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VI Brazilian Symposium on
Computer Music
Rio de Janeiro, 19 - 22 July 1999
PROCEEDINGS
Editors:
Eduardo Reck Miranda & Geber Lisboa Ramalho
Symposium Chair:
Rodrigo Cicchelli Velloso
1999
Foreword from the Chairman
The VI Brazilian Symposium on Computer Music will offer a variety of
activities to all those who are interested on the interplay between music and
computer technology. Spread over four days, there will be a Tutorial, Paper
Sessions, Special Talks, Round Tables and Concerts representing the state-of-theart of the scientific and artistic research currently carried out in Brazil and abroad.
This year’s main theme - Espaços de Interseção: Informática e
Composição Musical - will be discussed during the talks of three of our
international guests who will focus on different aspects of the subject: the evolution
of computer technology applied to music composition, by Jean-Claude Risset;
issues of spatial manipulation in acousmatic music, by Francis Dhomont; and new
technologies in compositions dealing with live-electronics, by Thomas Kessler.
Also, the three concerts dedicated to the recent compositional output of some 30
composers working worldwide will offer a remarkable display of an art - music which found itself transformed by contemporary technology.
The conference will also provide a forum for those who deal with
computer technology applied to other areas of the musical universe: there will be a
Tutorial by Omar Baracaldo targeted at the use of computers in ear training; the
four Paper Sessions will be divided among topics such as Audio Signal Processing
and Sound Synthesis, Psychoacoustics and Cognitive Modeling, Computer Aided
Music Analysis Systems and Computer Aided Music Education, to name but a few;
whilst the prospects of the research currently carried out at Sony’s Computer
Science Laboratories will be presented by our fourth international guest, François
Pachet.
The opportunity to debate will also be contemplated during the
Symposium. The first round-table - Digital Convergence - will provide an
opportunity to discuss the process where different media - TV, Radio, Internet, etc.
- seem to be merging into one single object. How does this affect what we do and
how can we interfere in this process will be two of the questions asked. The second
round-table - Mesa Nucom - will debate issues that concern the Brazilian Computer
Music community. How can we strengthen current interdisciplinary initiatives scientific as well as artistic - allying music and computer technology and stimulate
others to take place in our country will be the main topics of this discussion.
I am confident that the Conference will provide a most exciting Forum for
the Computer Music communities of Brazil and beyond and I sincerely hope you
enjoy your time in Rio. Welcome to the VI SBC&M!
Rodrigo Cicchelli Velloso, Escola de Música da UFRJ
Chairman - VI Brazilian Symposium on Computer Music
Foreword from the Editors
Welcome to the VI Brazilian Symposium on Computer Music. The names
we give to our creations often lose their original significance over time, but it is
often too late when we realise their limitations. This year our symposium has
transcended what its name was supposed to encapsulate. Yes, it is “Brazilian” in
the sense that it takes place in Brazil and it is organised by a Brazilian community
of academics. Nevertheless, it has acquired a truly international dimension and
reputation. A glance at the programme committees for papers, compositions and
tutorials would suffice to demonstrate this, but what really makes a symposium
international is its participants: we were amazed to receive so many submissions
from so many different parts of the world this year. Likewise, the symposium has
transcended the somewhat outdated term “computer music” - which, incidentally,
never translated well into Portuguese. Clearly the computer is no longer the main
star on the stage because the plot of the play has become more complex: the
scientist and the engineer now share the stage of the symposium with a large
number of protagonists eager to discuss the “hows” and “whats” of computer
technology and its impact in music making. Hence the theme of this year, Musical
Composition and Computing Technology, and the emergence of papers sections
such as The Composer’s Forum and Computer-Aided Musicology.
However, as we are members of a national Computer Science Society,
our commitment to promote excellence in Science is as strong as ever. We have
increased the quality control of the technical papers and for the first time we are
publishing our proceedings entirely in English in order to make the work developed
by our compatriots more accessible to the international community.
All submitted papers were anonymously reviewed by three members of an
international papers committee, according to their areas of expertise. The selection
was based on the average grade given by the reviewers. We also took care to
monitor whether the authors had implemented the amendments suggested by the
reviewers, when appropriate. Needless to say, the chairs of the committee did not
review any papers and members of the committee did not have the chance to review
their own submissions.
The chairs of the papers committee would like to thank all members of this
committee for their commitment and all the authors for their support and interest in
our symposium. We look forward to hearing from you again next year.
Eduardo Miranda and Geber Ramalho
Rio de Janeiro, July 99
Committees
Papers Programme Committee
Aluizio Arcela, Universidade de Brasilia, Brazil
Peter Beyls, St Lukas Hogeschool Brussels, Belgium
Moisei Boroda, University of Bochum, Germany
Marcio Brandão, University of Edinburgh, UK
Antonio Camurri, University of Genova, Italy
Roger Dannenberg, Carnegie Mellon University, USA
Anastasia Georgaki, Ionian University, Greece
Ross Kirk, University of York, UK
Fabio Kon, University of Illinois Urbana-Champaign, USA
Mikhail Malt, Ircam, France
Jonatas, Manzolli, Unicamp, Brazil
Eduardo Miranda (chair) Lamesm/UFSM, Brazil and SONY Paris, France
Peter Nelson, University of Edinburgh, UK
Carlos Palombini, Universidade Federal de Pernambuco, Brazil
Geber Ramalho (chair), Universidade Federal de Pernambuco, Brazil
Francis Rumsey, University of Surrey, UK
Xavier Serra, IUA-Pompeu Fabra University, Spain
Petri Toiviainen, University of Jyvaskyla, Finland
Gerhard Widmer, University of Vienna, Austria
Music Composition Committee
Rodolfo Caesar (chair), Universidade Federal do Rio de Janeiro, Brazil
Rodrigo Cicchelli Velloso, Universidade Federal do Rio de Janeiro, Brazil
Francis Dhomont, Université de Montreal, Canada
Silvio Ferraz, PUC-SP, Brazil
Thomas Kessler, Musik Akademie - Basel, Switzerland
Denis Smalley, City University, London, UK
Ernani Aguiar, Universidade Federal do Rio de Janeiro, Brazil
André Cardoso, Universidade Federal do Rio de Janeiro, Brazil
José Arthur Rua, Universidade Federal do Rio de Janeiro, Brazil
Tutorials and Demonstrations Committee
Robert Willey (chair), Universidade Federal do Pará, Brazil
Didier Guigue, Universidade Federal da Paraíba, Brazil
Rodolfo Coelho da Souza, University of Texas, USA
Paris Psaros, University of California, USA
Pieces selected for the concerts of the VI SBC&M:
Adkins Matthew - Pagan Circus
Banasik Christian - Begegnung IV
Berger Gary - Transition
Biasutti Michele - Tavola IV
Bürck Rainer - STRINGendo
Calon Christian - Les Corps Éblouis
Carvalho Gilberto - FlutePie
Castagna Sebastian - Tango
Chen Chin-Chin - Points of Arrival
Climent Ricardo - Dsp-bop
Field Ambrose - Pyrotechnic
Freire Sergio - Cacos para um vitral
Fretwell Paul - Travelling Still
Garro Diego - Strum in a Teacup
Guigue Didier - Rios Brasileiros
Hadfield Graham - Io
Hedman Jens - Relief
Hyde Joseph - Vox Mecanix
Lee Junghae - Animation
Lorenzo Mario - Se Bifurca en Otro
Manzolli Jônatas - RecurSom
Minsburg Raúl - Voces del Recuerdo
Nunez Adolfo - Virtual
Pintér Gyula - Ekide and Monici
Sigal Sefchovich - Jorge Rodrigo Babel
Walsh Craig T. - Pipeline Burst Cache
Tutorials selected for the VI
SBC&M
Programação de Software para Treinamento Auditivo Utlizando HyperCard
Omar Baracaldo
Universidad de los Andes - Colombia
Invited Speakers
The Evolution of Computer Technology Applied to Music Composition
Jean-Claude Risset
CNRS - France
Du support 'a l'espace: musiques fixées e projetées
Francis Dhomont
Canadá
New Technologies in Live-Electronics Compositions
Thomas Kessler
Musik Academie, Basel - Switzerland
The Active Listening Project at Sony CSL
François Pachet
Sony-CSL/France
Contents
Audio Signal Processing and Sound Synthesis
Timbre Morphing of synthesised transients using the Wigner Time-Frequency
Distribution
Thomas Lysaght and David Vernon
Gestural Sounds by means of Wave Terrain Synthesis
Anderson Mills, Rodolfo Coelho de Souza
A Bond Graphs Approach to Physical Modelling of Musical Instruments
Andrew McGregor, Eduardo Miranda, Peter Gawthrop
Online Additive Synthesis by interfacing SOM-A with JavaSoundTM
Aluizio Arcela, Rodolfo Batista
Towards a Vocal Synthesiser: Problems and Prospects
Anastasia Georgaki
Psychoacoustics and Cognitive Modelling
Virtual Pitch and Pitch Salience in Contemporary Composing
Ludger Hofmann-Engl
Echoic Memory in Primitive Auditory Selection Attention
Ben Weedon and Zofia Kaminska
Computer-Aided Music Analysis and Languages for
Composition
MUSAS: A Program for Analysis and Synthesis of Musical Spaces
Gilberto Carvalho, Hudson Lacerda
The Influence of Text in Computer Music Composition: an Approach to Expression
Modelling
Juan Reyes, Maria Muñoz
A Computer Environment for Polymodal Music
Jônatas Manzolli
Computer-Aided Musical Analysis of Extended Vocal Techniques for
Compositional Applications
Leonardo Fuks
Artificial Intelligence
A Stochastic Musical Composer Based on Adaptive Algorithms
Bruno Basseto, João José Neto
A Robotic Rhythmic System
Algeir Sampaio, Pablo Javier Cavalcanti, João Homero Fillho
An Intelligent Hybrid Model for Chord Prediction
Uraquitan Cunha, Geber Ramalho
Developing a Timbre Morphing Package: the Process of Automatic Feature
Identification
C.J. Hope
The Composer’s Forum: Electroacoustic Music
Models of Sound Representation in Electroacoustic Composition
Fabio Furnalete
The Sonic Object: Preliminary Considerations
Carlos Palombini
Real-Time Interactive Systems and Sound Diffusion
RTSPA1: a Program and some Technical and Practical Remarks for Real-Time
Sound Spacialisation
Oscar Pablo Di Liscia
Gesture Control of Musical Processes: A Max Environment for the Lightning
Carlos Cerana
Using DirectCsound: a Realtime-Oriented Version of Csound
Gabriel Maldonado
Artificial Life and Evolutionary Music Systems
Towards an Artificial Life Approach to the Origins of Music
Eduardo Reck Miranda
An Evolutionary Approach to Algorithmic Composition
Jônatas Manzolli, Artemis Moroni, Fernando von Zuben and ricardo Gudwin
GeNotator: an Environment for Exploring the Application of Evolutionary
Techniques in Computer Assisted Composition
Kurt Thywissen
Computer-Aided Musicology and Musical Education
Musicology Facing the Challenges of Computer Projection of its own
Interdisciplinarity
Mirjana Veselinovic-Hofman
The Principles of Structural Unit Separation of Deciphering the Neume Hymnals
Irina Bakhmutova, Vladimir Gusev, Tatyana Titkova
The Quantitative Study of Local Variation Regularities on the Base of Russian,
French and American Folk Songs
Irina Bakhmutova, Lyubov Nemytikova, Vladimir Gusev, Tatyana Titkova
Developing a Software for Music Education: an interdisciplinary project
Susana Kruger, Eloy Fritsch, Luciano Flores, Roges Grandi, Tiago dos Santos,
Liane Hentschke, and Rosa Maria Viccari