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Modeling musical anticipation: From the time of music to the music of time PDF

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Modeling musical anticipation: From the time of music to the music of time Arshia Cont To cite this version: Arshia Cont. Modeling musical anticipation: From the time of music to the music of time. Computer Science [cs]. Université Pierre et Marie Curie - Paris VI, 2008. English. ￿NNT: ￿. ￿tel-00417565￿ HAL Id: tel-00417565 https://theses.hal.science/tel-00417565 Submitted on 16 Sep 2009 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Modeling Musical Anticipation From the time of music to the music of time by ARSHIA CONT Jointly supervised dissertation between University of California San Diego (UCSD) and University of Pierre et Marie Curie (Paris VI) In satisfaction for the degree of Doctor of Philsosophy in Computer Music and Acoustics, Signal Processing and Computer Science Applied to Music. Defended on October 16th 2008 in front of the jury composed of: Alain de Cheveigné ENS, Paris Supervisor Shlomo Dubnov UCSD Supervisor Lawrence K. Saul UCSD Reporter David Wessel UC Berkeley Reporter Jean-Pierre Briot UPMC Reader Miller Puckette UCSD Reader Philippe Manoury UCSD Reader Thesis prepared at IRCAM – CNRS UMR 9912 Equipe Interaction Musicales Temps Réel 1, place Igor Stravinsky, 75004 Paris, France. http://www.ircam.fr/ and Center for Research in Computing and the Arts, Music Department, University of California San Diego (UCSD), 9500 Gilman Drive La Jolla, CA 92093, USA. http://crca.ucsd.edu/ !"#$%&’!()*+,-.&’!() /0123456!78. KL 9: = BCD FG IJ $ 3;<>?@6A 5E H MN Dedicated to ones who dedicate my parents Mansoureh Daneshkazemi and Gholamhossen Cont Acknowledgments This thesis is the result of almost a decade of struggle between three continents, starting from Tehran, Iran (my hometown), to Virginia (USA), and then back and forthbetweenParis(France)andSanDiego(USA).Themaindriveduringthiswhole periodhasbeenmyextremepassionforcontemporarymusicandthescienceofmusic. Obliged to commence as an engineer, I have undergone a rather unusual pathway to reach where I stand today, along which the help of many individuals should be acknowledged. My greatest gratitude goes to my family: My parents Gholamhossein Cont and MansourehDaneshkazemi,towhomIdedicatethisthesis,exemplifyloveandsacrifice for me. In a decisive period in my life, where I was desperately seeking ways to combine my two passions for music and engineering sciences, they supported me in every possible way to initiate my migration and continued to do so up to this day. MyuncleMasoudDaneshkazemiandhisfamilywithoutwhoseearlypaternalsupport once arrived in US, I could have never arrived where I currently stand. My brother, Rama Cont, who played a crucial role in my professional and personal life in Paris and without whose initial help I would have never found my way there. Finally my whole family in Iran, including my twin sister Mandana, who accompanied me from far during this whole period. Before the start of this PhD program, I was desperately seeking ways to connect my research to the world of contemporary music. This was initiated by my migra- tion from Iran to US, to continue my studies at VirginiaTech and soon turned out to deceptions as research in music, even today in many of our outstanding academia, is not considered seriously! In spite of this, many individuals helped me to realize this important passage in my life. Legendary figures such as Miller Puckette and David Wessel never ceased to reply to my requests while I was only a desperate un- dergraduate student. I shall never forget their exemplary modesty and willingness for development of younger generations, which was crucial in my early decisions and surely enough for many others like me. Dr. David A. de Wolf of VirginiaTech’s ECE department helped and encouraged me to learn and study music signal processing early on through independent research programs. After obtaining my bachelors, al- most coincidentally I ended up in the ATIAM masters at IRCAM, for which I am grateful to Gilbert Nouno and Gérard Assayag of IRCAM. The intensity and richness of the program, as well as its integration within one of the most important research and production centers in the world of computer music put me in a position which was simply a distant dream since my childhood. This thesis has been realized as a collaboration between IRCAM and UCSD, and therefore people who should be greeted for it are twice as usual. During my almost twoyearsresidencyatUCSD’smusicdepartmentIwasintroducedtotheprofessional worldofcontemporarymusicpracticesandideas, forwhichIamgratefultothewhole bodyofmusicdepartment’sfacultiesandstudents. Tomyknowledge,UCSDisamong v vi ACKNOWLEDGMENTS few places in the world to maintain a utopian image of artistic creation and ideas in its music department and I was lucky to be part of it. Two individuals directly and indirectly influenced my thoughts in San Diego: Miller Puckette, deeply influenced my image of professionalism and the field of computer music. His modesty, despite his sculptural figure in the field, his straightforwardness and honesty of expressions, sometimes harsh in spite of himself, helped me clarify my position in the field. And Shlomo Dubnov, with his extreme courage for abstract and difficult problems, has been thoroughly inspiring in the course of this work. Since I was 15, IRCAM has been a utopian dream place for me and the unique place in the world as a culmination of artistic and scientific collaboration. I am very grateful to the Real Time Musical Interactions team for hosting me through several projects during this whole period. An extreme shift in my career occurred when Frank Madlener, the general director of IRCAM, and Alain Jacquinot, director of productions, offered me to collaborate on artistic projects in early 2007. Through these projects I experienced the gap between the world of research, artistic creation, and production, and learned to fill it in through the collaborative environment that IRCAM is famous to provide. I was lucky enough to collaborate with Marco Stroppa, resulting in one of the most important works I have realized up to this date that figureschapters7and8ofthismanuscript. IRCAMbringsinahugebodyoftalented professionals in various field whose presence have in one way or another contributed tothiswork: GérardAssayagwhogenerouslysharedhisworkforthisproject, Gilbert Nouno, Olivier Pasquet, Rémy Muller, Nicolas Rasamimanana and more. Besides formal collaborations, several individuals have provided me the mental force and courage to undertake this rather abstract project: Composer Philippe Manoury, through his never ending pleas for advances in computer music research and his extreme ability for integration of such advances in a compositional setting. Composer Marco Stroppa, who never gives up his utopian image of composer/thinker and engagement in the field of computer music, motivated me intellectually all along my work. And at large, to all composers of music today who maintain our image of “wayfarers” and with whom I got the opportunity to work with: Pierre Boulez, Jonathan Harvey, and more. Researcher and artist David Wessel has played a pa- ternal role in the course of this PhD project to whom I am most grateful. Wessel’s active role and his openness to issues makes him one of my idols in the field of com- puter music. Finally, to the whole body of researchers and artists at IRCAM and most importantly to the hidden actors of this scene that maintain the synergy alive: Hugues Vinet, Frank Madlener and Alain Jacquinot. Last but not least, my greatest gratitude with love, goes to Marie Vandenbussche who accompanied me in every step of this project despite intervals of geographical separations. She has traced every word and bit of work that is represented in this manuscript and I am most in debt to her priceless patience and caring love. Arshia Cont Paris, October 2008. “I think that the search for a universal answer to thequestionsraisedbymusicalexperiencewillnever be completely fulfilled; but we know that a question raised is often more significant than the answer re- ceived. Only a reckless spirit, today, would try to give a total explanation of music, but anyone who wouldneverposetheproblemisevenmorereckless.” Remembering the future Luciano Berio vii

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Acoustics, Signal Processing and Computer Science Applied to Music. Defended on .. 8.1.1 Computer Music Language Paradigms . degree of access to the skin of time for musical and artistic purposes; hence going music information retrieval, which mostly favor prediction-driven architectures.
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