| 1. |
- Panariello, Claudio
(author)
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Converging Creativity : Intertwining Music and Code
- 2023
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Artistic work (other academic/artistic)abstract
- This compilation thesis is a collection of case studies that presents examples of creative coding in various contexts, focusing on how such practice led to the creation and exploration of musical expressions, and how I in- interact with the design of the code itself. My own experience as a music composer influences this thesis work. By saying so, I mean that although the thesis places itself in the Sound and Music Computing academic tradition, it is also profoundly founded upon a personal artistic perspective. This perspective has been the overarching view that has informed the studies included in the thesis, despite all being quite different. The first part of the thesis describes the practice of creative coding, creativity models, and the interaction between code and coder. Then I propose a perspective on creative coding based on the idea of asymptotic convergence of creativity. This is followed by a presentation of five papers and three music works, all inspected through my stance on this creative practice. Finally, I examine and discuss these works in detail, concluding by suggesting that the asymptotic convergence of creativity framework might serve as a useful tool that adds to the literature on creative coding practice, especially for situations in which such work is carried out in an academic research setting.
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| 2. |
- Bresin, Roberto, et al.
(author)
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Controlling sound production
- 2008
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In: Sound to Sense, Sense to Sound. - Berlin : Logos Verlag. - 9783832516000 ; , s. 447-486
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Book chapter (peer-reviewed)
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| 3. |
- Bresin, Roberto, 1963-, et al.
(author)
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SOUND FOREST/LJUDSKOGEN: A LARGE-SCALE STRING-BASED INTERACTIVE MUSICAL INSTRUMENT
- 2016
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In: Sound and Music Computing 2016. - : SMC Sound&Music Computing NETWORK. - 9783000537004 ; , s. 79-84
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Conference paper (peer-reviewed)abstract
- In this paper we present a string-based, interactive, largescale installation for a new museum dedicated to performing arts, Scenkonstmuseet, which will be inaugurated in 2017 in Stockholm, Sweden. The installation will occupy an entire room that measures 10x5 meters. We aim to create a digital musical instrument (DMI) that facilitates intuitive musical interaction, thereby enabling visitors to quickly start creating music either alone or together. The interface should be able to serve as a pedagogical tool; visitors should be able to learn about concepts related to music and music making by interacting with the DMI. Since the lifespan of the installation will be approximately five years, one main concern is to create an experience that will encourage visitors to return to the museum for continued instrument exploration. In other words, the DMI should be designed to facilitate long-term engagement. Finally, an important aspect in the design of the installation is that the DMI should be accessible and provide a rich experience for all museum visitors, regardless of age or abilities.
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| 4. |
- Han, Xu, et al.
(author)
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Performance of piano trills: effects of hands, fingers, notes and emotions
- 2019
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In: Combined proceedings of the Nordic Sound and Music Computing Conference 2019 and the Interactive Sonification Workshop 2019. - Stockholm. ; , s. 9-15
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Conference paper (peer-reviewed)abstract
- Trill is a type of musical ornament. In automatic playback of piano music scores, trills are usually synthesised as a sequence of repeated notes with equal duration and dynamic level. This is not how trills are performed by pianists. In this study, trills were performed by three pianists on a Yamaha Disklavier and recorded as both audio and MIDI files. Then note duration, inter-onset interval (IOI) and key velocity for each note were extracted from MIDI files and analyzed in relation to hands, notes and emotions. Four significant effects were found; 1) hand effect: trills on right hand were in average performed with a faster rate, shorter note duration, longer off duration and faster key velocity, 2) finger effect: within the two notes forming a trill, notes with lower fingering number were performed with shorter off duration, while keeping note duration and key velocity close, 3) emotion effect: emotion mainly contributed to dynamic level, 4) crescendo effect: when crescendo happened, note duration and off duration compensated with each other and kept IOI at a almost constant value.
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| 5. |
- Hansen, Kjetil Falkenberg, Docent, 1972-, et al.
(author)
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Student involvement in sound and music computing research : Current practices at KTH and KMH
- 2019
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In: Combined proceedings of the Nordic Sound and Music Computing Conference 2019 and the Interactive Sonification Workshop 2019. - Stockholm. ; , s. 36-42
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Conference paper (peer-reviewed)abstract
- To engage students in and beyond course activities has been a working practice both at KTH Sound and Music Computing group and at KMH Royal College of Music since many years. This paper collects experiences of involving students in research conducted within the two institutions. We describe how students attending our courses are given the possibility to be involved in our research activities, and we argue that their involvement both contributes to develop new research and benefits the students in the short and long term. Among the assignments, activities, and tasks we offer in our education programs are pilot experiments, prototype development, public exhibitions, performing, composing, data collection, analysis challenges, and bachelor and master thesis projects that lead to academic publications.
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| 6. |
- Hansen, Kjetil Falkenberg, 1972-, et al.
(author)
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The Skipproof virtual turntable for high-level control of scratching
- 2010
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In: Computer music journal. - : MIT Press. - 0148-9267 .- 1531-5169. ; 34:2, s. 39-50
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Journal article (peer-reviewed)abstract
- A background on scratching and disc jockey (DJ) interfaces is presented, Skipproof application is described, performance situations where Skipproof is used are presented, and current implementations and possible future uses of Skipproof are discussed. DJing has grown from record players, turntables, and vinyl records to the use of product catalog of commercial physical controllers with other sound formats and sequencer-based interfaces with non-real-time interaction. Skipproof provides the main functionality of a turntable and a mixer, allowing a user to play different sound samples and alter the speed and amplitude manually. Skipproof is used in GUI and visual feedback, sensor and parameter mapping, and audio. The use of radio Baton as the turntable controller in a public performance featuring the Skipproof software showed problems due to the lack of beat synchronization of the scratch techniques and the impossibility of setting a general tempo.
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| 7. |
- Paloranta, Jimmie, et al.
(author)
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Interaction with a large sized augmented string instrument intended for a public setting
- 2016
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In: Sound and Music Computing 2016. - Hamburg : Zentrum für Mikrotonale Musik und Multimediale Komposition (ZM4). - 9783000537004 ; , s. 388-395
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Conference paper (peer-reviewed)abstract
- In this paper we present a study of the interaction with a large sized string instrument intended for a large installation in a museum, with focus on encouraging creativity,learning, and providing engaging user experiences. In the study, nine participants were video recorded while interacting with the string on their own, followed by an interview focusing on their experiences, creativity, and the functionality of the string. In line with previous research, our results highlight the importance of designing for different levels of engagement (exploration, experimentation, challenge). However, results additionally show that these levels need to consider the users age and musical background as these profoundly affect the way the user plays with and experiences the string.
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| 8. |
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| 9. |
- Bresin, Roberto, 1963-, et al.
(author)
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Emotion rendering in music : Range and characteristic values of seven musical variables
- 2011
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In: Cortex. - : Elsevier BV. - 0010-9452 .- 1973-8102. ; 47:9, s. 1068-1081
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Journal article (peer-reviewed)abstract
- Many studies on the synthesis of emotional expression in music performance have focused on the effect of individual performance variables on perceived emotional quality by making a systematical variation of variables. However, most of the studies have used a predetermined small number of levels for each variable, and the selection of these levels has often been done arbitrarily. The main aim of this research work is to improve upon existing methodologies by taking a synthesis approach. In a production experiment, 20 performers were asked to manipulate values of 7 musical variables simultaneously (tempo, sound level, articulation, phrasing, register, timbre, and attack speed) for communicating 5 different emotional expressions (neutral, happy, scary, peaceful, sad) for each of 4 scores. The scores were compositions communicating four different emotions (happiness, sadness, fear, calmness). Emotional expressions and music scores were presented in combination and in random order for each performer for a total of 5 x 4 stimuli. The experiment allowed for a systematic investigation of the interaction between emotion of each score and intended expressed emotions by performers. A two-way analysis of variance (ANOVA), repeated measures, with factors emotion and score was conducted on the participants' values separately for each of the seven musical factors. There are two main results. The first one is that musical variables were manipulated in the same direction as reported in previous research on emotional expressive music performance. The second one is the identification for each of the five emotions the mean values and ranges of the five musical variables tempo, sound level, articulation, register, and instrument. These values resulted to be independent from the particular score and its emotion. The results presented in this study therefore allow for both the design and control of emotionally expressive computerized musical stimuli that are more ecologically valid than stimuli without performance variations.
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| 10. |
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