A simple model aimed to emulate the control exerted by a flautist over selected parameters while ... more A simple model aimed to emulate the control exerted by a flautist over selected parameters while exciting the flute is proposed. Using a fuzzy logic based control system, a mu-sically meaningful mapping between performance vari-ables and physical model parameters is obtained. The real time implementation in Pd (Pure data) environment shows an adequate matching between the outputs of the fuzzy system and previous experimental data.
In this work, we approach the design, implementation and evaluation of AudioGraphics, a modular c... more In this work, we approach the design, implementation and evaluation of AudioGraphics, a modular computer program intended to provide activities relating mathematics to music and sound. The goal in designing this program was to facilitate mathematic representation learning processes by having pupils draw coordinates on a two-axis graphic representing the variation of sound frequency thru time (pitch patterns). AudioGraphics was designed to pupils aged 9, 10 and 11 in Elementary Chilean Schools. To carry out this work, we followed a thre-stages method: 1) generating significative metaphores relating two-axis graphic representations and sound. 2) Development of a functional prototype with a didactic guide, that passed a usability evaluation process. 3) Assessment of AudioGraphics by teachers and pupils (this last shown here). Pupils’ results of assesment (N=67) at three Chilean prioritary centres show an excelent reception of the computer program. Dimensions of evaluation –math learnin...
Stochastic resonance is a nonlinear phenomenon that oc-curs when the addition of noise to a weak ... more Stochastic resonance is a nonlinear phenomenon that oc-curs when the addition of noise to a weak signal enhances its detectability or its information content. An optimal amount of added noise results in a maximum enhance-ment. The addition of noise allows the perception of a signal in contexts where it could not be perceived at all because of its low amplitude. Two sound synthesis tech-niques inspired on this phenomenon are proposed in this article. First, by artificially attenuating an audio signal be-low a certain threshold and then adding the proper amount of noise, it is possible to construct a modified version of the original signal, that retains some of its perceptual char-acteristics but that is indeed a different signal. Second, a variant of this phenomenon that is not restricted to sub-threshold signals, known as suprathreshold stochastic res-onance, was also explored as a novel synthesis technique. Patches in Max/MSP were created in order to demonstrate these procedures.
Individual subjects made both verbal attribute magni-tude estimations (VAME) and similarity judgm... more Individual subjects made both verbal attribute magni-tude estimations (VAME) and similarity judgments of 12 electro-acoustic (computer generated) sounds. Three between-subjects factors were considered: musical training, familiarity with electro-acoustic music and compositional background. The sounds were constructed using different spectral and morphological (temporal) features, presented as part of the theory of spectromorphology (Smalley, 1986, 1997). Three spectral types (note, node and noise) and four temporal amplitude envelopes (attack-impulse, closed attack-decay, open attack-decay and graduated continuant) were combined to create the stimuli. The VAME consisted of 10 verbal scales, based on words chosen from Smalley's terminology. Similarity judgments considered all the 78 possible pairs of sounds, including same-sound compar-isons. The obtained data were analyzed using repeated measures analysis of variance, hierarchical clustering (HC) and multidimensional scaling (MDS...
This article describes a novel audio synthesis technique based on sound particles, behavioral rul... more This article describes a novel audio synthesis technique based on sound particles, behavioral rules and fuzzy logic. Our approach borrows ideas from many-body classical physics, quantum mechanics, multi-agent and complex systems. The technique allows the creation of highly complex sonic behavior by very simple means, using the idea of a sound particle as its point of departure. Each sound particle in the system possesses several fuzzy properties, such as frequency, intensity and charge. These properties are used as inputs to a rule-based fuzzy logic inference system that controls the temporal evolution (trajectories) of the particles and the interactions between them. The rules are easy to elaborate, modify and adjust, because they resemble human reasoning and require no knowledge of the mathematical or physical nature of the trajectories or the interactions. The main objective of the proposed synthesis technique is to provide an intuitive, easy to use and flexible interface to the ...
ABSTRACT This article describes methods of sound synthesis based on auditory distortion products,... more ABSTRACT This article describes methods of sound synthesis based on auditory distortion products, often called combination tones. In 1856, Helmholtz was the first to identify sum and difference tones as products of auditory distortion. Today this phenomenon is well studied in the context of otoacoustic emissions, and the “distortion” is understood as a product of what is termed the cochlear amplifier. These tones have had a rich history in the music of improvisers and drone artists. Until now, the use of distortion tones in technological music has largely been rudimentary and dependent on very high amplitudes in order for the distortion products to be heard by audiences. Discussed here are synthesis methods to render these tones more easily audible and lend them the dynamic properties of traditional acoustic sound, thus making auditory distortion a practical domain for sound synthesis. An adaptation of single-sideband synthesis is particularly effective for capturing the dynamic properties of audio inputs in real time. Also presented is an analytic solution for matching up to four harmonics of a target spectrum. Most interestingly, the spatial imagery produced by these techniques is very distinctive, and over loudspeakers the normal assumptions of spatial hearing do not apply. Audio examples are provided that illustrate the discussion.
ABSTRACT This article describes a synthesis technique based on the sonification of the dynamic be... more ABSTRACT This article describes a synthesis technique based on the sonification of the dynamic behavior of a quantum particle enclosed in an infinite square well. More specifically, we sonify the momentum distribution of a one-dimensional Gaussian bouncing wave packet model. We have chosen this particular case because of its relative simplicity and interesting dynamic behavior, which makes it suitable for a novel sonification mapping that can be applied to standard synthesis techniques, resulting in the generation of appealing sounds. In addition, this sonification might provide useful insight into the behavior of the quantum particle. In particular, this model exhibits quantum revivals, minimizes uncertainty, and exhibits similarities to the case of a classical bouncing ball. The proposed model has been implemented in real time in both the Max/MSP and the Pure Data environments. The algorithm is based on concepts of additive synthesis where each oscillator describes the eigenfunctions that characterize the state evolution of the wave packet. We also provide an analysis of the sounds produced by the model from both a physical and a perceptual point of view.
ABSTRACT We explore different approaches for generating music from the flocking dynamics of group... more ABSTRACT We explore different approaches for generating music from the flocking dynamics of groups of mobile autonomous agents following a simple decentralized control rule. By developing software that links these dynamics to a set of sound wave generators, we study how each approach reflects sonically the transition to collective order and which produces musically interesting results. We consider three qualitatively different ways of translating flocking dynamics into music: (1) A direct approach that maps agent positions to sounds, (2) a synchronization approach where each agent carries an oscillator that couples to neighboring agents, and (3) a physics-inspired approach that mimics the sound that would result from an effective friction between neighboring agents. We find that all approaches allow the listener to discriminate between different phases in the system, but that the second and third can yield more musically interesting and appealing results.
Proceedings of the International Computer Music …, 2004
... Rodrigo F. Cádiz ... Despite its more than 40 years of appli-cations in engineering, economic... more ... Rodrigo F. Cádiz ... Despite its more than 40 years of appli-cations in engineering, economics and social sciences, fuzzy logic has seldom been used in the ... ID-FUSIONES is an audiovisual work composed by the author and graphic designer Luz Marıa Cury in the period May 2000 ...
Nowadays, fuzzy logic applications can be found in a variety of fields, specially engineering and... more Nowadays, fuzzy logic applications can be found in a variety of fields, specially engineering and scientific areas. However, applications of fuzzy logic in the artistic fields are not abundant. This is highly surprising if we consider the fact that other related techniques such as neural networks and genetic algorithms have been widely used for artistic and creative purposes. Two applications of fuzzy logic in the artistic domain are presented here: a fuzzy logic-based mapping strategy for audiovisual composition and a novel audio synthesis technique based on sound particles and fuzzy logic.
... Rodrigo F. Cádiz Music Technology Program School of Music, Northwestern University 711 Elgin ... more ... Rodrigo F. Cádiz Music Technology Program School of Music, Northwestern University 711 Elgin Road ... been widely used in a va-riety of fields, most prominently engineering and control ... audiovisual work composed by the author in collaboration with visual artist Luz María Cury ...
ABSTRACT Head Tracking systems with head pose estimation have several applications in human-compu... more ABSTRACT Head Tracking systems with head pose estimation have several applications in human-computer interaction and constitute a key component of 3D audio environments. Most developed systems to date are restricted to a range of poses in which the user has to be facing the camera, are sensible to the lightning conditions and are not identity-invariant. These constrains make these approaches not very appropriate for 3D audio. In this work, we propose a head tracking system with accurate head-pose estimation in the infrared spectrum that uses the Nintendo Wii Remote to track a circlet with infrared diodes. The system doesn't restrict the user to be facing the camera, is less sensitive to the lighting conditions and is completelly identity-invariant. Additionally, the system eliminates the camera inclination using the accelerometer data of the device and the head coordinates are transmitted over the network using the OSC protocol, allowing communication with most of the 3D audio engines available today.
A simple model aimed to emulate the control exerted by a flautist over selected parameters while ... more A simple model aimed to emulate the control exerted by a flautist over selected parameters while exciting the flute is proposed. Using a fuzzy logic based control system, a mu-sically meaningful mapping between performance vari-ables and physical model parameters is obtained. The real time implementation in Pd (Pure data) environment shows an adequate matching between the outputs of the fuzzy system and previous experimental data.
In this work, we approach the design, implementation and evaluation of AudioGraphics, a modular c... more In this work, we approach the design, implementation and evaluation of AudioGraphics, a modular computer program intended to provide activities relating mathematics to music and sound. The goal in designing this program was to facilitate mathematic representation learning processes by having pupils draw coordinates on a two-axis graphic representing the variation of sound frequency thru time (pitch patterns). AudioGraphics was designed to pupils aged 9, 10 and 11 in Elementary Chilean Schools. To carry out this work, we followed a thre-stages method: 1) generating significative metaphores relating two-axis graphic representations and sound. 2) Development of a functional prototype with a didactic guide, that passed a usability evaluation process. 3) Assessment of AudioGraphics by teachers and pupils (this last shown here). Pupils’ results of assesment (N=67) at three Chilean prioritary centres show an excelent reception of the computer program. Dimensions of evaluation –math learnin...
Stochastic resonance is a nonlinear phenomenon that oc-curs when the addition of noise to a weak ... more Stochastic resonance is a nonlinear phenomenon that oc-curs when the addition of noise to a weak signal enhances its detectability or its information content. An optimal amount of added noise results in a maximum enhance-ment. The addition of noise allows the perception of a signal in contexts where it could not be perceived at all because of its low amplitude. Two sound synthesis tech-niques inspired on this phenomenon are proposed in this article. First, by artificially attenuating an audio signal be-low a certain threshold and then adding the proper amount of noise, it is possible to construct a modified version of the original signal, that retains some of its perceptual char-acteristics but that is indeed a different signal. Second, a variant of this phenomenon that is not restricted to sub-threshold signals, known as suprathreshold stochastic res-onance, was also explored as a novel synthesis technique. Patches in Max/MSP were created in order to demonstrate these procedures.
Individual subjects made both verbal attribute magni-tude estimations (VAME) and similarity judgm... more Individual subjects made both verbal attribute magni-tude estimations (VAME) and similarity judgments of 12 electro-acoustic (computer generated) sounds. Three between-subjects factors were considered: musical training, familiarity with electro-acoustic music and compositional background. The sounds were constructed using different spectral and morphological (temporal) features, presented as part of the theory of spectromorphology (Smalley, 1986, 1997). Three spectral types (note, node and noise) and four temporal amplitude envelopes (attack-impulse, closed attack-decay, open attack-decay and graduated continuant) were combined to create the stimuli. The VAME consisted of 10 verbal scales, based on words chosen from Smalley's terminology. Similarity judgments considered all the 78 possible pairs of sounds, including same-sound compar-isons. The obtained data were analyzed using repeated measures analysis of variance, hierarchical clustering (HC) and multidimensional scaling (MDS...
This article describes a novel audio synthesis technique based on sound particles, behavioral rul... more This article describes a novel audio synthesis technique based on sound particles, behavioral rules and fuzzy logic. Our approach borrows ideas from many-body classical physics, quantum mechanics, multi-agent and complex systems. The technique allows the creation of highly complex sonic behavior by very simple means, using the idea of a sound particle as its point of departure. Each sound particle in the system possesses several fuzzy properties, such as frequency, intensity and charge. These properties are used as inputs to a rule-based fuzzy logic inference system that controls the temporal evolution (trajectories) of the particles and the interactions between them. The rules are easy to elaborate, modify and adjust, because they resemble human reasoning and require no knowledge of the mathematical or physical nature of the trajectories or the interactions. The main objective of the proposed synthesis technique is to provide an intuitive, easy to use and flexible interface to the ...
ABSTRACT This article describes methods of sound synthesis based on auditory distortion products,... more ABSTRACT This article describes methods of sound synthesis based on auditory distortion products, often called combination tones. In 1856, Helmholtz was the first to identify sum and difference tones as products of auditory distortion. Today this phenomenon is well studied in the context of otoacoustic emissions, and the “distortion” is understood as a product of what is termed the cochlear amplifier. These tones have had a rich history in the music of improvisers and drone artists. Until now, the use of distortion tones in technological music has largely been rudimentary and dependent on very high amplitudes in order for the distortion products to be heard by audiences. Discussed here are synthesis methods to render these tones more easily audible and lend them the dynamic properties of traditional acoustic sound, thus making auditory distortion a practical domain for sound synthesis. An adaptation of single-sideband synthesis is particularly effective for capturing the dynamic properties of audio inputs in real time. Also presented is an analytic solution for matching up to four harmonics of a target spectrum. Most interestingly, the spatial imagery produced by these techniques is very distinctive, and over loudspeakers the normal assumptions of spatial hearing do not apply. Audio examples are provided that illustrate the discussion.
ABSTRACT This article describes a synthesis technique based on the sonification of the dynamic be... more ABSTRACT This article describes a synthesis technique based on the sonification of the dynamic behavior of a quantum particle enclosed in an infinite square well. More specifically, we sonify the momentum distribution of a one-dimensional Gaussian bouncing wave packet model. We have chosen this particular case because of its relative simplicity and interesting dynamic behavior, which makes it suitable for a novel sonification mapping that can be applied to standard synthesis techniques, resulting in the generation of appealing sounds. In addition, this sonification might provide useful insight into the behavior of the quantum particle. In particular, this model exhibits quantum revivals, minimizes uncertainty, and exhibits similarities to the case of a classical bouncing ball. The proposed model has been implemented in real time in both the Max/MSP and the Pure Data environments. The algorithm is based on concepts of additive synthesis where each oscillator describes the eigenfunctions that characterize the state evolution of the wave packet. We also provide an analysis of the sounds produced by the model from both a physical and a perceptual point of view.
ABSTRACT We explore different approaches for generating music from the flocking dynamics of group... more ABSTRACT We explore different approaches for generating music from the flocking dynamics of groups of mobile autonomous agents following a simple decentralized control rule. By developing software that links these dynamics to a set of sound wave generators, we study how each approach reflects sonically the transition to collective order and which produces musically interesting results. We consider three qualitatively different ways of translating flocking dynamics into music: (1) A direct approach that maps agent positions to sounds, (2) a synchronization approach where each agent carries an oscillator that couples to neighboring agents, and (3) a physics-inspired approach that mimics the sound that would result from an effective friction between neighboring agents. We find that all approaches allow the listener to discriminate between different phases in the system, but that the second and third can yield more musically interesting and appealing results.
Proceedings of the International Computer Music …, 2004
... Rodrigo F. Cádiz ... Despite its more than 40 years of appli-cations in engineering, economic... more ... Rodrigo F. Cádiz ... Despite its more than 40 years of appli-cations in engineering, economics and social sciences, fuzzy logic has seldom been used in the ... ID-FUSIONES is an audiovisual work composed by the author and graphic designer Luz Marıa Cury in the period May 2000 ...
Nowadays, fuzzy logic applications can be found in a variety of fields, specially engineering and... more Nowadays, fuzzy logic applications can be found in a variety of fields, specially engineering and scientific areas. However, applications of fuzzy logic in the artistic fields are not abundant. This is highly surprising if we consider the fact that other related techniques such as neural networks and genetic algorithms have been widely used for artistic and creative purposes. Two applications of fuzzy logic in the artistic domain are presented here: a fuzzy logic-based mapping strategy for audiovisual composition and a novel audio synthesis technique based on sound particles and fuzzy logic.
... Rodrigo F. Cádiz Music Technology Program School of Music, Northwestern University 711 Elgin ... more ... Rodrigo F. Cádiz Music Technology Program School of Music, Northwestern University 711 Elgin Road ... been widely used in a va-riety of fields, most prominently engineering and control ... audiovisual work composed by the author in collaboration with visual artist Luz María Cury ...
ABSTRACT Head Tracking systems with head pose estimation have several applications in human-compu... more ABSTRACT Head Tracking systems with head pose estimation have several applications in human-computer interaction and constitute a key component of 3D audio environments. Most developed systems to date are restricted to a range of poses in which the user has to be facing the camera, are sensible to the lightning conditions and are not identity-invariant. These constrains make these approaches not very appropriate for 3D audio. In this work, we propose a head tracking system with accurate head-pose estimation in the infrared spectrum that uses the Nintendo Wii Remote to track a circlet with infrared diodes. The system doesn't restrict the user to be facing the camera, is less sensitive to the lighting conditions and is completelly identity-invariant. Additionally, the system eliminates the camera inclination using the accelerometer data of the device and the head coordinates are transmitted over the network using the OSC protocol, allowing communication with most of the 3D audio engines available today.
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