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Semantic Description of Timbral Transformations in Music Production

Ryan Stables, Brecht De Man, Sean Enderby, Joshua D. Reiss, György Fazekas, Thomas Wilmering
2016 Proceedings of the 2016 ACM on Multimedia Conference - MM '16  
In music production, descriptive terminology is used to define perceived sound transformations.  ...  In this study, we present an analysis of a dataset containing descriptive terms gathered using a series of processing modules, embedded within a Digital Audio Workstation.  ...  This allows for the development of intuitive and assistive music production interfaces, based on descriptive cues.  ... 
doi:10.1145/2964284.2967238 dblp:conf/mm/StablesMERFW16 fatcat:wo3ycn2snbctbfbiivmmmtjjei


L. I. Povzun
timbral techniques and carries out timbral «transformation» within the framework of fixed mechanics.  ...  transformation of J.  ...  Timbral mimetic inventions in the instrumental and articulatory sphere are aimed at reproduction of certain sound qualities that cause symbolic figurative and semantic associations (sensory, visual, audio  ... 
doi:10.36059/978-966-397-201-5/56-74 fatcat:wi4ladr4kfd7jo6euncck53c2a

An Interlanguage Unification of Musical Timbre

Asterios Zacharakis, Konstantinos Pastiadis, Joshua D. Reiss
2015 Music Perception  
University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Music Perception: An Interdisciplinary Journal.  ...  JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive.  ...  Correspondence concerning this article should be addressed to Asterios Zacharakis, Aristotle University of Thessaloniki, School of Fine Arts, Music Department, 54124, University Campus, Thessaloniki, Greece  ... 
doi:10.1525/mp.2015.32.4.394 fatcat:67pbazrdsrfsfmp2chx6ikfzq4

Semantic Dimensions of Sound Mass Music

Jason Noble, Etienne Thoret, Max Henry, Stephen McAdams
2020 Music Perception  
Some aspects of participants' descriptions of their rating strategies appear to be reflected in their numerical ratings. We sought quantitative bases for these associations in the acoustic signals.  ...  This result suggests that semantic interpretations of music may involve qualities or attributes that are objectively present in the music, since computer simulation can use sound signals to partially reconstruct  ...  dimensions of musical timbre (Zacharakis & Pastiadis, 2016; Zacharakis, Pastiadis, & Reiss, 2012 , and semantic or narrative accounts of specific repertoires including commercial production music (Huovinen  ... 
doi:10.1525/mp.2020.38.2.214 fatcat:osoxwi4ntzbuxe6gbgyse6qtt4

The beauty of sound: Timbre as grounds for aesthetic and artistic value in music

Ben Mc Hugh, Nicholas Wiltsher
2022 Zenodo  
I argue that timbre should be thought of as providing the grounds for artistic and aesthetic values in music.  ...  To this end and firstly, I critique the physical sense of timbre in favour of two anti-realist senses of timbre.  ...  Musical performers as timbral agents play a substantial role in cases where timbral ambiguity in notation is present.  ... 
doi:10.5281/zenodo.5854949 fatcat:c6wlz6ge4bcfni4nu4jazfmdt4

Unifying Low-Level and High-Level Music Similarity Measures

D. Bogdanov, J. Serra, N. Wack, P. Herrera, X. Serra
2011 IEEE transactions on multimedia  
In this paper, we propose three of such distance measures based on the audio content. First, a low-level measure based on tempo-related description.  ...  Second, a high-level semantic measure based on the inference of different musical dimensions by support vector machines.  ...  In general, the hybrid distance represents a combinative approach, benefiting from timbral, rhythmic, and high-level semantic aspects of music similarity.  ... 
doi:10.1109/tmm.2011.2125784 fatcat:4yffzln4nfhg3oicodcuoqnw7y

Listening Through the Firewall: Semiotics of sound in networked improvisation

Roger Mills, Kirsty Beilharz
2012 Organised Sound  
TIMBRAL SEMANTICS AND SIGNIFIERS Timbre deserves particular attention as a signifier and semantic carrier of meaning in the context of intercultural networked improvisation.  ...  The research opens the way for further investigation of semiotic, semantic, cognitive and timbral analysis in order to understand the range of intercultural musical dialogues facilitated by network technologies  ... 
doi:10.1017/s1355771811000471 fatcat:vj4jyum6xzec5d7ispwgjzp2wi

Paralinguistic singing attribute recognition using supervised machine learning for describing the classical tenor solo singing voice in vocal pedagogy

Yanze Xu, Weiqing Wang, Huahua Cui, Mingyang Xu, Ming Li
2022 EURASIP Journal on Audio, Speech, and Music Processing  
In vocal pedagogy, vocal teachers listen and then describe the timbral phenomena of their student's singing voice.  ...  AbstractHumans can recognize someone's identity through their voice and describe the timbral phenomena of voices. Likewise, the singing voice also has timbral phenomena.  ...  This paper's remainder is as follows: Section 2 gives a description of SVQTD and its production pipeline.  ... 
doi:10.1186/s13636-022-00240-z pmid:35440938 pmcid:PMC9011380 fatcat:jg74ioju4jb6flzsmlhtgygxey

Navigating Descriptive Sub-Representations Of Musical Timbre

Spyridon Stasis, Jason Hockman, Ryan Stables
2017 Zenodo  
Musicians, audio engineers and producers often make use of common timbral adjectives to describe musical signals and transformations.  ...  In this study, a model is proposed for controlling an equaliser by navigating clusters of datapoints, which represent grouped parameter settings with the same timbral description.  ...  metadata, and a description of the sound transformation.  ... 
doi:10.5281/zenodo.1176170 fatcat:itfo4sicrnbtjpy6lu2g3ebd5y


L. I. Povzun
The term chamberliness (as an indication of intimacy, communicative and spatial constraint) occurs in the context of theoretical discussions, in musical descriptions.  ...  events, subsequently, in the transfer of instrumental and ensemble music to the presented genres, and conditioned transformed into the rules of "chamber etiquette" in the performance of ensembles, in  ... 
doi:10.36059/978-966-397-200-8/58-71 fatcat:ra6esej34zd5pbdyqc5wdrdmle

An Investigation Of Musical Timbre: Uncovering Salient Semantic Descriptors And Perceptual Dimensions

Asteris I. Zacharakis, Konstantinos Pastiadis, Georgios Papadelis, Joshua D. Reiss
2011 Zenodo  
It is widely applied in musical timbre research in order to reduce a large number of semantic descriptions to a smaller number of interpretable factors.  ...  Subsequently, such a developed semantic framework could be deployed in a semantically driven framework of audio signal processing with application in musical sound synthesis, audio post-production or other  ... 
doi:10.5281/zenodo.1414964 fatcat:pxv3su625fdcrpehzlnbfwd2si

Embodied Listening and Timbre

Zachary Wallmark, Marco Iacoboni, Choi Deblieck, Roger A. Kendall
2018 Music Perception  
Implications for recent theories of embodied music cognition, affect, and timbre semantics are discussed in conclusion.  ...  TIMBRE PLAYS AN ESSENTIAL ROLE IN TRANSMIT- ting musical affect, and in recent years, our understanding of emotional expression in music has been enriched by contributions from the burgeoning field of  ...  of timbral noisiness. (4) Perceived noisiness of each signal using a 0-100 VAME scale (not noisy-noisy), as our most direct semantic measure of timbral noisiness.  ... 
doi:10.1525/mp.2018.35.3.332 fatcat:jlfxkgh5efbqfmrwwr2vpog53i

Semantically Controlled Adaptive Equalisation in Reduced Dimensionality Parameter Space

Spyridon Stasis, Ryan Stables, Jason Hockman
2016 Applied Sciences  
Equalisation is one of the most commonly-used tools in sound production, allowing users to control the gains of different frequency components in an audio signal.  ...  The proposed model represents 13 equaliser parameters on a two-dimensional plane, which is trained with data extracted from a semantic equalisation plug-in, using the timbral adjectives warm and bright  ...  Acknowledgments: The work of the first author is supported by The Alexander S. Onassis Public Benefit Foundation.  ... 
doi:10.3390/app6040116 fatcat:benyckl74ncczodq7iz6bm72eu

Rapscom - A Framework For Rapid Prototyping Of Semantically Enhanced Score Music

Julian Rubisch, Jakob Doppler, Hannes Raffaseder
2011 Proceedings of the SMC Conferences  
and Technology 3 , as well as the Austrian Federal Ministry of Economy, Family and Youth 4 .  ...  Acknowledgments GeMMA is funded by the Austrian Research Promotion Agency (FFG 2 ) under the COIN (Cooperation & Innovation) programme on behalf of the Austrian Federal Ministry for Transport, Innovation  ...  of listeners (8 male, 6 female, between 21 and 50 years old) and asking them to • place the respective clip in the Circumplex, and • fill out a semantic differential of these musical/timbral parameters  ... 
doi:10.5281/zenodo.849980 fatcat:jzzqgjaw6fhbddjypyaumomgoi

Incrementally improving interactive music systems

Robert Rowe
1996 Contemporary Music Review  
Particularly for interactive music systems, those meant to perform with human players onstage in contexts that may include improvisation, such concepts are essential.  ...  There are strong musical motivations for current efforts to transfer the human concepts underlying musicianship to computer programs.  ...  The Fourier Transform can give quite accurate descriptions of the spectral content of a sound. This accuracy is constrained, however, when the transform must be performed in real time.  ... 
doi:10.1080/07494469600640051 fatcat:4jdlgmrlfjak7ht7mg57tv7ibm
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