Re: A sound data base ... et al

Subject: Re: A sound data base ... et al
From: miriam clinton (iriXx) (
Date: Fri May 21 2004 - 21:31:53 EDT

check out the Pho list - - these guys are talking about
doing such things on a digital level - in their case to add Digital
Rights Management to shared music and make people pay up (ugh!). it'd be
nice to put this sorta technology to a more noble use.

i believe there were people on linux-audio-user - - who were trying to do something similiar?



Kevin Austin wrote:

> A major problem for ea in the creation of 'databases' (and
> transitional tables etc) is having some form of descriptive 'language'
> (notation ?) that is even crudely functional.
> I'll provide 2 examples.
> (1) The Haydn Symphony Minuet database. This would take the minuets of
> (say) the first 60 Haydn Symphonies and (through MIDI <ug!>) encode
> the notes used. This information could be parsed and manipulated by a
> number of existing tools. Because they will largely be 8, 12 and 16
> bar phrases, mid-level structures can be pre-encoded. Pitch content
> and background information (major / minor; cadential identification;
> basic circle of fifths motion etc). It will be possible to create
> crude frequency / probability tables. This is not to say that these
> tables represent the music, but compared to case (2) below, these are
> light years away.
> (2) Two recently performed ea pieces in the <aibohPhobia> (fear of
> palindromes) concerts. One was live (direct digital synthesis), one
> was a Reaktor
> ( piece. At
> the pitch level, both were not complex, exploring instead aspects of
> (for example) extremes of pulse-width modulation and non-linear
> distortion and formant structures. They were both 'continuous', that
> is lacking in internal points of (structural) articulation.
> And now the difficulty begins, as there is not a widely agreed upon
> (non-gestural) language to start to describe what happened during the
> pieces. To attempt to create a database it seems would require a
> method of streaming and segmenting the incoming sounds.
> The Haydn assumes a restricted (coherent) basic set of sonic elements
> (notes); the sources of the cibohPhobic pieces would be described by
> the logical limitations of the instrument(s) (software) in use.
> A parallel could be that Haydn and Stockhausen share the same database
> for the Sonatas and Klavierstuck XI
> (
> The descriptive system for 'sound' may have to be significantly wider
> than that for note-based music, for while the Haydn symphony will
> maintain its identity when played by orchestra, piano, organ or trio,
> in the 'sonic database', this identity could be lost. But all hope is
> not lost as the area of voice recognition has pointed to a number of
> ways of extracting important information based, even under variant
> conditions (formant and spectral peaks, pacing, articulation of
> consonants etc etc).
> Best
> Kevin

I'd still be mad at the world, even if it apologised. (Sorry).
-- Eminem

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