The “Т|А” Project: the Duo of the Human Being and the Computer
Article Sidebar
Main Article Content
Abstract
The aim of the “Т|А” project is to research the potentials of the computer system as a “virtual” performing musician
(“agent”), its possibilities in the creation and transformation of musical material in artistic and procedural conditions
founded on the perception and analysis of sound manifestation of the artistic conception and the outer expression of
emotions of the human being – the “real” performer. The software especially created for the project makes it possible
to realize the interactive duo of the “real” and the “virtual” musicians, where the latter perceive the sound of the part
of the human performer and by making use of the genetic algorithm assembles it into the sound “landscape” of its own
musical part. The “real” musician directs the process of performance of the “agent” by means of change of the emotions
expressed by the face. Each change of emotional state finds its reflection in the adjustment of the characteristics of
timbre and reverberation utilized by the computer system of sound elements and the transformation of the sound
of the entire “virtual” part. Basing itself on scholarly works about the peculiarities of the correlation of sounds of a
particular pitch and/or timbre and the emotional states aroused by them, as well as the auditory tests carried out directly
as part of the project, the article demonstrates a structure of correlation of the basic emotions with the frequency and
spatial parameters of sound. On the example of two specific musical compositions this work gives a description of the
algorithmic and creative processes of man and machine and also discusses the problems and perspectives of such kind
of interactive ensemble.
Keywords: interaction between man and computer, discernment of emotions, genetic algorithm, interactive
music.
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Krasnoskulov A. V. Evolyutsionnoe modelirovanie muzyki: printsipy, podkhody, problemy [The Evolutional Modeling of Music: Principles, Approaches, Issues]. Yuzhno-Rossiyskiy muzykal’nyy al’manakh [South-Russian Musical Anthology]. 2016. No. 1 (22), pp. 24–30.
3. Krasnoskulov A. V. Evolyutsionnye vychisleniya v interaktivnoy muzyke [Evolutionary Computations in Interactive Music]. Vestnik muzykal’noy nauki [Herald of Musical Scholarship]. 2016. No. 2 (12), pp. 54–59.
4. Chau C. J., Mo R., Horner A. The Correspondence of Music Emotion and Timbre in Sustained Musical Instrument Sounds. Journal of the Audio Engineering Society. 2014. Vol. 62, no. 10, pp. 663–675.
5. Chau C. J., Mo R., Horner A. The Emotional Characteristics of Piano Sounds with Different Pitch and Dynamics. Journal of the Audio Engineering Society. 2016. Vol. 64, no. 11, pp. 918–932.
6. Chau C. J., Wu B., Horner A. Timbre Features and Music Emotion in Plucked String, Mallet Percussion, and Keyboard Tones. Proceedings of the 40th International Computer Music Conference (ICMC). Michigan, 2014, pp. 982–989.
7. Evolutionary Computer Music. Miranda, Eduardo Reck; Biles, John Al (Eds.) London: Springer, 2007. 249 p.
8. Mo R., Wu B., Horner A. The Effects of Reverberation on the Emotional Characteristics of Musical Instruments. Journal of the Audio Engineering Society. 2015. Vol. 63, no. 12, pp. 966–979.
9. Winters R. M., Hattwick I., Wanderley M. M. Emotional Data in Music Performance: Two Audio Environments for the Emotional Imaging Composer. Proceedings of the 3rd International Conference on Music & Emotion (ICME 3). Jyväskylä, Finland, 11th–15th June 2013. URL: https://jyx.jyu.fi/dspace/bitstream/handle/123456789/41617/R.%20Michael%20Winters%20-%20Emotional%20Data%20in%20Music%20Performance%20-%20Two%20Audio%20Environments%20for%20the%20Emotional%20Imaging%20Composer.pdf?sequence=1.
10. Wu B., Horner A., Lee C. Musical Timbre and Emotion: The Identification of Salient Timbral Features in Sustained Musical Instrument Tones Equalized in Attack Time and Spectral Centroid. Proceedings of the 40th International Computer Music Conference (ICMC). Michigan, 2014, pp. 928–934.