Eduardo Quintanar Miranda - Academia.edu (original) (raw)
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Papers by Eduardo Quintanar Miranda
Psychology of Music, 2014
There has been a significant amount of work implementing systems for algorithmic composition with... more There has been a significant amount of work implementing systems for algorithmic composition with the intention of targeting specific emotional responses in the listener, but a full review of this work is not currently available. This gap creates a shared obstacle to those entering the field. Our aim is thus to give an overview of progress in the area of these affectively driven systems for algorithmic composition. Performative and transformative systems are included and differentiated where appropriate, highlighting the challenges these systems now face if they are to be adapted to, or have already incorporated, some form of affective control. Possible real-time applications for such systems, utilizing affectively driven algorithmic composition and biophysical sensing to monitor and induce affective states in the listener are suggested.
This paper introduces EV Meta-Model, a new system for representing musical knowledge for computer... more This paper introduces EV Meta-Model, a new system for representing musical knowledge for computer-aided composition. It starts with a brief historical discussion on the fields of composition and sound synthesis. Then, the practice of musical composition is presented as a communication process from composers to listeners, where musical messages go through different representations: from the complex abstractions of composers and their compositional tools, to the performers and the perceptual representation of listeners. EV Meta-Model is proposed as a generic tool for representing any kind of time-based events that manifest themselves as coherent representations at different levels, including high-levels of musical abstractions. At the same time, it is intended to be a dynamic representation system, capable of handling each element as a "living" variable, and transmitting such dynamic character to the music that it represents. As examples of its applicability, the paper presents the Evscore Ontology, the implementation of EVcsound, a tool for the creation of detailed compositions with flexible temporal representations, and finally an example of algorithmic composition upon the EV Model.
Computer Music Journal, 2010
Modeling music theories with computer programs has attracted composers and scholars for a long ti... more Modeling music theories with computer programs has attracted composers and scholars for a long time. On the one hand, the resulting programs can serve as algorithmic composition tools. On the other hand, such an approach leads to a better understanding of existing as well as newly developed theories, which in turn can lead to a better understanding of music, as well as to better ways to retrieve music from databases. Constraint programming (Apt 2003) has often been used to create computational models of music theories and composition. Constraint-based harmonization systems were surveyed by Pachet and Roy (2001); other examples include purely rhythmic tasks (Sandred 2003), Fuxian counterpoint (Schottstaedt 1989), Ligeti-like textures (Chemillier and Truchet 2001; Laurson and Kuuskankare 2001), and instrument-specific writing (Laurson and Kuuskankare 2001). Many music constraint systems have been proposed in which users implement their own music theory models. Two seminal systems are PWConstraints (Laurson 1996) and Situation (Rueda et al. 1998). Carla (Courtot 1990) is one of the earliest systems. Other examples include the aggregation of the music representation MusES with the constraint system BackTalk (Pachet and Roy 1995), Arno (Anders 2000), OMClouds (Truchet and Codognet 2004), andÖrjan Sandred's PWMC defined on top of PWConstraints (Sandred 2010, in this issue). A survey of music-constraint programming in general and a detailed comparison of existing systems is provided by Anders and Miranda (in press). Each system provides the following components, which are essential for solving musical constraint satisfaction problems (CSP). It defines a music representation (score) where some aspects are
Computer Music Journal, 1993
Psychology of Music, 2014
There has been a significant amount of work implementing systems for algorithmic composition with... more There has been a significant amount of work implementing systems for algorithmic composition with the intention of targeting specific emotional responses in the listener, but a full review of this work is not currently available. This gap creates a shared obstacle to those entering the field. Our aim is thus to give an overview of progress in the area of these affectively driven systems for algorithmic composition. Performative and transformative systems are included and differentiated where appropriate, highlighting the challenges these systems now face if they are to be adapted to, or have already incorporated, some form of affective control. Possible real-time applications for such systems, utilizing affectively driven algorithmic composition and biophysical sensing to monitor and induce affective states in the listener are suggested.
This paper introduces EV Meta-Model, a new system for representing musical knowledge for computer... more This paper introduces EV Meta-Model, a new system for representing musical knowledge for computer-aided composition. It starts with a brief historical discussion on the fields of composition and sound synthesis. Then, the practice of musical composition is presented as a communication process from composers to listeners, where musical messages go through different representations: from the complex abstractions of composers and their compositional tools, to the performers and the perceptual representation of listeners. EV Meta-Model is proposed as a generic tool for representing any kind of time-based events that manifest themselves as coherent representations at different levels, including high-levels of musical abstractions. At the same time, it is intended to be a dynamic representation system, capable of handling each element as a "living" variable, and transmitting such dynamic character to the music that it represents. As examples of its applicability, the paper presents the Evscore Ontology, the implementation of EVcsound, a tool for the creation of detailed compositions with flexible temporal representations, and finally an example of algorithmic composition upon the EV Model.
Computer Music Journal, 2010
Modeling music theories with computer programs has attracted composers and scholars for a long ti... more Modeling music theories with computer programs has attracted composers and scholars for a long time. On the one hand, the resulting programs can serve as algorithmic composition tools. On the other hand, such an approach leads to a better understanding of existing as well as newly developed theories, which in turn can lead to a better understanding of music, as well as to better ways to retrieve music from databases. Constraint programming (Apt 2003) has often been used to create computational models of music theories and composition. Constraint-based harmonization systems were surveyed by Pachet and Roy (2001); other examples include purely rhythmic tasks (Sandred 2003), Fuxian counterpoint (Schottstaedt 1989), Ligeti-like textures (Chemillier and Truchet 2001; Laurson and Kuuskankare 2001), and instrument-specific writing (Laurson and Kuuskankare 2001). Many music constraint systems have been proposed in which users implement their own music theory models. Two seminal systems are PWConstraints (Laurson 1996) and Situation (Rueda et al. 1998). Carla (Courtot 1990) is one of the earliest systems. Other examples include the aggregation of the music representation MusES with the constraint system BackTalk (Pachet and Roy 1995), Arno (Anders 2000), OMClouds (Truchet and Codognet 2004), andÖrjan Sandred's PWMC defined on top of PWConstraints (Sandred 2010, in this issue). A survey of music-constraint programming in general and a detailed comparison of existing systems is provided by Anders and Miranda (in press). Each system provides the following components, which are essential for solving musical constraint satisfaction problems (CSP). It defines a music representation (score) where some aspects are
Computer Music Journal, 1993