Search

La propuesta trata sobre una serie de ejercicios y tareas para trabajar la fuerza de los grandes grupos musculares y la resistencia cardiovascular en el medio acuático, satisfaciendo las necesidades psicológicas básicas.

This book contains the Proceedings of the 16th Sound and Music Computing Conference (SMC2019) - "Music and Interaction"; held on 28-31 May, 2019, Málaga, Spain

This paper presents a corpus-based study on rhythmic patterns in ragtime and jazz. Ragtime and jazz are related genres, but there are open questions on what specifies the two genres. Earlier studies revealed that variations of a particular syncopation pattern, referred to as 121, are among the most frequently used patterns in ragtime music. Literature in musicology states that another pattern, clave, is often heard in jazz, particularly in songs composed before 1945. Using computational tools, this paper tests three hypotheses on the occurrence of 121 syncopation and clave patterns in ragtime and jazz. For this purpose, we introduce a new data set of 252 jazz MIDI files with annotated melody and metadata. We also use the RAG-collection, which consists of around 11000 ragtime MIDI files and metadata. Our analysis shows that syncopation patterns are significantly more frequent in the melody of ragtime pieces than in jazz. Clave on the other hand is found significantly more in jazz melodies than in ragtime. Our findings show that the frequencies of rhythmic patterns differ significantly between music genres, and thus can be used as a feature in automatic genre classification.

This paper presents a corpus-based study on rhythmic patterns in ragtime and jazz. Ragtime and jazz are related genres, but there are open questions on what specifies the two genres. Earlier studies revealed that variations of a particular syncopation pattern, referred to as 121, are among the most frequently used patterns in ragtime music. Literature in musicology states that another pattern, clave, is often heard in jazz, particularly in songs composed before 1945. Using computational tools, this paper tests three hypotheses on the occurrence of 121 syncopation and clave patterns in ragtime and jazz. For this purpose, we introduce a new data set of 252 jazz MIDI files with annotated melody and metadata. We also use the RAG-collection, which consists of around 11000 ragtime MIDI files and metadata. Our analysis shows that syncopation patterns are significantly more frequent in the melody of ragtime pieces than in jazz. Clave on the other hand is found significantly more in jazz melodies than in ragtime. Our findings show that the frequencies of rhythmic patterns differ significantly between music genres, and thus can be used as a feature in automatic genre classification.

L'objectiu principal del projecte, ha sigut crear una borsa on els professors, les empreses i altres universitats, ja siguin estatals o estrangeres, puguin publicar les seves ofertes de projectes de final de carrera per tal de que els estudiants de l'ETSEIB puguin accedir de forma centralitzada a aquestes per tal de poder escollir un projecte adient als seus gustos o que s'adeqüi a les seves necessitats.

L'objectiu principal del projecte, ha sigut crear una borsa on els professors, les empreses i altres universitats, ja siguin estatals o estrangeres, puguin publicar les seves ofertes de projectes de final de carrera per tal de que els estudiants de l'ETSEIB puguin accedir de forma centralitzada a aquestes per tal de poder escollir un projecte adient als seus gustos o que s'adeqüi a les seves necessitats.

L'objectiu principal del projecte, ha sigut crear una borsa on els professors, les empreses i altres universitats, ja siguin estatals o estrangeres, puguin publicar les seves ofertes de projectes de final de carrera per tal de que els estudiants de l'ETSEIB puguin accedir de forma centralitzada a aquestes per tal de poder escollir un projecte adient als seus gustos o que s'adeqüi a les seves necessitats.

We focus on physical models in which multiple strings are connected via junctions to form graphs. Starting with the case of the 1D wave equation, we show how to extend it to a string branching into two other strings, and from there how to build complex cyclic and acyclic graphs. We introduce the concept of dense models and show that a discretization of the 2D wave equation can be built using our methods, and that there are more efficient ways of modelling 2D wave propagation than a rectangular grid. We discuss how to apply Dirichlet and Neumann boundary conditions to a graph model, and show how to compute the frequency content of a graph using common methods. We then prove general lower and upper bounds computational complexity. Lastly, we show how to extend our results to other kinds of acoustical objects, such as linear bars, and how to add dampening to a graph model. A reference implementation in MATLAB and an interactive JUCE/C++ application is available online.

In this paper, implementation, instrument design and control issues surrounding a modular physical modelling synthesis environment are described. The environment is constructed as a network of stiff strings and a resonant plate, accompanied by user-defined connections and excitation models. The bow, in particular, is a novel feature in this setting. The system as a whole is simulated using finite difference (FD) methods. The mathematical formulation of these models is presented, alongside several new instrument designs, together with a real-time implementation in JUCE using FD methods. Control is through the Sensel Morph.

This paper presents and discusses the Compose With Sounds (CwS) Digital Audio Workstation (DAW) and its approach to sequencing musical materials. The system is designed to facilitate the composition within the realm of Sound-based music wherein sound objects (real or synthesised) are main musical unit of construction over traditional musical notes. Unlike traditional DAW’s or graphical audio programming environments (such as Pure Data, Max MSP etc.) that are based around interactions with sonic materials within tracks or audio graphs, the implementation presented here is based solely around sound objects. To achieve this a bespoke cross-platform audio engine known FSOM (Free Sound Object Mixer) was created in C++. To enhance the learning experience, imagery, dynamic 3D animations and models are used to allow for efficient exploration and learning. All tools within the system are con- trolled by a flexible permissions system that allows users or workshop leaders to create sessions with specific features based on their requirements. The system is part of a suite of pedagogical tools currently in development for the creation of experimental electronic music.

In this paper we propose a multisensory simulation of plucking guitar strings in virtual reality. The auditory feedback is generated by a physics-based simulation of guitar strings, and haptic feedback is provided by a combination of high fidelity vibrotactile actuators and a Phantom Omni haptic device. Moreover, we present a user study (n=29) exploring the perceived realism of the simulation and the relative importance of force and vibrotactile feedback for creating a realistic experience of plucking virtual strings. The study compares four conditions: no haptic feedback, vibrotactile feedback, force feedback, and a combination of force and vibrotactile feedback. The results indicate that the combination of vibrotactile and force feedback elicits the most realistic experience, and during this condition, the participants were less likely to inadvertently hit strings after the intended string had been plucked. Notably, no statistically significant differences were found between the conditions involving either vibrotactile or force feedback, which points towards an indication that haptic feedback is important but does not need to be high fidelity in order to enhance the quality of the experience.

This paper investigates how to design an embodied learning experience of a drumming teacher playing hand drums, to aid higher rhythm understanding and accuracy. By providing novices the first-person perspective of a drumming teacher while learning to play a West-African djembe drum, participants' learning was measured objectively by their ability to follow the drumming teachers rhythms. Participants subjective learning was assessed through a self assessment questionnaire measuring aspects of flow, user-experience, oneness, and presence. Two test iterations were conducted. In both there was found no significance difference in participants' ability to follow the drumming teacher' s tempo for the experimental group exposed to the first-person perspective of the teacher in a Virtual Reality (VR) drum lesson, versus the control group exposed to a 2D version of the stereoscopic drum lesson. There was found a significant difference in the experimental group' s presence scores in the first test iteration, and a significant difference in experimental group' s oneness scores in the second test iteration. Participants' subjective feelings indicated enjoyment and motivation to the presented learning technique in both groups.

Sound synthesis represents an indispensable tool for modern composers and performers, but achieving desired sonic results often requires a tedious manipulation of various numeric parameters. In order to facilitate this process, a number of possible approaches have been proposed, but without a systematic user research that could help researchers to articulate the problem and to make informed design decisions. The purpose of this study is to fill that gap and to investigate attitudes and habits of sound synthesizer users. The research was based on a questionnaire answered by 122 participants, which, beside the main questions about habits and attitudes, covered questions about their demographics, profession, educational background and experience in using sound synthesizers. The results were quantitatively analyzed in order to explore relations between all those dimensions. The main results suggest that the participants more often modify or create programs than they use existing presets or programs and that such habits do not depend on the participants’ education, profession, or experience.

In this demonstration we present novel physical models controlled by the Sensel Morph interface.

This paper investigates several enhancements to two well-established local alignment algorithms in the context of their use for melodic similarity. It uses the annotated dataset from the well-known Meertens Tune Collection to provide a ground truth and the research aim to answer the question, to what extent do these enhancements improve the quality of the algorithms? In the results, recursive application of the alignment algorithms, applied to a multilevel representation of the melodies, is shown to be very effective for improving the accuracy of the classification of the tunes into families. However, the ideas should be equally applicable to music search and melodic matching.