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International audience; In most physical models of brass instruments, the air jet (located at the exciter) is governed by an equation of Bernoulli-type for which basic, unsteady or lossy versions are available. The non-linearity introduced by such model is known to be of utmost importance for wind instruments: it is responsible for self-oscillations when fed by a power source. However, this type of model is unable to make the air flow work at a mobile boundary (lip) as it does not account for any transverse component (the vertical dimension during normal brass playing) in the velocity field. In this sense, it is ill adapted to properly address the power exchanges between the jet and the lips. This paper addresses the following twofold issue. The first issue is the derivation of an air flow model in the unsteady case that restores the fundamental property of passivity at boundaries. The second issue is the test of its relevance in self-oscillating contexts, based on passive-guaranteed simulations of a simplified complete instrument. To make the air flow model as simple as possible, its derivation relies on standard Bernoulli assumptions (irrotational, incompressible flow without loss) except for the boundary conditions at the wall. It is derived in two steps. First, we solve the 2D velocity and pressure fields of the Euler equation for boundary conditions that are adapted to a moving lip. Second, we derive a macroscopic model based on averaged velocities and pressures. This yields a finite dimensional differential system which proves to be equivalent to the original one, in the sense that both the velocity and the pressure fields can be recovered from the macroscopic variables. Moreover, it preserves the power balance of the original physical system. Then, a simplified model of an instrument is built by connecting this system to a lip (mass-spring-damper) and to a conservative straight pipe with an ideally dissipative termination. Passivity is fulfilled and the complete power balance is explicitly encoded by recasting the model into the “Port-Hamiltonian formulation”. A numerical scheme that preserves passivity is proposed to simulate the complete system supplied by an ideal air pressure generator. Finally, results are compared with those based on the standard Bernoulli equation.

In this article the authors discuss the possibility of presenting the unique qualities of “the body” in contemporary dance practice through tailored digital choreographic objects. They reflect on some implications of abstraction in cognitive science and on “the body” as a site of exploration and knowledge in the realm of social, moral and relational being.

International audience; The bach library is a package for Max meant to bring symbolic music representation and computer-aided composition in a real-time environment (Agostini & Ghisi, 2013, 2015). In this article, we introduce a more ambitious project: situating the bach library inside a wider family of tools dealing with real-time computer-aided composition in Max, which we call the ‘bach family’. We give an overview of its core member (bach) and of its second member (cage: a high-level library of ready-made modules). We introduce its third member (dada: a library of non-standard user interfaces, currently under development), and discuss future perspectives and ideas.

International audience

cote interne IRCAM: Caramiaux12a; None / None; National audience; This article presents a segmentation model applied to musician movements, taking into account different time structures. In particular we report on ancillary gestures that are not directly linked to sound production, whilst still being entirely part of the global instrumental gesture. Precisely, we study movements of the clarinet captured with an optical 3D motion capture system, analysing ancillary movements assuming that they can be considered as a sequence of primitive actions regarded as base shapes. A stochastic model called the Segmental Hidden Markov Model is used. It allows for the representation of a continuous trajectory as a sequence of primitive temporal profiles taken from a given dictionary. We evaluate the model using two criteria: the Euclidean norm and the log-likelihood, then show that the size of the dictionary does not influence the fitting accuracy and propose a method for building a dictionary based on the log-likelihood criterion. Finally, we show that the sequence of primitive shapes can also be considered as a sequence of symbols enabling us to interpret the data as symbolic patterns and motifs. Based on this representation, we show that circular patterns occur in all players' performances. This symbolic step produces a different layer of interpretation, linked to a larger time scale, which might not be obvious from a direct signal representation.

cote interne IRCAM: Bevilacqua12a; None / None; National audience; We present interdisciplinary research undertaken for the development of an ‘augmented’ string quartet. Hardware and software components were especially designed to enable mixed acoustic/electronic music where bow gestures drive digital sound processes. Precisely, inertial motion sensors and a bow force sensor were added to each musician's bow, and dedicated modules allowed forthe wireless data transmission to an on-line gesture analysis system. Prior to the performance, a research phase was performed to evaluate qualitatively the variability of the gesture data. Recording sessions of both gesture and audio data were carried out with a professional string quartet. The music material included a set of prototypical musical phrases containing various bowing styles and playing techniques as well as a complete music composition. The analysis of the recorded sessions allowed us to compare the consistency within and between players. While a given player was found to be generally consistent, the comparison between players revealed significant gesture idiosyncrasies. These results helped us to adapt a real-time gesture analysis system called the gesture follower. This tool was successful to automatically synchronize the live performance with electronic sound transformation in two concerts. A quantitative assessment is reported on a specific section of the piece, illustrating the accuracy and the types of errors encountered.

International audience; Communicating about sounds is a difficult task without a technical language, and naïve speakers often rely on different kinds of non-linguistic vocalizations and body gestures (Lemaitre et al. 2014). Previous work has independently studied how effectively people describe sounds with gestures or vocalizations (Caramiaux, 2014, Lemaitre and Rocchesso, 2014). However, speech communication studies suggest a more intimate link between the two processes (Kendon, 2004). Our study thus focused on the combination of manual gestures and non-speech vocalizations in the communication of sounds. We first collected a large database of vocal and gestural imitations of a variety of sounds (audio, video, and motion sensor data). Qualitative analysis of gestural strategies resulted in three hypotheses: (1) voice is more effective than gesture for communicating rhythmic information, (2) textural aspects are communicated with shaky gestures, and (3) concurrent streams of sound events can be split between gestures and voice. These hypotheses were validated in a second experiment in which 20 participants imitated 25 specifically synthesized sounds: rhythmic noise bursts, granular textures, and layered streams. Statistical analyses compared acoustics features of synthesized sounds, vocal features, and a set of novel gestural features based on a wavelet representation of the acceleration data.

In a Human-Computer Interaction context, we aim to elaborate an adaptive and generic interaction model in two different use cases: Embodied Conversational Agents and Creative Musical Agents for musical improvisation. To reach this goal, we'll try to use the concepts of adaptation and synchronization to enhance the interactive abilities of our agents and guide the development of our interaction model, and will try to make synchrony emerge from non-verbal dimensions of interaction., Comment: Intelligent Virtual Agents 2015 Doctoral Consortium, Aug 2015, Delft, Netherlands. IVA Doctoral Consortium, 2015

International audience; This article introduces a library of external objects for real-time computer-aided composition and musical notation in Max. The library provides Max with a set of tools for the graphical representation of musical notation, manipulation of musical scores through a variety of approaches ranging from GUI interaction to constraint programming, and sequencing. The library is oriented to real-time interaction, and is meant to interoperate easily with other processes or devices controlled by Max, such as DSP tools, MIDI instruments, or generic hardware systems. These features and design choices place our software at the intersection of various categories of musical software environments and approaches, allowing it to help reduce the gap found between tools for sound-based, electroacoustic musical practices, and for symbol-based, traditional composition. The library is called “bach: automated composer’s helper.”

International audience; In this article we present an API and a set of Javascript modules for the synchronized scheduling and aligned playback of predetermined sequences of events such as notes, audio segments , and parameter changes as well as media streams (e.g. audio buffers) based on the Web Audio API logical time. The API has been designed to facilitate the development on both ends, the implementation of modules which generate event sequences or media streams as well as the integration of such modules into complex audio applications that require flexible scheduling, playback and synchronization.

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International audience; La collaboration entre professionnels dans le cadre de la scolarisation des élèves à besoins spécifiques reste une problématique centrale, particulièrement dans un contexte inclusif. De plus, dans ce même contexte, le rôle de l'enseignant spécialisé s'est graduellement modifié, allant vers une collaboration de plus en plus étroite avec l'enseignant ordinaire. Ainsi, le travail orthopédagogique se réalise maintenant de plus en plus au sein même du groupe-classe (coenseignement) (Friend et Cook, 2007 ; Tremblay, 2012b). À partir de travaux de recherches, le coenseignement sera, d'une part, analysé sur le plan de sa pertinence avec le changement de paradigme amené par l'inclusion scolaire, et d'autre part, sur le plan des implications pratiques de cette collaboration sur les pratiques enseignantes.

Several studies have investigated the encoding and perception of emotional expressivity in music performance. A relevant question concerns how the ability to communicate emotions in music performance is acquired. In accordance with recent theories on the embodiment of emotion, we suggest here that both the expression and recognition of emotion in music might at least in part rely on knowledge about the sounds of expressive body movements. We test this hypothesis by drawing parallels between musical expression of emotions and expression of emotions in sounds associated with a non-musical motor activity: walking. In a combined production-perception design, two experiments were conducted, and expressive acoustical features were compared across modalities. An initial performance experiment tested for similar feature use in walking sounds and music performance, and revealed that strong similarities exist. Features related to sound intensity, tempo and tempo regularity were identified as been used similarly in both domains. Participants in a subsequent perception experiment were able to recognize both non-emotional and emotional properties of the sound-generating walkers. An analysis of the acoustical correlates of behavioral data revealed that variations in sound intensity, tempo, and tempo regularity were likely used to recognize expressed emotions. Taken together, these results lend support the motor origin hypothesis for the musical expression of emotions. QC 20150126

cote interne IRCAM: Einbond14a; None / None; National audience; 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.

cote interne IRCAM: Schwarz14b; None / None; National audience; We propose ways of enriching the timbral potential of gestural sonic material captured via piezo or contact microphones, through latency-free convolution of the microphone signal with grains from a sound corpus. This creates a new way to combine the sonic richness of large sound corpora, easily accessible via navigation through a timbral descriptor space, with the intuitive gestural interaction with a surface, captured by any contact microphone. We use convolution to excite the grains from the corpus via the microphone input, capturing the contact interaction sounds, which allows articulation of the corpus by hitting, scratching, or strumming a surface with various parts of the hands or objects. We also show how changes of grains have to be carefully handled, how one can smoothly interpolate between neighbouring grains, and finally evaluate the system against previous attempts.

Background. Some human immunodeficiency virus (HIV)-infected individuals initiating combination antiretroviral therapy (cART) with low CD4 counts achieve viral suppression but not CD4 cell recovery. We aimed to identify (1) risk factors for failure to achieve CD4 count >200 cells/μL after 3 years of sustained viral suppression and (2) the association of the achieved CD4 count with subsequent mortality.Methods. We included treated HIV-infected adults from 2 large international HIV cohorts, who had viral suppression (≤500 HIV type 1 RNA copies/mL) for >3 years with CD4 count ≤200 cells/μL at start of the suppressed period. Logistic regression was used to identify risk factors for incomplete CD4 recovery (≤200 cells/μL) and Cox regression to identify associations with mortality.Results. Of 5550 eligible individuals, 835 (15%) did not reach a CD4 count >200 cells/μL after 3 years of suppression. Increasing age, lower initial CD4 count, male heterosexual and injection drug use transmission, cART initiation after 1998, and longer time from initiation of cART to start of the virally suppressed period were risk factors for not achieving a CD4 count >200 cells/μL. Individuals with CD4 ≤200 cells/μL after 3 years of viral suppression had substantially increased mortality (adjusted hazard ratio, 2.60; 95% confidence interval, 1.86-3.61) compared with those who achieved CD4 count >200 cells/μL. The increased mortality was seen across different patient groups and for all causes of death.Conclusions. Virally suppressed HIV-positive individuals on cART who do not achieve a CD4 count >200 cells/μL have substantially increased long-term mortality. © The Author 2014.

cote interne IRCAM: Caramiaux14a; National audience; We investigated gesture description of sound stimuli performed during a listening task. Our hypothesis is that the strategies in gestural responses depend on the level of identification of the sound source and specifically on the identification of the action causing the sound. To validate our hypothesis, we conducted two experiments. In the first experiment, we built two corpora of sounds. The first corpus contains sounds with identifiable causal actions. The second contains sounds for which no causal actions could be identified. These corpora properties were validated through a listening test. In the second experiment, participants performed arm and hand gestures synchronously while listening to sounds taken from these corpora. Afterward, we conducted interviews asking participants to verbalize their experience while watching their own video recordings. They were questioned on their perception of the listened sounds and on their gestural strategies. We showed that for the sounds where causal action can be identified, participants mainly mimic the action that has produced the sound. In the other case, when no action can be associated with the sound, participants trace contours related to sound acoustic features. We also found that the interparticipants’ gesture variability is higher for causal sounds compared to noncausal sounds. Variability demonstrates that, in the first case, participants have several ways of producing the same action, whereas in the second case, the sound features tend to make the gesture responses consistent.

cote interne IRCAM: Caramiaux14c; None / None; National audience; Gesture-to-sound mapping is generally defined as the association between gestural and sound parameters. This article describes an approach that brings forward the perception–action loop as a fundamental design principle for gesture–sound mapping in digital music instrument. Our approach considers the processes of listening as the foundation—and the first step—in the design of action–sound relationships. In this design process, the relationship between action and sound is derived from actions that can be perceived in the sound. Building on previous work on listening modes and gestural descriptions, we propose to distinguish between three mapping strategies: instantaneous, temporal, and metaphorical. Our approach makes use of machine-learning techniques for building prototypes, from digital music instruments to interactive installations. Four different examples of scenarios and prototypes are described and discussed.

cote interne IRCAM: Sanlaville14a; None / None; International audience; Adaptation in an Interactive Model designed for Human Conversation and Music Improvisation: a preparatory outline

International audience; Recent research on bodily self-consciousness has assumed that it consists of three distinct components: the experience of owning a body (body ownership); the experience of being a body with a given location within the environment (self-location); and the experience of taking a first-person, body-centered, perspective on that environment (perspective). Here we review recent neuroimaging studies suggesting that at least two of these components-body ownership and self-location-are implemented in rather distinct neural substrates, located, respectively, in the premotor cortex and in the temporo-parietal junction. We examine these results and consider them in relation to clinical evidence from patients with altered body perception and work on a variety of multisensory, body-related illusions, such as the rubber hand illusion, the full body illusion, the body swap illusion and the enfacement illusion. We conclude by providing a preliminary synthesis of the data on bodily self-consciousness and its neural correlates. (C) 2013 Elsevier Inc. All rights reserved.

cote interne IRCAM: Cacciatore13a; None / None; National audience; Tamonontamo (2012) is a piece for amplified vocal quartet, choir of 24 singers and live electronics. The focus of this article is about the work made in collaboration with the Real-Time Music Interaction Team of Ircam. Augustin Muller, computer music programmer working with me at Ircam for this project, upgraded the CataRT software adding a Spat~ module to relate the corpus-based synthesis with the spatialization. In most of works the spatialization of sounds depends from the aesthetic choose of the composer. The Spat~ software allows the drawing in the space of linear movements of a source among a pre-selected number of loudspeakers with a user-friendly graphical interface. In this patch, we used Spat to spatialize the sounds in a non-linear way. The logic of spatialization depends on the pair of audio descriptors chosen in the set-up of the CataRT graphical display. In this sense, the aesthetic ideas of the composer refer not locally to each sound but on the choosing of the audio descriptors used for the x, y axis. A further Spat-related display has been implemented to split the space of analysis/playing from the space of diffusion of sounds. The implementation of the Unispring algorithm in the mnm.distribute external Max/MSP object allows the distribution of grains rescaling their position inside a pre-drawn sub-space. The interpolation between different shapes or the change of audio descriptors on the x, y axis for both displays can be programmed and made in real time. The storage of the synthesis as database (in a text file), allows the possibility to recall the analysis and recover the shapes drawn previously. Hiding and permanent deletion of some selected corpora in the database is also possible. The use of colour to work on the z axis is possible and is among the next step of this work. The upgrade of the use of Spat~ to an ambisonics system for diffusion of sounds represents the possibility to make—through the concatenative synthesis—a genuine work of 3D-sound-sculpting.

cote interne IRCAM: Schwarz13b; None / None; National audience; Corpus-based concatenative synthesis (CBCS) is a recent sound synthesis method, based on descriptor analysis of any number of existing or live-recorded sounds, and synthesis by selection of sound segments from the database matching sound characteristics given by the user. While the previous phase of research focused mainly on the analysis and synthesis methods, and handling of the corpus, current research now turns more and more towards how expert musicians, designers, the general public, or children can interact efficiently and creatively with a corpus of sounds. We'll look at gestural control of the navigation through the sound space, how it can be controlled by audio input to transform sound in surprising ways, or to transcribe and re-orchestrate environmental sound, and at its use for live performance, especially in an improvisation setting between a instrumental and a CBCS performer, where recording the corpus live from the instrument creates a stronger and more direct coupling between them, and lastly sound installations that open up discovery and interaction with rich sound corpora to the general public and children.

International audience; Participatory workshops have been organized within the framework of the ANR project Legos that concerns gesture-sound interactive systems. These workshops addressed both theoretical issues and experimentation with prototypes. The first goal was to stimulate new ideas related to the control of everyday objects using sound feedback, and then, to create and experiment with new sonic augmented objects. The second aim was educational. We investigated how sonic interaction design can be introduced to people without backgrounds in sound and music. We present in this article an overview of three workshops. The first workshop focused on the analysis and the possible sonification of everyday objects. New usage scenarios were obtained and tested. The second workshop focused on sound metaphor, questioning the relationship between sound and gesture. The last one was a workshop organized during a summer school for students. During these workshops, we experimented a cycle of design process: analysis, creation and testing.

cote interne IRCAM: Bevilacqua13c; None / None; National audience; Sonification of the arm movement might be beneficial for rehabilitation of stroke patients. This implies to provide patients with auditory feedback relative to the coordination between the shoulder and elbow movements, and relative to the motion smoothness. To this purpose, we are exploring different types of sonification and musical metaphors, including source-filter, concatenative-granular and physical models sound synthesis.

cote interne IRCAM: Boyer14a; National audience; This study introduces an experiment designed to analyze the sensorimotor adaptation to a motion-based sound synthesis system. We investigated a sound-oriented learning task, namely to reproduce a tar- geted sound. The motion of a small handheld object was used to control a sound synthesizer. The object angular velocity was measured by a gy- roscope and transmitted in real time wirelessly to the sound system. The targeted sound was reached when the motion matched a given refer- ence angular velocity profile with a given accuracy. An incorrect velocity profile produced either a noisier sound or a sound with a louder high har- monic, depending on the sign of the velocity error. The results showed that the participants were generally able to learn to reproduce sounds very close to the targeted sound. A corresponding motor adaptation was also found to occur, at various degrees, in most of the participants when the profile is altered.

cote interne IRCAM: Houix13a; None / None; National audience; The Legos project aims at studying sound gesture relationship. During the project, two participatory workshops related to sonic interaction design have been organized. The aim of the workshops was to stimulate ideas related to the control of everyday objects using sound, and then, to create and experiment with new sonic augmented objects. The present article provides an overview of the two workshops. The methodology we used is based on industrial design process of new product creation and theoretical issues were discussed. The rst workshop focused on the analyze and the possible soni cation of everyday objects. New scenarios of use were obtained and tested. The second workshop focused on sound metaphor, questioning the relationship between sound and gesture using the concept of basic actions and the work on the sound synthesis engines. During the two workshops, experiments using sensors and real-time synthesis were carried on a selection of case studies.

cote interne IRCAM: Boyer13e; None / None; National audience; Auditory feedback can be beneficial to motor control, however the precise mechanisms that enable sound features to influence movements remain poorly understood. We propose an experiment to evaluate whether continuous auditory feedback can improve tracking performance. Different types of sonification were assessed.

cote interne IRCAM: Boyer13b; None / None; National audience; We report on an experiment designed to evaluate sensorimo- tor adaptation in a motion-based sound synthesis system. We propose to investigate a sound-oriented task, namely to reproduce a targeted sound. The system is a small handheld object whose motion drives a sound syn- thesizer. In particular, the angular velocity is captured in real-time by a gyroscope and transmitted wirelessly to the sound engine. The targeted sound is obtained when the motion matches a given reference velocity profile. If the velocity profile is performed with sufficient accuracy, a specific sound is heard, while a incorrect velocity profile produces either noisier sound or sound with a louder high harmonic (depending on lower or higher velocity values). The results show that subjects are generally able to learn to reproduce the target sound. Motor adaptation is also found to occur, at various degrees, in most subjects when the profile is altered.

cote interne IRCAM: Lopes13a; None / None; National audience; This paper deals with a robotized arti?cial mouth adapted to brass instruments. A technical description of the robotic platform is drawn, including calibrations, initialization processes, and modes of control. An experimental protocol is proposed and the repeatability is checked. Then, experiments are conducted on a trombone for several types of quasi-static controls. Sound descriptors (fundamental frequency, roughness, energy) of measured acoustic signals are estimated and used to build cartographies indexed by the control inputs. An analysis reveals that several stable notes can easily be reached using a basic mapping with respect to these control inputs. However, the histogram of fundamental frequencies shows that input impedance peaks in the high range of the instrument do not correspond to notes that can be played by the arti?cial mouth, contrarily to musicians. It also reveals that some notes are dif?cult to play in the middle range. This exploration suggests some possible improvements of the machine that are ?nally discussed.

This SIG intends to investigate the ongoing dialogue between music technology and the field of human-computer interaction. Our specific aims are to consider major findings of musical interface research over recent years and discuss how these might best be conveyed to CHI researchers interested but not yet active in this area, as well as to consider how to stimulate future collaborations between music technology and CHI research communities. This is the author's version of the work. It is posted here for your personal use. Not for redistribution. The definitive Version of Record was published in CHI EA '13 Extended Abstracts in Human Factors in Computing Systems.

Chiseling Bodies is an interactive augmented dance performance, where a dancer interacts with abstract visuals. They are massive mass-spring systems whose dynamical behaviors are echoing the dancer's movement qualities.

International audience; The Modular Musical Objects (MO) are an ensemble of tangible interfaces and software modules for creating novel musical instruments or for augmenting objects with sound. In particular, the MOs allow for designing action-sound relationships and behaviors based on the interaction with tangible objects or free body movements. Such interaction scenarios can be inspired by the affordances of particular objects (e.g. a ball, a table), by interaction metaphors based on the playing techniques of musical instruments or games. We describe specific examples of action-sound relationships that are made possible by the MO software modules and which take advantage of machine learning techniques.

cote interne IRCAM: Savary13a; National audience; Dirty Tangible Interfaces (DIRTI) are a new concept in interface design that forgoes the dogma of repeatability in favor of a richer and more complex experience, constantly evolving, never reversible, and infinitely modifiable. We built a prototype interface realizing the DIRTI principles based on low-cost commodity hardware and kitchenware: A video camera tracks a granular or liquid interaction material placed in a glass dish. The 3D relief estimated from the images, and the dynamic changes applied to it by the user(s), are used to control two applications: For 3D scene authoring, the relief is directly translated into a terrain, allowing fast and intuitive map editing. For expressive audio-graphic music performance, both the relief and real-time changes are interpreted as activation profiles to drive corpus-based concatenative sound synthesis, allowing one or more musicians to mold sonic landscapes and to plow through them in an inherently collaborative, expressive, and dynamic experience.

Topophony literally means a place of sound, in other words sound spaces, which can be real, virtualor augmented (mixed). For example, in real life, sound sources are distributed around us: someare fixed, other are mobile. As listeners, we evolve in a space and constantly mix the sources thatsurround us. That experience is what we call sound navigation.When transposing this experience to a virtual world or a video-game, a certain number of questionsarise, such as how to represent these sound sources: are they continuous or triggered, punctual orgrouped, etc?In most actual editing tools for interactive sound source distribution, the sound sources arepunctual. We are interested in working with other kinds of topophonies.When audio sources are visible and produce sound at the same time and in the same place as avisual manifestation, we call them audio-graphic.The aim of the Topophonie research project is to explore new paradigms and methods of navigationin audio-graphic clusters.; Le projet de recherche Topophonie porte sur la navigation dans les clusters audiographiques, Le projet développe des rendu interactif de scènes comportant des éléments visuels et sonores en grands nombres, dispersés tels qu'une foule, un flux de circulation automobile, une salle de machines, un feuillage ou une pluie...- Topophonie = espace virtuel navigable composé d’un ensemble d’objets audiographiques- Un cluster audiographiques est un ensemble d’objets appartenant à une même famille et pouvant être traité globalement- Audiographique désigne des formes/évènements graphiques et sonores dans lesquelles les modalités visuelle et sonore sont synchronisées dans le temps et dans l’espace et qui partagent un même processus causal Les domaines d’applications sont virtuels et in situ : notamment la cartographie sonore interactive, la navigation sonore abstraite (réalité virtuelle, jeu…), la navigation située en téléphonie mobile …

Topophony literally means a place of sound, in other words sound spaces, which can be real, virtualor augmented (mixed). For example, in real life, sound sources are distributed around us: someare fixed, other are mobile. As listeners, we evolve in a space and constantly mix the sources thatsurround us. That experience is what we call sound navigation.When transposing this experience to a virtual world or a video-game, a certain number of questionsarise, such as how to represent these sound sources: are they continuous or triggered, punctual orgrouped, etc?In most actual editing tools for interactive sound source distribution, the sound sources arepunctual. We are interested in working with other kinds of topophonies.When audio sources are visible and produce sound at the same time and in the same place as avisual manifestation, we call them audio-graphic.The aim of the Topophonie research project is to explore new paradigms and methods of navigationin audio-graphic clusters.; Le projet de recherche Topophonie porte sur la navigation dans les clusters audiographiques, Le projet développe des rendu interactif de scènes comportant des éléments visuels et sonores en grands nombres, dispersés tels qu'une foule, un flux de circulation automobile, une salle de machines, un feuillage ou une pluie...- Topophonie = espace virtuel navigable composé d’un ensemble d’objets audiographiques- Un cluster audiographiques est un ensemble d’objets appartenant à une même famille et pouvant être traité globalement- Audiographique désigne des formes/évènements graphiques et sonores dans lesquelles les modalités visuelle et sonore sont synchronisées dans le temps et dans l’espace et qui partagent un même processus causal Les domaines d’applications sont virtuels et in situ : notamment la cartographie sonore interactive, la navigation sonore abstraite (réalité virtuelle, jeu…), la navigation située en téléphonie mobile …

cote interne IRCAM: Furfaro13a; None / None; National audience; Enrico Furfaro, Nadia Berthouze, Frédéric Bevilacqua and Ana Tajadura-Jiménez

cote interne IRCAM: Schwarz13a; None / None; National audience; We present a way to make environmental recordings controllable again by the use of continuous annotations of the high-level semantic parameter one wishes to control, e.g. "wind strength" or "crowd excitation level". The annotations serve as a descriptor in corpus-based concatenative synthesis. The workflow has been evaluated by a preliminary subject test and first results on the canonical correlation analysis show high consistency between annotations and a small set of audio descriptors being well correlated with them.

International audience; In this article, we present Musique Lab 2, an application for music education based on computer-aided composition technology. A general contextualization and overview of the software is given, as well as several specific examples illustrating possible uses and musical domains covered by the application.

International audience; This article presents AudioGuide, an innovative application for sound synthesis which aims to heighten compositional control of morphology in electronic music. We begin with a discussion of the challenges of managing detail when composing with computers, emphasizing the need for more tools which help the composer address the intricacies of sonic evolution. AudioGuide's approach—using a soundfile as a method for specifying morphological shape—provides a simple yet exacting medium for representing temporal ideas. Using the spectral structure of a soundfile, AudioGuide organizes a user-defined collection of pre-recorded sounds to create a similar morphological contour. Our matching strategy accounts for the spectral content, temporal evolution, and superimposition of sonic elements. We provide two examples which illuminate the capabilities of the algorithm from within a musical context.

cote interne IRCAM: Boyer13d; National audience; We present a motion capture device to measure in real-time table tennis strokes. A six degree-of-freedom sensing device, inserted into the racket handle, measures 3D acceleration and 3-axis angular velocity values at a high sampling rate. Data are wirelessly transmitted to a computer in real-time. This flexible system allows for recording and analyzing kinematics information on the motion of the racket, along with synchronized video and sound recordings. Recorded gesture data are analyzed using several algorithms we developed to segment and extract movement features, and to build a reference motion database.

Gesture-based interaction is widespread in touch screen interfaces. The goal of this paper is to tap the richness of expressive variation in gesture to facilitate continuous interaction. We achieve this through novel techniques of adaptation and estimation of gesture characteristics. We describe two experiments. The first aims at understanding whether users can control certain gestural characteristics and if that control depends on gesture vocabulary. The second study uses a machine learning technique based on particle filtering to simultaneously recognize and measure variation in a gesture. With this technology, we create a gestural interface for a playful photo processing application. From these two studies, we show that 1) multiple characteristics can be varied independently in slower gestures (Study 1), and 2) users find gesture-only interaction less pragmatic but more stimulating than traditional menu-based systems (Study 2).

cote interne IRCAM: Schwarz12b; None / None; National audience; We present a method, applicable to corpus-based concatenative synthesis and specifically to audio mosaicing, that assists the composer in exploring the relationship between the parameterization of a concatenative algorithm and the resulting similarity between the output sound and the original target soundfile. Rather than focus solely on straightforward imitation, our work is predicated upon the notion that similarity can be manifest in a variety of perceptually meaningful ways and that both semblance and dissemblance have compositional utility. Our method consists of visualizing a collection of concatenated outputs, each of which is a unique solution to the problem of matching the same target soundfile with the same sound database but using a different combination of descriptor weights. We create a solution space where the location of each output is modeled by its similarity to the target as well as its similarity to each other solution. Visualization and navigation of this space is made possible through a multi-dimensional scaling algorithm, permitting 2D browsing, aural feedback, and the composition of paths through the solution space. This meta-control framework helps to give the composer a more comprehensive understanding of concatenative potential. By arranging concatenated outputs into different regions of similarity and dissimilarity, the solution space provides a rich and expansive terrain for compositional exploration and discovery.

cote interne IRCAM: Einbond12a; None / None; National audience; 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.

cote interne IRCAM: Lallemand12a; None / None; National audience; Query by example retrieval of environmental sound recordings is a research area with applications to sound design, music composition and automatic suggestion of metadata for the labeling of sound databases. Retrieval problems are usually composed of successive feature extraction (FE) and similarity measurement (SM) steps, in which a set of extracted features encoding important properties of the sound recordings are used to compute the distance between elements in the database. Previous research has pointed out that successful features in the domains of speech and music, like MFCCs, might fail at describing environmental sounds, which have intrinsic variability and noisy characteristics. We present a set of novel multiresolution features obtained by modeling the distribution of wavelet subband coefficients with generalized Gaussian densities (GGDs). We define the similarity measure in terms of the Kullback-Leibler divergence between GGDs. Experimental results on a database of 1020 environmental sound recordings show that our approach always outperforms a method based on traditional MFCC features and Euclidean distance, improving retrieval rates from 51% to 62%.

cote interne IRCAM: FdiliAlaoui12b; None / None; National audience; In this paper, we explore the use of movement qualities as interaction modality. The notion of movement qualities is widely used in dance practice and can be understood as how the movement is performed, independently of its specific trajectory in space. We implemented our approach in the context of an artistic installation called A light touch. This installation invites the participant to interact with a moving light spot reacting to the hand movement qualities. We conducted a user experiment that showed that such an interaction based on movement qualities tends to enhance the user experience favouring explorative and expressive usage.

cote interne IRCAM: Kimura12a; National audience; As a 2010 Artist in Residence in Musical Research at IRCAM, Mari Kimura used the Augmented Violin to develop new compositional approaches, and new ways of creating interactive performances. She contributed her empirical and historical knowledge of violin bowing technique, working with the RealTime Musical Interactions Team at IRCAM. Thanks to this residency, her ongoing long-distance collaboration with the team since 2007 dramatically accelerated, and led to solving several compositional and calibration issues of the GestureFollower (GF). Kimura was also the first artist to develop projects between the two teams at IRCAM, using OMAX (Musical Representation Team) with GF. In the past year, the performance with Augmented Violin has been expanded in larger scale interactive audio/visual projects as well. In this paper, we report on the various techniques developed for the Augmented Violin and compositions by Kimura using them, offering specific examples and scores

cote interne IRCAM: Savary12a; National audience; Dirty Tangible Interfaces (DIRTI) are a new concept in interface design that forgoes the dogma of repeatability in favor of a richer and more complex experience, constantly evolving, never reversible, and infinitely modifiable. We built a prototype based on granular or liquid interaction material placed in a glass dish, that is analyzed by video tracking for its 3D relief. This relief, and the dynamic changes applied to it by the user, are interpreted as activation profiles to drive corpus-based concatenative sound synthesis, allowing one or more players to mold sonic landscapes and to plow through them in an inherently collaborative, expressive, and dynamic experience.

cote interne IRCAM: Schwarz12a; None / None; National audience; Corpus-based concatenative synthesis is a fairly recent sound synthesis method, based on descriptor analysis of any number of existing or live-recorded sounds, and synthesis by selection of sound segments from the database matching given sound characteristics. It is well described in the literature, but has been rarely examined for its capacity as a new interface for musical expression. The interesting outcome of such an examination is that the actual instrument is the space of sound characteristics, through which the performer navigates with gestures captured by various input devices. We will take a look at different types of interaction modes and controllers (positional, inertial, audio analysis) and the gestures they afford, and provide a critical assessment of their musical and expressive capabilities, based on several years of musical experience, performing with the CataRT system for real-time CBCS.

cote interne IRCAM: Rasamimanana12a; None / None; National audience; We present Urban Musical Game, an installation using augmented sports balls to manipulate and transform an interactive music environment. The interaction is based on playing techniques, a concept borrowed from traditional music instruments and applied here to non musical objects.