Science et musique : Playing the Sound Space
6 mars 2018 @ 14 h 00 min - 15 h 30 min
Nous recevons le mardi 6 mars, dans le cadre de l’option ECN Science et musique, Diemo Schwarz, PhD, chercheur à l’IRCAM au sein de l’équipe Sound–Music–Movement Interaction Team
Un « mini concert » est prévu de 14h à 15h30 dans l’amphi S de Centrale Nantes, ainsi qu’une séance questions/réponses sur le thème suivant : Playing the Sound Space
The piece is an exploration of different collections of sounds, navigating through them with the help of gestural controllers that let the performer reconquer the expressiveness that has been lost in many laptop-based performances. Stroking an XY-pad, scratching contact-mic equipped surfaces, shaking a tablet are all possible gestural interactions that bring back the immediacy of physical action and sonic outcome.
The piece is structured in two parts, passing from the abstract to the concrete. The metaphor for composition of the piece is an explorative navigation through the sonic landscape of the sound corpus, where the performer re-combines sound events into new rhythmic and timbral structures, simultaneously proposing novel combinations and evolutions of the source material. Despite the startling nature of some of these sounds, the use of corpus-based concatenative synthesis techniques, where sound segments are laid out in a multi-dimensional space of sound characteristics obtained from automatic audio descriptor analysis, makes it possible to compose smooth evolutions and soothing combinations of timbres, thereby reflecting on the inner qualities of these sounds that are richer than they appear when we just let them float by.
We will also focus on ways of enriching the timbral potential of sonic input captured via piezo or contact microphones, through latency-free convolution of the piezo signal with grains from the sound corpus. This creates a new way to combine the sonic richness of large sound corpora, accessed via navigation through a timbral descriptor space, with the intuitive gestural interaction with various surfaces, captured by a 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.
The piece is an exploration of different collections of sounds, navigating through them with the help of gestural controllers that let the performer reconquer the expressiveness that has been lost in many laptop-based performances. Stroking an XY-pad, scratching contact-mic equipped surfaces, shaking a tablet are all possible gestural interactions that bring back the immediacy of physical action and sonic outcome.
The piece is structured in two parts, passing from the abstract to the concrete. The metaphor for composition of the piece is an explorative navigation through the sonic landscape of the sound corpus, where the performer re-combines sound events into new rhythmic and timbral structures, simultaneously proposing novel combinations and evolutions of the source material. Despite the startling nature of some of these sounds, the use of corpus-based concatenative synthesis techniques, where sound segments are laid out in a multi-dimensional space of sound characteristics obtained from automatic audio descriptor analysis, makes it possible to compose smooth evolutions and soothing combinations of timbres, thereby reflecting on the inner qualities of these sounds that are richer than they appear when we just let them float by.
We will also focus on ways of enriching the timbral potential of sonic input captured via piezo or contact microphones, through latency-free convolution of the piezo signal with grains from the sound corpus. This creates a new way to combine the sonic richness of large sound corpora, accessed via navigation through a timbral descriptor space, with the intuitive gestural interaction with various surfaces, captured by a 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.
