Sobre este tema
As sometimes happens, the com-
pound theme announced on the cover
of this issue of Computer Music
Journal actually comprises two
unrelated topics. In the present case,
one involves technical research, y
the other, música- haciendo. “Pattern
discovery” relates in a loose sense to
all this issue’s technical articles, y
in a strict sense to the one titled
“Feature Set Patterns in Music.” The
other topic, “the laptop orchestra,"
is the subject of the opening pair of
artículos, from Princeton University.
The Princeton Laptop Orchestra
(PLOrk) represents a fairly new type
of performing ensemble. Directed
sometimes by a conductor, es 15
members operate networked laptop
computers, either with the usual
keyboard- y- mouse interface or via
other controllers and sensors. Cada uno de
these computers is connected to its
own audio equipment rack and its
own onstage loudspeaker enclosure,
housing six individually addressable
speakers that emit sound in six
different directions. The intent is to
imbue electroacoustic music with a
spatial and sonic presence analogous
to that of a conventional orchestra,
while exploring the musical opportu-
nities afforded by a relatively large
number of networked performers.
The fi rst article documents 18 pieces
that composers have conceived for
this ensemble. The compositions
embody various approaches to spa-
tialization, sound design, control,
networking, conducting, and game
play. The second article explains how
the authors teach students concepts
and techniques for performing in
PLOrk and composing for it. Allá
are no technical prerequisites, pero
students learn a textual music-
programming language (ChucK) como
well as a graphical one (máx. / MSP).
The authors describe their pedagogi-
cal approach as informal, improvisa-
tional, and interdisciplinary; estudiantes
acquire technical and artistic knowl-
edge “along the way” toward the goal
of making compelling music together.
The next three articles in this issue
consist of revised and extended ver-
sions of papers fi rst presented at the
International Workshop on Artifi cial
Intelligence and Music (Music- AI
2007), held in Hyderabad, India, en
conjunction with the 20th Interna-
tional Joint Conference on Artifi cial
Inteligencia. We are indebted to the
organizers, especially Rafael Ramirez,
for providing us with the workshop
referees’ evaluations of many of the
original paper submissions and for
discussing with us the most highly
rated papers, from which Computer
Music Journal selected a subset. Nuestro
thanks also go to the referees them-
selves, who kindly agreed to re-
evaluate the manuscripts after they
had been revised for the Journal.
(More generally, anonymous peer
review serves as a sine qua non for
the Journal. The referees, who are
specially selected for each article on
the basis of their particular expertise,
receive no compensation or other
recognition. We honor them all for
their dedication to the advancement
of the fi eld.)
The fi rst of the Music- AI 2007
artículos, “A Genetic Rule- Basado
Model of Expressive Performance for
Jazz Saxophone,” employs techniques
from evolutionary computation, a
subfi eld of AI. Previous studies of
expressive performance have usually
been empirical, based on human-
created models of expression. Por
contrast, the present authors’ soft-
ware automatically constructs such
models—in this case, sets of “rules”
describing how jazz musicians infl ect
timing and dynamics in melodies. Él
does so by applying an evolutionary
algorithm to a symbolic representa-
tion of a set of performances. (En esto
estudiar, a professional saxophonist
played four jazz standards, each at
eleven different tempi.) Los autores
describe how they fi rst extract
musical information from the audio
recording, using spectral analysis,
fundamental frequency estimation,
segmentation into notes, envelope
approximation, brightness measure-
mento, etcétera. The note- nivel
measurements are supplemented by a
más alto- level musical analysis that is
largely based on Eugene Narmour’s
implication / realization model of
melodic expectation. Finalmente, a
genetic sequential covering algo-
rithm operates on the training data
and learns new rules, each predicting
how a human saxophonist might
expressively deviate from the values
specifi ed by the musical score. Semejante
rules could, por supuesto, se aplicado
when synthesizing music.
The next article, by Christopher
Raphael, tackles the problem of how
to separate a monaural audio record-
ing of a concerto into two tracks: uno
capturing the soloist, and the other,
the orchestra. Practical applications
include creating an accompaniment
track that a soloist can use for prac-
tice, à la Music Minus One. Este
Front cover. The Princeton Laptop
Orchestra in concert. (Photographer:
Lorene Lavora; image processing:
Computer Music Journal.)
Back cover. Two illustrations from
the article “Feature Set Patterns in
Music.”
Sobre este tema
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research assumes access to the
information contained in the corre-
sponding musical score. Machine-
learning techniques are employed to
train the system on preclassifi ed
datos, where the classes are “soloist”
or “accompaniment.” The system
performs short- time Fourier trans-
formas (STFTs) on the input audio.
Each point in the resulting time-
versus- frequency space is attributed
to either the soloist or the accompa-
niment, using knowledge of the
timings and pitches in the score.
The inverse STFT is then applied to
the appropriate subset of time-
frequency points to generate either
the “desoloed” audio or the solo
performance alone.
The Best Paper award of the
Music- AI 2007 workshop went to
Mathieu Bergeron and Darrell
Conklin for their paper “Representa-
tion and Discovery of Feature Set
Patterns in Music.” The authors
substantially revised that paper for
publication in this issue, expanding it
to include, among other things, a
description of a fast heuristic algo-
ritmo. Pattern discovery in music
denotes the detection of repeated or
similar structures (such as melodic
patrones), which among other uses
may inform music- teórico
análisis, information retrieval, y
style emulation. Conventional
approaches to musical pattern
discovery constrain a pattern to a
sequence of values of a single musical
feature (such as pitch, duración, o
interval) or of a fi xed combination of
características (such as interval paired with
duración). But some undeniably
similar musical passages resist being
detected by these comparatively
simplistic techniques. Por el contrario,
the present authors’ more fl exible
approach can characterize some parts
of a pattern according to certain
features whereas other parts of the
same pattern are described by com-
pletely different features. Within a
patrón, not only the features but also
their number may vary. Además,
the authors provide a way to explore
the search space in a general- a-
specifi c manner, fi nding patterns that
are suffi ciently distinctive (es decir., spe-
cifi c) but not too infrequent. El
authors illustrate their method using
melodies composed by the prolifi c
French songwriter Georges Brassens.
The Conklin and Bergeron article
can be considered an exemplar of
symbolic music information retrieval
(MIR), operating as it does on music
represented as a collection of notes.
The other main branch of MIR, cual
operates on audio, is exemplifi ed by
the fi nal article in this issue, concern-
ing beat detection. (Unlike the pre-
ceding three articles, this one did not
stem from a Music- AI 2007 paper.)
Jia Zhu and Ye Wang investigate
whether it is possible to extract the
tempo of a popular- music recording
in the MP3 audio format, sin
fi rst converting the data to decom-
pressed audio samples. Their motiva-
tion is to run the beat- detección
algorithm on mobile devices that
have limited processing power,
memory, and battery life. El
authors have implemented a system
comprising three different beat
detectors, of progressively greater
complejidad, to adjust as needed to the
resource constraints. These three
respectively operate on the “com-
pressed domain,” which refers to the
demultiplexed MP3 bitstream prior
to the actual decoding; the “trans-
form domain,” which refers to data at
an intermediate stage in the MP3
decoder; and the “PCM domain,"
which refers to the fully decoded
audio samples. As might be expected,
the fi rst of these detectors is very
fast, and the last is the most accurate.
The authors fi nd that the transform-
domain detector provides a good
comercio- off for mobile devices.
2
Computer Music Journal
Computer Music Journal
Volumen 32, Número 1
Primavera 2008
Contents
Sobre este tema
Anuncios
Noticias
1
5
6
Composition and Pedagogy
Composing for Laptop Orchestra Scott Smallwood, Dan Trueman,
Perry R. Cocinar, and Ge Wang
9
The Laptop Orchestra as Classroom Ge Wang, Dan Trueman,
Scott Smallwood, and Perry R. Cocinar
26
Modeling Expressive Performance
A Genetic Rule- Based Model of Expressive Performance for Jazz
Saxophone Rafael Ramirez, Amaury Hazan, Esteban Maestre,
and Xavier Serra
38
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Audio Signal Processing
A Classifi er- Based Approach to Score- Guided Source Separation of
Musical Audio Christopher Raphael
51
Music Information Retrieval
Feature Set Patterns in Music Darrell Conklin and
Mathieu Bergeron
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Complexity- Scalable Beat Detection with MP3 Audio Bitstreams
Jia Zhu and Ye Wang
71
Reseñas
Events
Karlheinz Stockhausen: Cosmic Pulses Nick Collins
88
88
International Computer Music Conference 2007: Live Electronics
Arne Eigenfeldt
91
Publications
Institut National de l’Audiovisuel: Portraits Polychromes: máx.
Mathews James Harley
Recordings
Neil Rolnick: Shadow Quartet Jeffrey Treviño
Pimmon: Electronic Tax Return
Pimmon: Secret Sleeping Birds Andrew Fletcher
Products of Interest
Instrucciones para los contribuyentes
95
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97
98
101
113
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Anuncios
Journées d’Informatique
Musicale 2008
El 2008 Journées d’Informatique
Musicale (Computer Music Days)
will take place in Albi, Francia, 27–29
Marzo 2008. The themes for the
meeting are Interfaces for the Cre-
ation of Sound and Music, and Spaces
and Sound Spatialization. Topic areas
include tools for musical analysis,
formalization and representation of
musical structures, automatic com-
posición, modeling and simulation of
sound and perception, and research
center reports.
Web: gmea.net / jim08 / index.php /
SEAMUS at Salt Lake
El 2008 National Conference of the
Society for Electroacoustic Music in
the United States (SEAMUS) will be
held in Salt Lake City 3–5 April 2008.
This year’s conference is dedicated to
Vladimir Ussachevsky, who was in
residence at the University of Utah
de 1970 a 1990, and will highlight
his piece Colloquy for orchestra and
tape, premiered by the Utah Sym-
phony in 1976.
Web: seamus2008.music.utah.edu
Electroacoustic Music Studies
Network in Paris
The annual Electroacoustic Music
Estudios (EMS) Network International
Conference of 2008 will take place in
Paris 3–6 June 2008. The theme for
the event is “Musique concrète—60
years later” with reference to the
pioneering work of Pierre Schaeffer
y otros, many of whom worked in
the same city where the conference
will take place. The focus will be on
the relationship between sound and
música, so topics will include strate-
gies for creating new sounds, el
infl uence of tools on music, cómo
sounds contribute to building musi-
cal structures, and the recurring EMS
theme of terminology in the fi eld.
The increasingly active EMS Asian
Red (EMSAN) track will also be
featured throughout the conference
in presentations and performance.
Prior to the meeting, there will be a
special study session on the socio-
political implications of electro-
acoustic music, Composing Today.
Web: www.ems- network.org
Electroacoustic Music in Santa Fe
The Contemporary Music Program of
the College of Santa Fe has scheduled
the twelfth annual International
Festival of Electroacoustic Music in
Santa Fe, New Mexico, 3–6 March
2008. This year featured guests are to
include Gordon Mumma as the
Composer in Residence, Ulrike Brand
as a performer, and Olivia Block as
both a composer and performer.
Web: sfi fem.csf.edu / SFIFEM_
about.html
Sonic Interaction Design
A workshop entitled Sonic Interac-
tion Design: Sound, Interaction, y
Experience will be held in Florence,
Italia, en 6 Abril 2008 durante el
annual Computer / Human Interac-
ción (CHI) conference. The goal of the
workshop is to “gather research and
creation efforts in sound technology,
diseño, arte, música, and psychology
into a coherent body of knowledge
capable of assisting the design of the
sonic appearance of future environ-
mentos, events and artifacts.” The
workshop is organized as part of a
European Cooperation in the fi eld of
Scientifi c and Technical Research
(COST) action which created four
Sound Interaction Design working
grupos: (1) Perceptivo, cognitivo, y
emotional studies of sonic interac-
ciones, (2) Product sound design, (3)
Interactive art and music, y (4)
Sonifi cation.
Web: www.cost- sid.org / wiki /
CHIworkshop
Algorithmic Music at UCSC
The sixth Workshop in Algorithmic
Computer Music (WACM) is sched-
uled for 3–6 March 2008 at the Uni-
versity of California, Santa Cruz.
Participants will work with an
instruction team lead by David Cope,
and study basic techniques of algo-
rithmic composition and analysis
using the LISP programming lan-
guage. Software will be developed for
a Markov- based rules program, a
genetic algorithm, and a project
modeled on the Experiments in
Musical Intelligence program.
Web: sfi fem.csf.edu /
SFIFEM_about.html
Interactive Music in Bergen
The second Bergen Interactive Music
Conferencia (BIMUC 08) is scheduled
to take place 28–30 April 2008 en
Bergen, Norway. The focus is on
challenges for music education in
escuelas, universidades, communities,
and art institutions in bringing new
approaches to music in learning and
creative and artistic development to
young people.
Web: www.bimuc.no
Anuncios
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Noticias
Brazil Symposium
The eleventh Brazilian Symposium
on Computer Music was convened in
São Paulo 1–3 September 2007. El
Brazilian Symposia are organized by
the Computer Music branch of the
Brazilian Computing Society, and is
hosted by the University of São
Paulo. The Symposium consists of
technical and music paper sessions,
discussion panels, and concerts.
Roger Dannenberg delivered the
keynote, and Mikhail Malt delivered
an invited address for the Symposium.
Web: gsd.ime.usp.br / sbcm / 2007 /
english / index.html
Musical Acoustics in Barcelona
El 2007 International Symposium
on Musical Acoustics took place in
Barcelona 9–12 September 2007.
Single- track sessions focused on
specifi c classes of instruments, el
singing voice, electronic musical
instruments, and perception, y uno
afternoon was entirely devoted to
physical modeling. The conference
coincided with the opening of the
new Barcelona Museum of Music.
Web: isma2007bcn.org
Musical Semantics in Genova
The second international conference
on Semantics and Digital Media
Tecnología (SAMT) was held in
Genova, Italia, en 5 December 2007.
The workshop brings together
researchers interested in understand-
ing the mapping between low- nivel
audio features and contextual inter-
pretations of music. The focus was
on models of musical perception,
methods for the extraction, análisis,
and representation of linguistic de-
scriptions of music. On the other side
of the semantic gap, bajo- level audio
features and analysis of music
structure were also discussed.
Web: irgroup.cs.uni- magdeburg.de /
lsas2007
Ars Electronica 2007: Goodbye
Privacy
El 2007 Ars Electronica festival,
Goodbye Privacy, took place during
September in Linz, Austria. Ars
Electronica attracted over 30,000
visitors this year for a rich variety of
seminars and presentations in
addition to media art exhibitions in
the form of performances, installa-
ciones, and networked and participa-
tory events. Computational and
innovative means of generating and
using sound play a signifi cant role in
many of the media works presented
at Ars Electronica (ver figura 1).
Web: www.aec.at
Music Communication Science
The inaugural International Con-
ference on Music Communication
Ciencia (ICOMCS) was held 5–7
December 2007 in Sydney, Austra-
lia. The objective of ICOMCS is to
develop an interdisciplinary under-
standing or application of music cog-
nition, percepción, and performance.
A broad range of session topics was
covered including the psychology
of performance, phrase structure
reconstruction from performance
datos, data sonifi cation, bio- señal
interfaces, measuring audience reac-
ciones, and rhythmic pattern learning.
Web: marcs.uws.edu.au / Enlaces /
ICoMusic / program.html
Music and the Brain
The Music, Cerebro, and Cognition
Workshop took place 7–8 December
2007 in Whistler, Canada, as part of
the Neural and Information Pro-
cessing Systems Conference (NIPS).
The conference recognizes music as
“organized sound” and spans topics
from signal processing and musical
structure to the cognition of music
and sound. The conference supports
interaction between the machine
learning and the neuroscience / cerebro
imaging communities with the goal
of fostering breakthroughs in various
areas of music technology such as
music information retrieval, expres-
sive music synthesis, interactivo
music making, and sound design.
Web: homepage.mac.com / davidrh /
MBCworkshop07 / Workshop.html
Score Space in Norway
Yolande Harris hosted a workshop on
Score Spaces 19–24 November 2007
in Maastricht. Score Space explores a
spatial approach to musical composi-
tion in an electronically extended
ambiente. It focuses investigation
and experimentation on issues such
as how an expanded notion of musi-
cal score can support new practices of
electronic instrumental music and
media art, and how the score can be
used to incorporate motion, ubicación,
and environmental data into interac-
tion with sound. Guest speakers for
the workshop included Jacob Kirke-
gaard and Hilary Jeffery.
Web: introinsitu.nl / taller
6
Computer Music Journal
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Cifra 1. Siren, Ray Lee at
Ars Electronica. Siren is a
whirling, spinning spec-
tacle of mechanical
movimiento, electronic
sound, and light. Fuente:
rubra.
The Brussels- París- Geneva
Spectrum
The second edition of the Interna-
tional Edition of Spectral Music,
Spectrum XXI (II), took place 29 Oc-
tober–7 November 2007 across
venues in Brussels, París, and Geneva.
Art Directors Ancu Dumitrescu and
Ana Maria Avram organized a pro-
gram that included concerts of
acousmatic music, live electronic
music and diffusion, and mixed
performances with traditional in-
struments, as well as conference
participation from musicologists.
Web: festivalspectrum21.tripod
.com / spectrum.pdf
Mass Digitization
The British Library Center for Con-
servation hosted the British Library
Sound Archive conference, ”Unlock-
ing Audio: Sharing Experience of
Forget for Orages d’aciers. Fernando
Mota’s piece, Manchetes, was recog-
nized as the Best Portuguese Piece.
The international jurors for the com-
petition were Francis Dhomont,
Sabine Schäfer, Joachim Krebs, y
Miguel Azguime.
Web: www.misomusic.com
Digital Arts Awards 2007
The Keio Research Institute in Japan
presented the 2007 Digital Arts
Awards for students working in the
areas of Digital Cinema, Interactive
Media, and Digital Music. En el
Music category, the winner was the
Gruppo Labun (Vincenzo D’Angelo,
Stefano Fumagalli, and Alessandro
Perini) from the Conservatorio di
Musica di Como in Italy for their
electroacoustic performance piece,
D- Homo. Honorable Mentions were
awarded to Soh Igarashi (Keio Univer-
sity, Japón) for Convergence, y para
Juraj Kojs (University of Virginia,
EE.UU) for In Secret. The Digital Music
jury was comprised of Toru Iwatake
(Keio University), Masahiro Miwa
(Institute of Advanced Media Arts
and Sciences), and Jon Appleton
(Dartmouth University, EE.UU).
Web: daa.sfc.keio.ac.jp / 2007 / en /
index.html
Mass Digitisation” in London 26–27
Octubre 2007. The conference ex-
plored the planning and strategies
required for the successful execution
of large- scale audio digitization proj-
ects and the technical and practical
issues involved. The presentations
are aimed at mass digitization practi-
tioners for sharing of best practice
and considering emerging standards.
Web: www.bl.uk / collections /
sound- archivo / unlockingaudio.html
Música Viva 2007 Competition
Winners
Miso Music Portugal has announced
the winner of the Eighth Electro-
acoustic Composition Competition,
Musica Viva 2007. The two top prizes
went to Pei- Yu Shi for Fall, aus der
Zeit . . . , and Arturo Fuentes for
Fosil KV. Honorable mentions were
awarded to Nicolas Bernier for
Liaisons Mécaniques, and Georges
European New Music Promoters
Awards
The European Conference of Promot-
ers of New Music (ECPNM) tiene
announced winners of its competi-
tion for the composition and inter-
pretation of live- electronic music
projects. The award was granted to
the German duo Con:Fusion (Sascha
and Marcia Lemke) for #Un4scene#.
Noticias
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Organizing partners of the award who
will be programming the prize-
winning piece during the coming
year include the Estonian Academy
of Music in Tallinn, Estonia; el
European Live Electronic Center in
Lüneburg and Hamburg, Alemania;
the Computer and Electronic Music
(CEM) Studio in Rotterdam, El
Países Bajos; Aspekte in Salzburg,
Austria; the Centri Musicali Attrez-
zati (CEMAT) in Rome, Italia;
Portuguese Music Information
Centre (Miso Music) in Rebelva,
Portugal; and Gaudeamus in Amster-
dam, Los países bajos.
Web: www.ecpnm.com / bull /
ecpnmbull.htm
New Research Center in
Manchester
The University of Manchester,
Inglaterra, has recently launched the
NOVARS Research Center for Electro-
acoustic Composition, Actuación,
and Sound Art. NOVARS is named
in honor of the seminal work of the
same name by composer Francis
Dhomont. The new £2.2 million
facility includes four new experimen-
tal music studios, a cluster room, y
a concert hall constructed with state-
de- el- art acoustic design and build-
ing materials. The Mantis Festival
was the occasion for the launch
which included a three- day series of
events and music.
Web: www.novars.manchester
.ac.uk
yo
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Computer Music Journal