Digital audio and computer music. COS 116, Spring 2012 Guest lecture: Rebecca Fiebrink
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1 Digital audio and computer music COS 116, Spring 2012 Guest lecture: Rebecca Fiebrink
2 Overview 1. Physics & perception of sound & music 2. Representations of music 3. Analyzing music with computers 4. Creating music with computers
3 1. Sound and music
4 Discussion Time What is sound? Pressure wave
5 What do we hear? Pitch Loudness Timbre Location Meter, rhythm, harmony, melody, structure etc...
6 Psychoacoustics Psychoacoustics: relationships between physical phenomenon and our perception Frequency: pitch (20-20,000Hz) Amplitude: loudness Timbre: Identities and strengths of frequencies present + =
7 Discussion Time What is music? Organized sound Psychoacoustics play an important role Also dependence upon history, culture, experience Engages listeners psychological mechanisms for expectation/reward
8 2. Representations of sound and music
9 How do you represent music? Score: Digital waveform Spectrogram
10 Digital representation of music
11 Compression A better representation with fewer bits Why? Security, transmission, storage How? Psychoacoustic principles MP3: Masking Physical principles of sound production (uses models of sound source)
12 Choosing a representation Representations make compromises Standard representations are somewhat arbitrary Appropriate choice is task-dependent
13 3. Using technology to analyze sound and music
14 Analyzing speech Real-life apps: Customer service phone routing Voice recognition software
15 Auditory Scene Analysis Applications: Archival and retrieval, forensics, AI
16 Music information retrieval Analyzing musical data Query, recommend, visualize, transcribe, detect plagiarism, follow along score Sites/apps you can try midomi Themefinder.com Pandora.com (includes human-powered algorithms) Shazaam
17 Machine learning for analysis
18 4. Using technology to create music and sound
19 Creating music: Synthesis
20 Four approaches to synthesis 1. Additive synthesis 1. Figure out proportions of various frequencies 2. Synthesize waves and superimpose them + + = 3. Modify amplitude using an envelope :
21 2. FM Synthesis Modulate the frequency of one sine oscillator using the output of another oscillator
22 3. Physical Models 1. Start with knowledge of physical systems 2. Simulate oscillation (Recall Lecture 4)
23 4. Cross-synthesis Choose filter for speech (vowel) Choose source to be another sound
24 How can computers be used in making music? Synthesizing new sounds Processing and transforming sound Demo: T-Pain Accompanying human performers Demo: Raphael Composing new music Demo: Copin As new musical instruments And many other ways, too
25 Computer as Instrument Demo: SMELT keyboard, motion Video: Clix Demo: Wekinator Video: CMMV, Blinky Demo: Live coding
26 Questions: How can we. develop new ways to synthesize sound? give a user control over synthesis parameters? make machines interactive in a musical way? augment human capabilities? design new instruments that are easy to play? allow expert musicality? create music that is emotionally and aesthetically compelling?
27 Final remarks Distinctions in this presentation are superficial Analysis, representation, and creation interact Technology draws on and contributes to our understanding of the physics and psychophysics of sound Computer music is interdisciplinary HCI, AI, programming languages, algorithms, systems building Also psychology, music theory, acoustics, signal processing, engineering, physics, performance practice, library science, applied math & statistics, Technology is constantly complicating and changing the landscape of our musical experiences as creators, participants, listeners, and consumers.
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