\r\nLa première génération qui entre de plein droit dans la base est donc celle constituée par John Cage, Olivier Messiaen ou encore Elliott Carter.\r\n\u003C/p>\r\n\r\n\u003Ch3>Contenus\u003C/h3>\r\n\r\n\u003Cp style=\"text-align: justify;\">\r\nLes données sont progressivement mises à jour depuis juillet 2007, en remplacement de celles de l’ancienne version de la base, développée entre 1996 et 2001 par Marc Texier. L’information peut donc être incomplète pour certains compositeurs non encore traités : dans ce cas l’indication « ! Informations antérieures à 2002 » apparaît en haut de page. Pour tous les autres documents, la date de dernière mise à jour est indiquée en haut de page.\r\n\u003C/p>\r\n\r\n\u003Ch3>Mises à jour et nouvelles entrées\u003C/h3>\r\n\r\n\r\n\u003Cp style=\"text-align: justify;\">Les mises à jour se font compositeur par compositeur. Pour un compositeur donné, sont systématiquement revus ou créés les documents suivants :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>la biographie\u003C/li>\r\n \u003Cli>le catalogue exhaustif de ses œuvres (y compris, si possible, les œuvres disparues, retirées ou posthumes)\u003C/li>\r\n \u003Cli>une liste de ressources bibliographiques, discographiques et internet,\u003C/li>\r\n \u003Cli>des éventuels documents attachés (Parcours de l’œuvre, interviews, analyses, notes de programme etc.)\u003C/li>\r\n\u003C/ul>\r\n\u003Cp style=\"text-align: justify;\">\r\nLa définition des priorités de mises à jour et nouvelles entrées des compositeurs s’opèrent suivant une méthodologie basée sur l’observation de la vie culturelle européenne :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>Avant chaque saison, nous relevons les programmations à venir des principaux festivals, institutions et ensembles musicaux européens investis dans le domaine de la création musicale. Cette observation s’opère par cercles concentriques en partant de l’activité propre de l’Ircam (année n-2), puis de celle des partenaires privilégiés (année n-1) jusqu’aux grandes institutions et festivals européens de création (année n) ;\u003C/li>\r\n \u003Cli>Chaque compositeur est crédité de points en fonction de l’importance et de l’intensité de l’activité musicale le concernant. Ce classement permet de définir les priorités pour chaque trimestre ;\u003C/li>\r\n \u003Cli>Si un compositeur n’a pas obtenu assez de points pour figurer dans les priorités, il cumule ceux-ci sur le trimestre suivant ; et ainsi remonte progressivement dans la liste des priorités.\u003C/li>\r\n \u003Cli>Une fois mis à jour, les documents attachés à un compositeur sont valables trois ans, après lesquels le processus décrit ci-dessus reprend.\u003C/li>\r\n\u003C/ul>\t\r\n\r\n\u003Ch3>Erreurs ou omissions\u003C/h3>\t\r\n\t\t\t\t\r\n\u003Cp style=\"text-align: justify;\">\r\nSi la mise à jour est déjà effectuée (date postérieure à juin 2007) : nous invitons les musicologues, les compositeurs (ou leur éditeur) à nous signaler toute erreur ou omission importante. Elle sera corrigée, dans la mesure du possible, au cours du trimestre suivant. De même, nous les invitons à nous faire connaître leurs œuvres nouvelles, en mentionnant tous les éléments nécessaires à la création d’une fiche œuvre nouvelle.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\t\t\r\nSi la mise à jour n’est pas encore effectuée (indication : « mise à jour à venir ») : Les compositeurs peuvent nous signaler des erreurs ou omissions importantes. Ces indications seront prises en compte au moment de la mise à jour à venir. Un compositeur peut également demander le retrait de sa biographie dans l’attente de la mise à jour.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\r\nPour cela : \u003Ca href=\"mailto:brahms-contenu[at]ircam[dot]fr\">écrire\u003C/a> à l’administrateur de publication\r\n\u003C/p>\r\n",{"id":14,"url":15,"titleFr":16,"titleEn":11,"contentFr":17,"contentEn":11},"a3cd05aa-3447-487a-b4fc-213ba0f77e6b","/copyrights/","Mention Légale","La reproduction de contenus de ce site Web, en tout ou partie, est formellement interdite sans la permission écrite de l'Ircam. Les textes, images, logos, codes sources sont la propriété de l'Ircam, ou de détenteurs avec lesquels l'Ircam a négocié les droits de reproduction à sa seule fin d'utilisation dans le cadre du site Brahms. Tout contrevenant s'expose à des poursuites judiciaires. ",{"id":19,"url":20,"titleFr":21,"titleEn":11,"contentFr":22,"contentEn":11},"9162642e-ea99-48c3-8d3b-2dc2a3f8ba45","/repertoire/about/","Projet Répertoire Ircam","\u003Cp>Le Projet Répertoire Ircam est une collection d’analyses musicales en ligne d’environ 70 œuvres crées à l’Ircam et considérées comme représentatives de la culture de l’institut tant sur le plan artistique que technologique.\u003C/p>\r\n\r\n\u003Cp>Ce projet a débuté en 2006-2008 avec la création d’outils auteurs mises en œuvre par le département Interfaces Recherche/Création en collaboration avec le secteur recherche de l’institut. Les premières analyses ont été mises en ligne fin 2010 et il est prévu que la collection s’élargisse à un rythme de deux ou trois nouvelles analyse par an.\u003C/p>\r\n\r\n\u003Cp>Plusieurs objectifs sont poursuivis par ce projet :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>faire connaître les œuvres produites à l’Ircam à un public plus large,\u003C/li>\r\n\t\u003Cli>montrer la relation entre l’idée musicale et les technologies utilisés,\u003C/li>\r\n\t\u003Cli>identifier les nouveaux éléments du vocabulaire musical qui émergent à travers ces œuvres,\u003C/li>\r\n\t\u003Cli>offrir un support d’information aux interprètes.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>Chaque analyse est structurée en trois parties :\u003C/p>\r\n\r\n\u003Col>\r\n\t\u003Cli>description générale de l’œuvre,\u003C/li>\r\n\t\u003Cli>analyse des extraits de l’œuvre avec mise en relation de l’idée musicale et de l’écriture électronique,\u003C/li>\r\n\t\u003Cli>la liste de ressources spécifiques (type de problème musical abordé, technologies utilisées, œuvres abordant le même type de problématique) et générales (biographique, historique, technique).\u003C/li>\r\n\u003C/ol>\r\n\r\n\u003Cp>Les analyses seront également mises en relation avec :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>Brahms : une base de données encyclopédique en ligne de compositeurs de musique contemporaine de toutes les nationalités dont les œuvres ont été créées après 1945. Cette base contient actuellement environ 600 références. Pour chaque compositeur, il y a une partie biographique accompagnée des sources d’information, et une autre partie qui situe l’orientation esthétique, les phases principales et le contexte historique de l’œuvre.\u003C/li>\r\n\t\u003Cli>Images d’une œuvre : une collection des interviews filmés des compositeurs.\u003C/li>\r\n\t\u003Cli>Sidney : une base de données qui contient les éléments techniques (programmes informatiques, sons etc. ) nécessaires pour l’exécution de l’œuvre.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>A plus long terme, les analyses des nouvelles œuvres créés à l’Ircam viendront se rajouter au corpus donné dans l’annexe citée ci-dessus.\u003C/p>",{"data":24},{"personBySlug":25},{"firstName":26,"lastName":27,"privateState":28,"biographyDate":29,"resume":30,"resumeEn":31,"resources":32,"catalogueSource":33,"manualUpdateDate":29,"documents":11,"photo":34,"copyrights":36,"slug":37,"hasArticles":38,"articles":39,"type":100,"hasWorks":38,"hasBiography":38,"hasWorkcourse":101,"hasAnalyses":101,"hasBooks":101,"hasMonographs":101,"hasPartitions":101,"hasFloraAudios":101,"hasAudios":38,"hasVideos":38},"Aaron","Einbond","valid","2024-01-22T00:00:00.000Z","Compositeur américain né le 20 juin 1978 à New York.","American composer born 20 June 1978 in New York.","\u003Ch4 id=\"liens-internet\">Liens internet\u003C/h4>\n\u003Cul class=\"list-disc\">\u003Cli>Site du compositeur : \u003Ca href=\"https://aaroneinbond.wordpress.com/\">https://aaroneinbond.wordpress.com/\u003C/a>\u003C/li>\u003Cli>Éditions Gravis : \u003Ca href=\"https://www.editiongravis.de/verlag/authors.php?authors_id=151\">https://www.editiongravis.de/verlag/authors.php?authors_id=151\u003C/a>\u003C/li>\u003Cli>Page consacrée à Aaron EINBOND sur le site du Centre National de Création Musicale (CIRM) : \u003Ca href=\"http://www.cirm-manca.org/fiche-artiste.php?ar=135\">http://www.cirm-manca.org/fiche-artiste.php?ar=135\u003C/a>\u003C/li>\u003Cli>« Les Mercredis de STMS : Apprentissage automatique de la synthèse sonore spatiale, basée sur le corpus de \u003Cem>Prestidigitation\u003C/em>, pour percussion et électronique en 3D », vidéo captée le 14 septembre 2022 dans le studio 5 de l'Ircam, \u003Ca href=\"https://www.youtube.com/watch?v=j0kywabT0WQ\" title=\"à voir en ligne\">à voir en ligne\u003C/a>.\u003C/li>\u003C/ul>\n\u003Cp>\u003Cem>Liens vérifiés en janvier 2024\u003C/em>.\u003C/p>\n\u003Ch4 id=\"bibliographie-s-lective\">Bibliographie sélective\u003C/h4>\n\u003Ch5 id=\"-crits-d-aaron-einbond\">Écrits d'Aaron Einbond\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>Aaron EINBOND, « Musique instrumentale concrète: Timbral transcription in What the Blind See and Without Words », dans \u003Cem>The OM Composer's Book Vol.3\u003C/em> (édité par Jean Bresson, Carlos Agon, Gérard Assayag), Paris : Editions Delatour / Ircam-Centre Pompidou, 2016, pp.155-171.\u003C/li>\u003Cli>Aaron EINBOND, « 12-note Roots: The Fifth and Sixth Movements of \u003Cem>The Death of Moses.\u003C/em> », dans \u003Cem>Sing Ariel: Essays and Thoughts for Alexander Goehr’s 70th Birthday\u003C/em> (édité par Alison Latham), Aldershot, Éditions Ashgate Publishing Limited, 2003.\u003C/li>\u003Cli>Aaron EINBOND, Thibaut CARPENTIER, \u003Cem>Spherical correlation as a similarity measure for 3D radiation patterns of musical instruments\u003C/em>, 16ème Congrès Français d'Acoustique, Marseille, 2023, \u003Ca href=\"https://hal.science/hal-03649913/file/carpentier-correlation-cfa-2022.pdf\" title=\"à lire en ligne\">à lire en ligne\u003C/a>. \u003Cem>(lien vérifié en janvier 2024)\u003C/em>\u003C/li>\u003Cli>Aaron EINBOND, Aaron CASSIDY (Eds.), \u003Cem>Noise in and as Music\u003C/em>, Huddersfield : University of Huddersfield Press, 2013, \u003Ca href=\"https://unipress.hud.ac.uk/plugins/books/5/format/1/\" title=\"en accès libre\">en accès libre\u003C/a>. \u003Cem>(lien vérifié en janvier 2024)\u003C/em>\u003C/li>\u003Cli>Aaron EINBOND, John MACCALLUM, « Real-Time Analysis of Sensory Dissonance », dans \u003Cem>Computer Music Modeling and Retrieval. Sense of Sounds\u003C/em>, Heidelberg, Éditions Springer Verlag, 2008.\u003C/li>\u003C/ul>\n\u003Ch5 id=\"-crits-sur-aaron-einbond\">Écrits sur Aaron Einbond\u003C/h5>\n\u003Cul class=\"list-disc\">\u003Cli>Nicolas DONIN, « Sonic Imprints: Instrumental Resynthesis In Contemporary Composition », dans \u003Cem>Musical Listening in the Age of Technological Reproduction\u003C/em> (édité par Gianmario Borio), Éditions Ashgate Publishing Limited, 2015, pp.324-341.\u003C/li>\u003Cli>Rachel CUNIFFE, « A composer focusing on the sound around us », in \u003Cem>The Cusp\u003C/em>, 2017, \u003Ca href=\"https://thecuspmagazine.com/uk/aaron-einbond-interview-composer-focuses-sounds-around-us/\" title=\"à lire en ligne\">à lire en ligne\u003C/a>. \u003Cem>(lien vérifié en janvier 2024)\u003C/em>\u003C/li>\u003Cli>Tim RUTHERFORD-JOHNSON, « The World in Pieces. The Composer Aaron Einbond », in \u003Cem>Tempo\u003C/em>, Vol.73, N°290, 2019, pp. 7-12., \u003Ca href=\"https://musikderzeit.de/wp-content/uploads/sites/6/2019/07/Rutherford_The_World_in_Pieces_engl.pdf\" title=\"à lire en ligne\">à lire en ligne\u003C/a>. \u003Cem>(lien vérifié en janvier 2024)\u003C/em>\u003C/li>\u003C/ul>\n\u003Ch4 id=\"discographie-s-lective\">Discographie sélective\u003C/h4>\n\u003Cul class=\"list-disc\">\u003Cli>Aaron EINBOND, « Cosmologies », Séverine Ballon, Alvise Sinivia, Riot Ensemble, 1 CD All That Dust, 2023, ATD16.\u003C/li>\u003Cli>Aaron EINBOND, \u003Cem>Attempt at Exhausting a Place\u003C/em>, dans « SLOW MOTION - Qubit », avec des œuvres de David Bird, Alec Hall, Sally Decker & Briana Marela, 1 album digital, Carrier, 2022, CARRIER065.\u003C/li>\u003Cli>Aaron EINBOND, Matilde MEIRELES, « Cities », 1 CD Multi.Modal, 2019, m.m03.\u003C/li>\u003Cli>Aaron EINBOND, \u003Cem>Resistance\u003C/em>, dans « Heather Roche - πτελέα | Ptelea », avec des œuvres de Chikako Morishita, Martin Iddon, Martin Rane Bauck, Pedro Alvarez, Max Murray, 1 CD Huddersfield Contemporary Records, HCR09CD, 2015.\u003C/li>\u003Cli>Aaron EINBOND, \u003Cem>Silent Screen\u003C/em>, dans « Kobe Van Cauwenberghe - Give My Regards to 116th Street », avec des œuvres de Christopher Trapani, Paul Clift, Rama Gottfried, Taylor Brook, Alex Mincek, 1 CD Carrier, 2015, CARRIER028.\u003C/li>\u003Cli>Aaron EINBOND, « Without Words », Ensemble Dal Niente, 1 CD Carrier, 2013, CARRIER022.\u003C/li>\u003Cli>Aaron EINBOND, \u003Cem>Just Like Starting Over\u003C/em>, dans « Prime Recorder Ensemble, Antonio Politano - Spray », avec des œuvres de Fausto Romitelli, Andrea Sarto, Nicola Evangelisti, Kees Boeke, Agostino di Scipio, 1 CD Olive Music / Etcetera, 2012, KTC 1908.\u003C/li>\u003Cli>Aaron EINBOND, \u003Cem>Passagework\u003C/em>, dans « Yarn/Wire - Tone Builders », avec des œuvres de Kate Soper, Alex Mincek, Mei-Fang Lin, Eric Wubbels, Davíð Brynjar Franzson, Sam Pluta, 1 CD Carrier, 2010, CARRIER007.\u003C/li>\u003C/ul>\n","",{"getUrl":35},"https://storage.ressources.ircam.fr/ressources/persons/photos/db2c5ef5-c4f3-40fc-b96a-cf7458a966dd-thumbnail.jpg?response-cache-control=public%2C%20max-age%3D31536000%2C%20immutable&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ressources%2F20250922%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250922T090120Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=83ae9f290c03f94d34ba040e6b209db35e79c4129abd34271d5be319c4178a4f","Lydia Rilling","aaron-einbond",true,[40,46,52,58,64,70,76,82,88,94],{"id":41,"title":42,"url":43,"reference":44,"abstract":45},"a8bf94e9-807c-464f-a74d-5a0cef4864ef","Corpus-Based Transcription as an Approach to the Compositional Control of Timbre","https://hal.science/hal-01161032v1","\u003Ci>International Computer Music Conference (ICMC'09)\u003C/i>, 2009, Montreal, QC, Canada. ","Timbre space is a cognitive model useful to address the problem of structuring timbre in electronic music. The recent concept of corpus-based concatenative sound synthesis is proposed as an approach to timbral control in both real- and deferred-time applications. Using CataRT and related tools in the FTM and Gabor libraries for Max/MSP we describe a technique for real-time analysis of a live signal to pilot corpus-based synthesis, along with examples of compositional realizations in works for instruments, electronics, and sound installation. To extend this technique to computer-assisted composition for acoustic instruments, we develop tools using the Sound Description Interchange Format (SDIF) to export sonic descriptors to OpenMusic where they may be further manipulated and transcribed into an instrumental score. This presents a flexible technique for the compositional organization of noise-based instrumental sounds.",{"id":47,"title":48,"url":49,"reference":50,"abstract":51},"8a8c3346-e7fc-44b6-adfc-02b6a68d5610","Embodying Spatial Sound Synthesis with AI in Two Compositions for Instruments and 3-D Electronics","https://hal.science/hal-04553910v1","\u003Ci>Computer Music Journal\u003C/i>, 2024, 46 (4), pp.43-61. ","Abstract The situated spatial presence of musical instruments has been well studied in the fields of acoustics and music perception research, but so far it has not been the focus of human–AI interaction. We respond critically to this trend by seeking to reembody interactive electronics using data derived from natural acoustic phenomena. Two musical works, composed for human soloist and computer-generated live electronics, are intended to situate the listener in an immersive sonic environment in which real and virtual sources blend seamlessly. To do so, we experimented with two contrasting reproduction setups: a surrounding Ambisonic loudspeaker dome and a compact spherical loudspeaker array for radiation synthesis. A large database of measured radiation patterns of orchestral instruments served as a training set for machine learning models to control spatially rich 3-D patterns for electronic sounds. These are exploited during performance in response to live sounds captured with a spherical microphone array and used to train computer models of improvisation and to trigger corpus-based spatial synthesis. We show how AI techniques are useful to utilize complex, multidimensional, spatial data in the context of computer-assisted composition and human–computer interactive improvisation.",{"id":53,"title":54,"url":55,"reference":56,"abstract":57},"e39ba923-3bbb-40a8-ad56-6ea81a7f89d2","Corpus-Based Concatenative Synthesis: Perceptual Descriptors as an Approach to Composing and Analyzing Timbre","https://hal.science/hal-01106637v1","\u003Ci>Crossing the Corpus Callosum II: Neuroscience, Healing & Music\u003C/i>, Jan 2011, Cambridge, MA, États-Unis. ","How can sound descriptors arising from studies in music perception be applied to inform composing and hearing? Perceptual research by Wessel and Grey suggest timbre can be organized by listeners into a multi-dimensional spatial representation. Building on this work, we propose an approach to timbre that is based on computer analysis of perceptually-relevant descriptors. Using the recent concept of corpus-based concatenative synthesis (CBCS), a database of samples is plotted in a spatial representation corresponding to any two or three of these descriptors. A musical phrase may be generated by drawing a curve in the space or by closest matches to an external target sound file. While this technique can be used for more traditional sounds, it is especially effective for organizing non-pitched sounds based on their timbral characteristics, both in the contexts of electronic music and computer-assisted composition for acoustic instruments. We implement this technique with the CataRT package for computer programs Max/MSP and OpenMusic (OM). Recent works for instruments, interactive electronics, and sound installation illustrate this approach. Examples include What the Blind See for five instruments and live electronics, as well as a version of the same work for sound installation, in which the the listener is simultaneously the performer and part of the space itself. The title, taken from an article by neurologist Oliver Sacks, suggests perception as the focus of the musical experience. While these tools are already being effectively exploited by composers, they can be adapted for broader uses in improvisation, scholarship, and therapy.",{"id":59,"title":60,"url":61,"reference":62,"abstract":63},"179f50f1-3df8-49b6-9236-e075dad01159","Precise Pitch Control in Real Time Corpus-Based Concatenative Synthesis","https://hal.science/hal-01161443v1","\u003Ci>International Computer Music Conference (ICMC)\u003C/i>, Sep 2012, Ljubljana, France. pp.1-1. ","The need for fine-tuned microtonal pitch combined with the timbral richness of corpus-based concatenative synthesis has led to the development of a new tool for corpus-based pitch and loudness control in real time with CataRT. Drawing on recent research in feature modulation synthesis (FMS) as well as the bach library for MAX/MSP, we have implemented a set of new modules for CataRT that permit the user to define microtonal har- monies graphically and combine them with other audio descriptors to trigger concatenative synthesis in real or deferred time. Pitch information is generated from a pitch analysis or extracted from soundfile meta-data, and loudness may be controlled independently for different sound sets. Musical implementations already suggest promising results as well as future goals to generalize this approach to further timbral features for corpus-based FMS.",{"id":65,"title":66,"url":67,"reference":68,"abstract":69},"d67153a4-e5ad-4683-a7eb-ee75730e16e4","Fine-tuned Control of Concatenative Synthesis with CataRT Using the bach Library for Max","https://hal.science/hal-01161028v1","\u003Ci>International Computer Music Conference (ICMC)\u003C/i>, Sep 2014, Athens, Greece. pp.1-1. ","The electronic musician’s toolkit is increasingly characterized by fluidity between software, techniques, and genres. By combining two of the most exciting recent packages for MAX, CATART corpus-based concatenative synthesis (CBCS) and BACH: AUTOMATED COMPOSER’S HELPER, we propose a rich tool for real-time creation, storage, editing, re-synthesis, and transcription of concatenative sound. The modular structures of both packages can be advantageously recombined to exploit the best of their real-time and computer-assisted composition (CAC) capabilities. After loading a sample corpus in CATART, each grain, or unit, played from CATART is stored as a notehead in the bach.roll object along with its descriptor data and granular synthesis parameters including envelope and spatialization. The data is attached to the note itself (pitch, velocity, duration) or stored in user-defined slots than can be adjusted by hand or batch-edited using lambda-loops. Once stored, the contents of bach.roll can be dynamically edited and auditioned using CATART for playback. The results can be output as a sequence for synthesis, or used for CAC score-generation through a process termed Corpus-Based Transcription: rhythms are output with bach.quantize and further edited in bach.roll before export as a MUSICXML file to a notation program to produce a performer-readable score. Together these techniques look toward a concatenative DAW with promising capabilities for composers, improvisers, installation artists, and performers.",{"id":71,"title":72,"url":73,"reference":74,"abstract":75},"d07c7188-d900-430c-82fc-d700870a6b04","Instrumental Radiation Patterns as Models for Corpus-Based Spatial Sound Synthesis: Cosmologies for Piano and 3D Electronics","https://hal.science/hal-03348826v1","\u003Ci>International Computer Music Conference (ICMC)\u003C/i>, Pontificia Universidad Católica de Chile, 2021, Santiago, Chile. ","The Cosmologies project aims to situate the listener inside a virtual grand piano by enabling computer processes to learn from the spatial presence of the live instrument and performer. We propose novel techniques that leverage measurements of natural acoustic phenomena to inform spatial sound composition and synthesis. Measured radiation patterns of acoustic instruments are applied interactively in response to a live input to synthesize spatial forms in real time. We implement this with software tools for the first time connecting audio descriptor analysis and corpus-based synthesis to spatialization using Higher-Order Ambisonics and machine learning. The resulting musical work, Cosmologies for piano and 3D electronics, explodes the space inside the grand piano out to the space of the concert hall, allowing the listener to experience its secret inner life.",{"id":77,"title":78,"url":79,"reference":80,"abstract":81},"22374ece-d92d-4843-abb1-01c0fe95def0","Spherical correlation as a similarity measure for 3-D radiation patterns of musical instruments","https://hal.science/hal-04194122v1","\u003Ci>Acta Acustica\u003C/i>, 2023, 7 (40), ","We investigate the use of spherical cross-correlation as a similarity measure of sound radiation patterns, with potential applications for their study, organization, and manipulation. This work is motivated by the application of corpus-based synthesis techniques to spatial projection based on the radiation patterns of orchestral instruments. To this end, we wish to derive spatial descriptors to complement other audio features available for the organization of the sample corpus. Considering two directivity functions on the sphere, their spherical correlation can be computed from their spherical harmonic coefficients. In addition, one can search for the 3-D rotation matrix which maximizes the cross-correlation, i.e. which offers the optimal spherical shape matching. The mathematical foundations of these tools are well established in the literature; however, their practical use in the field of acoustics remains relatively limited and challenging. As a proof of concept, we apply these techniques both to simulated radiation data and to measurements derived from an existing database of 3-D directivity patterns of orchestral instruments. Using these examples we present several test cases to compare the results of spherical correlation to mathematical and acoustical expectations. A range of visualization methods are applied to analyze the test cases, including multi-dimensional scaling, employed as an efficient technique for data reduction and navigation. This article is an extended version of a study previously published in Carpentier, T. & Einbond, A. (2022). Spherical correlation as a similarity measure for 3D radiation patterns of musical instruments. 16th Congrès Français d'Acoustique (CFA)",{"id":83,"title":84,"url":85,"reference":86,"abstract":87},"206179ea-f91c-4abb-8787-cbb47904b9f0","Introducing CatOracle: Corpus-based Concatenative Improvisation with the Audio Oracle Algorithm","https://hal.science/hal-01427364v1","\u003Ci>International Computer Music Conference (ICMC)\u003C/i>, Hans Timmermans, Sep 2016, Utrecht, Netherlands. pp.141-147. ","CatOracle responds to the need to join high-level control of audio timbre with the organization of musical form in time. It is inspired by two powerful existing tools: CataRT for corpus-based concatenative synthesis based on the MuBu for Max library, and PyOracle for computer improvisation, combining for the first time audio descriptor analysis and learning and generation of musical structures. Harnessing a user-defined list of audio features, live or prerecorded audio is analyzed to construct an \"Audio Oracle\" as a basis for improvisation. CatOracle also extends features of classic concatenative synthesis to include live interactive audio mosaicking and score-based transcription using the Bach library for Max. The project suggests applications not only to live performance of written and improvised electroacoustic music, but also computer-assisted composition and musical analysis.",{"id":89,"title":90,"url":91,"reference":92,"abstract":93},"521743e7-fbd1-4831-8d08-40ec41dcfba7","Spatializing Timbre with Corpus-Based Concatenative Synthesis","https://hal.science/hal-01161253v1","\u003Ci>International Computer Music Conference (ICMC)\u003C/i>, Jun 2010, New York, United States. pp.1-1. ","Corpus-based concatenative synthesis presents unique possibilities for the visualization of audio descriptor data. These visualization tools can be applied to sound diffusion in the physical space of the concert hall using current spatialization technologies. Using CataRT and the FTM library for Max/MSP we develop a technique for the organization of a navigation space for synthesis based on user-defined spatial zones and informed by the perceptual concept of timbre space. Spatialization responds automatically to descriptor data and is controllable in real-time or can be recorded for later playback. This work has been realized in recent compositions for instruments, electronics, and sound installation using Wave Field Synthesis and Vector-Based Amplitude Panning. The goal is to place the listener in the midst of a virtual space of sounds organized by their descriptor data, simulating an immersion in timbre space.",{"id":95,"title":96,"url":97,"reference":98,"abstract":99},"a1fbee15-8cf6-4034-9297-00413bbbcdbc","Spherical correlation as a similarity measure for 3D radiation patterns of musical instruments","https://hal.science/hal-03649913v1","\u003Ci>16ème Congrès Français d’Acoustique\u003C/i>, Laboratoire de Mécanique et d'Acoustique, Apr 2022, Marseille, France. ","This work is part of an artistic-research residency where composer Aaron Einbond seeks to apply audio descriptor analysis and corpus-based synthesis techniques to the spatial manipulation of instrumental radiation patterns for projection with a compact spherical loudspeaker array. Starting from a database of 3D directivity patterns of orchestral instruments, measured with spherical microphone arrays in anechoic conditions, we wish to derive spatial descriptors in order to classify the corpus. This paper investigates the use of spherical cross-correlation as a similarity measure between radiation patterns. Considering two directivity patterns f and g as bandlimited, square integrable functions on the 2-sphere, their correlation can be computed from their spherical harmonic spectra via a spatial inverse discrete Fourier transform. The magnitudes of these Fourier coefficients provide a rotation-invariant representation of the functions on the sphere. One can therefore search for the transformation matrix m, in the 3D rotation group SO(3), which maximizes the cross-correlation, i.e. which offers the optimal spherical shape matching between f and g. The mathematical foundations of these tools are well established in the literature ; however, their practical use in the field of acoustics remains limited and challenging. In this study, we apply these techniques to both simulated and measured radiation data, attempting to answer a number of practical questions : How does the similarity measure behave when f and g are not rotated cousins ? How can we adapt the cross-correlation formalism established for complex-valued harmonics to real-valued harmonics, as the latter are predominantly used in the field of Ambisonics ? Can we compute the correlation of spherical spectra of different bandwidths ? What is the impact of the finite sampling distribution used for integration on the SO(3) space? And most importantly, is the cross-correlation an efficient measure for the classification of 3D radiation patterns ?","COMPOSER",false,["Reactive",103],{"$si18n:cached-locale-configs":104,"$si18n:resolved-locale":33,"$snuxt-seo-utils:routeRules":109,"$ssite-config":110},{"fr":105,"en":107},{"fallbacks":106,"cacheable":38},[],{"fallbacks":108,"cacheable":38},[],{"head":-1,"seoMeta":-1},{"_priority":111,"currentLocale":115,"defaultLocale":115,"description":116,"env":117,"name":118,"url":119},{"name":112,"env":113,"url":114,"description":112,"defaultLocale":114,"currentLocale":114},-3,-15,-2,"fr-FR","Ressources IRCAM est une plateforme de ressources musicales et sonores, développée par l'IRCAM, pour les artistes, les chercheurs et les passionnés de musique.","production","Ressources IRCAM","https://ressources.ircam.fr",["Set"],["ShallowReactive",122],{"/composer/aaron-einbond/articles":-1,"flat pages":-1},"/fr/composer/aaron-einbond/articles"]