(English) Congress 2020
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SATURDAY
12 Dec 20
14:00 ROUND-TABLE 5:
MUSIC SIGNAL PROCESSING
Rodrigo Schramm (UFRGS) – Improving the Classification of Rare Chords
Martín Rocamora (Universidad de la República) – Signal Processing for Music Analysis from Audio Recordings
Bruno Masiero (UNICAMP) – Spatial Audio and Object-Oriented Coding
Moderator: Luiz Wagner Pereira Biscainho
15:30 OPEN CONVERSATION: Challenges for Academic Research in Music/Mathematics
Gabriel Pareyon (Universidad de Guadalajara)
Marcos Sampaio (UFBA)
Walter Nery (Souza Lima)
Guilherme Bertissolo (UFBA)
Júlio Herrlein (UFRGS)
Ciro Visconti (Souza Lima)
Moderation: MusMat Group
18:00 CONFERENCE: François Pachet (Spotify) and Jean-Pierre Briot (CNRS/ Lip6/ PUC-Rio)
Some Reflexions about AI-Assisted Music Composition
19:30 CONCERT 5: Electroacoustics and Alike
Curators: Marcelo Carneiro, Lilian Campesato, Paulo Dantas, and Mariana Carvalho
PROGRAM
Mariana Carvalho
Improviso Interior (2020)
Paulo Dantas
AkihabaraGameClub (2020)
Marcelo Carneiro
Prolação (2020)
Jéssica Marinhos
Sui{side} (2019)
Daniel Quaranta
Paisagem Através de Um Vidro Molhado
Gabriel Dargains
Outubro e Fim de Tarde (2019)
Lilian Campesato
Eleonora (2017-19)
Nasnuven Paulo
Reexposição de Panelaço (2020)
Marina Mapurunga
Verde Mar, Ruído Verde, Ventos Invisíveis (2020)
8 Replies to “(English) Congress 2020”
You can leave your questions here.
A question for Dr. Fabian Moss concerning the cognitive interpretation of the Tonnetz and the link to the Tonal Diffusion Model he mentioned in his talk. Does his model apply to other “topological” versions of the Tonnetz where the generating intervals are different from the usual major third, minor third and fifth axis underlying the traditional P, R and L neo-Riemannian transformations? What about the Tonal Diffusion Model applied to the [2,3,7] Tonnetz emphasizing for example the pentatonic character of pitch distributions instead of the diatonic one? (Moreno Andreatta)
Dear Dr. Andreatta we will forward your question to Dr. Moss.
Ricardo Bordini fiquei muito emocionada com a fua apresentação! Foi simplesmente sensível e muito bela. Você detém uma memória muito importante sobre a pedagogia do desafio de Jamary e sobre a sua personalidade complexa e muito inteligente. Ningue’m melhor do que um aluno brilhante como você para rememorar e pontuar esses fatos, estórias e fazer uma análise brilhante sobre Jamary. Sou eternamente grata por sua atitude ética e profissional, porém muito afetiva e carinhosa do seu jeito mesmo de SER. A homenagem sonora no acordeon foi linda com aquele final de uma nota só que no fole que abre parecen o pulmão de alguem que está indo para a eternidade.
Prezada Alda, encaminharemos sua mensagem ao Prof. Bordini. Abraços.
Is there a reason for reducing the field of algorithmic composition to probabilistic (i.e. non-deterministic) processes? Thanks to the progress in the mathematical formalization of musical structures it seems to me that there is nowadays a panoply of algebraic, geometrical or graph-theoretical models enabling composers to explore very interesting deterministic mapping functions in algorithmic compositions. From Steve Reich’s Clapping Music to Tom Johnson’s computer-generated Tiling canons, there are a lot of exemples of deterministic algorithmic compositions, don’t you think? Or maybe have I misunderstood the initial claim? (Moreno Andreatta)
A suggestion for Hugo (and not only for him): why not trying to publish in the Journal of Mathematics and Music? 😉
Thanks for the fascinating talk! About the stability of the skip profile in time and space, which is in fact an astonishing discovery. Is it also independent of the age of the population? Are you saying that my child – who skips all the time by listening as many children – and myself, we happen to have the same skip profile? (Moreno Andreatta)