for creative transformation of sound by representing sound as a set of musically useful features. The analysis process extracts these features from the time domain signal by means of a time–frequency representation (TFR). The TFR provides an intermediate representation of sound that must make the features accessible and measurable to the rest of the analysis. Until very recently, the short-time Fourier transform (STFT) has been the obvious choice for time–frequency representation, despite its limitations in terms of resolution. Recent a
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Keller, Damián. "Compositional Processes from an Ecological Perspective." Leonardo Music Journal 10 (December 2000): 55–60. http://dx.doi.org/10.1162/096112100570459.

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The author discusses the conceptual basis of an ecological approach to music composition, considering the epistemological and compositional concepts involved. The author's text-and-tape piece, touch'n'go/toco y me voy, is presented as an example of an ecologically based musical work, in which the sound event functions as the basic unit of multilevel musical structures. Digital resynthesis techniques are integrated in the compositional process by means of environmental sound models. Ecological models establish formal relationships without obscuring the recognizability of everyday sounds. Materi
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Thèses sur le sujet "Music resynthesi"

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SIMONETTA, FEDERICO. "MUSIC INTERPRETATION ANALYSIS. A MULTIMODAL APPROACH TO SCORE-INFORMED RESYNTHESIS OF PIANO RECORDINGS." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/918909.

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This Thesis discusses the development of technologies for the automatic resynthesis of music recordings using digital synthesizers. First, the main issue is identified in the understanding of how Music Information Processing (MIP) methods can take into consideration the influence of the acoustic context on the music performance. For this, a novel conceptual and mathematical framework named “Music Interpretation Analysis” (MIA) is presented. In the proposed framework, a distinction is made between the “performance” – the physical action of playing – and the “interpretation” – the action that
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Nunn, Douglas John Edgar. "Analysis and resynthesis of polyphonic music." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/4759/.

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This thesis examines applications of Digital Signal Processing to the analysis, transformation, and resynthesis of musical audio. First I give an overview of the human perception of music. I then examine in detail the requirements for a system that can analyse, transcribe, process, and resynthesise monaural polyphonic music. I then describe and compare the possible hardware and software platforms. After this I describe a prototype hybrid system that attempts to carry out these tasks using a method based on additive synthesis. Next I present results from its application to a variety of musical
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McCulloch, Peter. "UNRAVEL: Acoustic and Electronic Resynthesis." Thesis, connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/mcculloch%5Fpeter/index.htm.

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Adán, Víctor Gabriel. "Hierarchical music structure analysis, modeling and resynthesis : a dynamical systems and signal processing approach." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33896.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.<br>Includes bibliographical references (p. 153-156).<br>The problem of creating generative music systems has been approached in different ways, each guided by different goals, aesthetics, beliefs and biases. These generative systems can be divided into two categories: the first is an ad hoc definition of the generative algorithms, the second is based on the idea of modeling and generalizing from preexistent music for the subsequent generation of new pieces. Most
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Chapitres de livres sur le sujet "Music resynthesi"

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"Fourier Analysis and Resynthesis." In The Theory and Technique of Electronic Music. WORLD SCIENTIFIC, 2007. http://dx.doi.org/10.1142/9789812770899_0009.

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Settel, Zack, and Cort Lippe. "Real-Time Timbral Transformation: FFT-based Resynthesis." In Timbre Composition in Electroacoustic Music. Routledge, 2019. http://dx.doi.org/10.4324/9781315077376-16.

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Alessandrini, Patricia, and Timothy Rutherford-Johnson. "A Spectral Methodology of the Cultural and the Physical." In The Oxford Handbook of Spectral Music. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190633547.013.41.

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Abstract This chapter discusses the Computer-Assisted Composition (CAC) processes employed in recent compositions by Patricia Alessandrini—including the kinetic installation Adagio sans quatuor and scored works such as Ada’s Song for instruments, electronics, and robotics systems—and the aesthetic motivations for their use. The main interrelated themes that are touched upon are the avoidance of stylistic categorization; a focus on the production of sound, especially in relation to performer agency; and notions of the representation and identity of a piece of music. The last of these preoccupat
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