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Your search keyword '"Zacharakis, Asterios"' showing total 19 results
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19 results on '"Zacharakis, Asterios"'

1. An Argument-based Creative Assistant for Harmonic Blending

Author

Kaliakatsos-Papakostas, Maximos, Confalonieri, Roberto, Corneli, Joseph, Zacharakis, Asterios, and Cambouropoulos, Emilios

Subjects
Computer Science - Sound, Computer Science - Artificial Intelligence, H.5.5
Abstract

Conceptual blending is a powerful tool for computational creativity where, for example, the properties of two harmonic spaces may be combined in a consistent manner to produce a novel harmonic space. However, deciding about the importance of property features in the input spaces and evaluating the results of conceptual blending is a nontrivial task. In the specific case of musical harmony, defining the salient features of chord transitions and evaluating invented harmonic spaces requires deep musicological background knowledge. In this paper, we propose a creative tool that helps musicologists to evaluate and to enhance harmonic innovation. This tool allows a music expert to specify arguments over given transition properties. These arguments are then considered by the system when defining combinations of features in an idiom-blending process. A music expert can assess whether the new harmonic idiom makes musicological sense and re-adjust the arguments (selection of features) to explore alternative blends that can potentially produce better harmonic spaces. We conclude with a discussion of future work that would further automate the harmonisation process., Comment: 8 pp; submitted to 7th International Conference on Computational Creativity

Published
2016

2. Chapter 9 Conceptual Blending in Melodic Harmonisation: Development and Empirical Evaluation in the Case of the CHAMELEON System

Author

Kaliakatsos-Papakostas, Maximos, Zacharakis, Asterios, Cambouropoulos, Emilios, Pachet, François, Series Editor, Gervás, Pablo, Series Editor, Passerini, Andrea, Series Editor, Degli Esposti, Mirko, Series Editor, Confalonieri, Roberto, editor, Pease, Alison, editor, Schorlemmer, Marco, editor, Besold, Tarek R., editor, Kutz, Oliver, editor, Maclean, Ewen, editor, and Kaliakatsos-Papakostas, Maximos, editor

Published
2018
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4. Musical timbre : bridging perception with semantics

Author

Zacharakis, Asterios

Subjects
621.382, Electronic Engineering, Music perception, Computational musicology, Acoustics
Abstract

Musical timbre is a complex and multidimensional entity which provides information regarding the properties of a sound source (size, material, etc.). When it comes to music, however, timbre does not merely carry environmental information, but it also conveys aesthetic meaning. In this sense, semantic description of musical tones is used to express perceptual concepts related to artistic intention. Recent advances in sound processing and synthesis technology have enabled the production of unique timbral qualities which cannot be easily associated with a familiar musical instrument. Therefore, verbal description of these qualities facilitates communication between musicians, composers, producers, audio engineers etc. The development of a common semantic framework for musical timbre description could be exploited by intuitive sound synthesis and processing systems and could even influence the way in which music is being consumed. This work investigates the relationship between musical timbre perception and its semantics. A set of listening experiments in which participants from two different language groups (Greek and English) rated isolated musical tones on semantic scales has tested semantic universality of musical timbre. The results suggested that the salient semantic dimensions of timbre, namely: luminance, texture and mass, are indeed largely common between these two languages. The relationship between semantics and perception was further examined by comparing the previously identified semantic space with a perceptual timbre space (resulting from pairwise dissimilarity rating of the same stimuli). The two spaces featured a substantial amount of common variance suggesting that semantic description can largely capture timbre perception. Additionally, the acoustic correlates of the semantic and perceptual dimensions were investigated. This work concludes by introducing the concept of partial timbre through a listening experiment that demonstrates the influence of background white noise on the perception of musical tones. The results show that timbre is a relative percept which is influenced by the auditory environment.

Published
2013

6. Modelling Cadence Perception Via Musical Parameter Tuning to Perceptual Data

Author

Kaliakatsos-Papakostas, Maximos, Zacharakis, Asterios, Tsougras, Costas, Cambouropoulos, Emilios, Rannenberg, Kai, Editor-in-chief, Sakarovitch, Jacques, Series editor, Goedicke, Michael, Series editor, Tatnall, Arthur, Series editor, Neuhold, Erich J., Series editor, Pras, Aiko, Series editor, Tröltzsch, Fredi, Series editor, Pries-Heje, Jan, Series editor, Whitehouse, Diane, Series editor, Reis, Ricardo, Series editor, Furnell, Steven, Series editor, Furbach, Ulrich, Series editor, Gulliksen, Jan, Series editor, Rauterberg, Matthias, Series editor, Iliadis, Lazaros, editor, and Maglogiannis, Ilias, editor

Published
2016
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7. Learning and Blending Harmonies in the Context of a Melodic Harmonisation Assistant

Author

Kaliakatsos-Papakostas, Maximos, Makris, Dimos, Zacharakis, Asterios, Tsougras, Costas, Cambouropoulos, Emilios, Rannenberg, Kai, Editor-in-chief, Sakarovitch, Jacques, Series editor, Goedicke, Michael, Series editor, Tatnall, Arthur, Series editor, Neuhold, Erich J., Series editor, Pras, Aiko, Series editor, Tröltzsch, Fredi, Series editor, Pries-Heje, Jan, Series editor, Whitehouse, Diane, Series editor, Reis, Ricardo, Series editor, Furnell, Steven, Series editor, Furbach, Ulrich, Series editor, Gulliksen, Jan, Series editor, Rauterberg, Matthias, Series editor, Iliadis, Lazaros, editor, and Maglogiannis, Ilias, editor

Published
2016
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8. Interaction between time-varying tone inharmonicity, fundamental frequency and spectral shape affects felt tension and timbral semantics

Author

Zacharakis Asterios and Pastiadis Konstantinos

Subjects
Acoustics in engineering. Acoustical engineering, TA365-367, Acoustics. Sound, QC221-246
Abstract

Musically induced tension has been the subject of thorough study in the music cognition literature but its relationship with timbre is still poorly investigated. This study examines how the dynamic variation of a tone’s inharmonicity may affect a number of auditory qualities, namely brightness, roughness and mass along with felt tension under different acoustical conditions (i.e., F0, spectral shape and type of inharmonicity). Fifty-six musically trained participants gave real-time continuous ratings on eight time-varying stimuli upon the aforementioned qualities. Static ratings over the initial purely harmonic parts of the stimuli were also obtained by a subgroup of the listening panel. The fundamental frequency exhibits the strongest influence on the responses of the four qualities, followed by the type of inharmonicity and the spectral shape to a lesser degree. The profile patterns of mass and brightness proved to be strong predictors for tension profile patterns while the roughness profile magnitudes show a significant main effect on the magnitude of tension profiles. Overall, these results demonstrate that time-varying inharmonicity affects continuous responses on both timbral semantics and tension, while indicating that felt tension may be influenced by underlying timbral qualities in a dynamic context.

Published
2021
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15. An Argument-based Creative Assistant for Harmonic Blending

Author

Kaliakatsos-Papakostas, Maximos A, Confalonieri, Roberto, Corneli, Joseph, Zacharakis, Asterios, Cambouropoulos, Emilios, Kaliakatsos-Papakostas, Maximos A, Confalonieri, Roberto, Corneli, Joseph, Zacharakis, Asterios, and Cambouropoulos, Emilios

Abstract

Conceptual blending is a powerful tool for computational creativity where, for example, the properties of two harmonic spaces may be combined in a consistent manner to produce a novel harmonic space. However, deciding about the importance of property features in the input spaces and evaluating the results of conceptual blending is a nontrivial task. In the specific case of musical harmony, defining the salient features of chord transitions and evaluating invented harmonic spaces requires deep musicological background knowledge. In this paper, we propose a creative tool that helps musicologists to evaluate and to enhance harmonic innovation. This tool allows a music expert to specify arguments over given transition properties. These arguments are then considered by the system when defining combinations of features in an idiom-blending process. A music expert can assess whether the new harmonic idiom makes musicological sense and re-adjust the arguments (selection of features) to explore alternative blends that can potentially produce better harmonic spaces. We conclude with a discussion of future work that would further automate the harmonisation process.

Published
2016

18. Musical blending and creativity: An empirical evaluation of the CHAMELEON melodic harmonisation assistant

Author

Cambouropoulos, Emilios, Stefanou, Danae, Tsougras, Costas, Zacharakis, Asterios, Kaliakatsos-Papakostas, Maximos, Tsougras, Costas, and Cambouropoulos, Emilios

Abstract

This article presents the CHAMELEON melodic harmonisation assistant that utilises the principles of conceptual blending theory as a means for the invention of hybrid or novel harmonic idioms and an empirical evaluation of a number of computer-generated melodic harmonisation blends. Melodies originating from various idioms were harmonised either according to the harmonic rules of the original idiom, according to the rules of a different idiom (melody–harmony blends), or by blending idioms, modes and transported versions of the same idiom (harmony–harmony blends). In two similar experimental set ups, the task of the listeners was to i) perform idiom, mode or type of chromaticism classification, ii) report their preference, and iii) rate the degree of expectancy characterising each harmonisation. The results show that harmonic blending (either melody–harmony or harmony–harmony) influences the identification of idiom, mode and type of chromaticism. This suggests that the harmonic blending system has indeed succeeded in producing perceivable blends under various conditions that were unexpected and also equally preferred compared to non-blends.

Published
2018
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