Prior knowledge of the musical context

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Table of contents

A B S T R ACT
R É SUMÉ
ACKNOWL EDGMENTS
1 INT RODUCT ION
1.1 Scope of the Thesis
1.2 Background andMotivation
1.3 Outline of the Contributions Presented in the Thesis .
1.4 Publications
2 GUIDING HUMAN-COMPUT E R MUS IC IMP ROV I S AT ION
2.1 Using the Prior Knowledge of theMusical Context
2.2 Guiding: “Follow my steps” / “Follow that way”
2.3 Some Considerations about Software Architecture
2.4 Research Context
I “INT ENT IONS ” : COMPOS ING MUS IC GENE R AT ION P ROCE S S E S AT THE SCENA R IO L EV E L
3 SUMMA RY AND CONT R I BUT IONS
3.1 Paradigm
3.2 Algorithms
3.3 Application and implementation
4 CONFORMI T Y, ANT ICI PAT ION, AND HY BR IDI Z AT ION
4.1 “Scenario” and “Memory”
4.2 Conformity and Anticipation Regarding the Scenario, Coherence with theMemory
4.3 “Hybridization”: the Example of Jazz Improvisation
5 “SCENA R IO / MEMORY ” GENE R AT ION MODE L 49
5.1 The “Scenario /Memory” Algorithms
5.2 Continuity with the Future of the Scenario
5.3 Continuity with the Past of theMemory
5.4 Additional Information and Optimizations
6 SCENA R I I , SCENA R IOS . . . AND “ME TA -COMPOS I T ION”
6.1 FromtheConformity to an Idiomatic Structure toComposed Improvisation Sessions
6.2 Secondary Generation Parameters and Filtering
II “ANT ICI PAT IONS ” : GUIDED IMP ROV I S AT ION A S DYNAMIC CA L L S TO AN OF F L INE GENE R AT ION MODE L
7 SUMMA RY AND CONT R I BUT IONS
7.1 Paradigm
7.2 Architectures
7.3 Application and implementation
8 INT RODUCT ION
8.1 From Offline Guided Generation to Online Guided Improvisation
8.2 ImproteK: An Interactive System
9 COMB INING P L ANNING AND R E ACT I V I T Y: THE IMP ROV I S AT ION HANDL E R
9.1 GuidedMusic Improvisation and Reactivity
9.2 Improvisation Handler: Reactive Agent Embedding an OfflineModel
10 P L ANNING IMP ROV I S AT ION: THE DYNAMIC SCOR E
10.1 An Interface Between the Environment and Dynamic Music Generation Processes
10.2 Scheduling the Reactions to the Environment
10.3 Writing a Dynamic Score and Improvisation Plans
10.4 From Scheduling to Logical Planning
III “P L AY ING » WI TH THE ( SOUND OF THE ) MUS ICI ANS
11 SUMMA RY AND CONT R I BUT IONS
11.1 Beat, Synchronization, and Dynamic TimeMappings .
11.2 Application and implementation
12 R ENDE R ING, S YNCHRONI Z AT ION, AND CONT ROL S
13 ANADAPTiVE PERFORMANCE -OR I ENT ED S EQUENCE R
13.1 Live Audio Re-Injection for Guided Improvisation
13.2 Level 1 : the Voice Process
13.3 Level 2: the Adaptive Synchronisation Loop Process
13.4 Tempo Estimation: Listening to Temporal Variables .
13.5 Level 3: Control / Rendering Process
14 INT E R F ACE AND CONT ROL S : TOWA RD AN INS T RUMENT
14.1 Upstream and Downstream Controls
14.2 Network Architecture and Video Rendering
15 A COMPOS I T ION-OR I ENT ED R ENDE R E R
15.1 Composition ofMusic Generation Processes
15.2 Scheduling Strategy
15.3 Interactions with the Improvisation Handler
IV “P R ACT ICING” : L E T THE MUS IC( I ANS ) ( P L / S ) AY
16 SUMMA RY AND CONT R I BUT IONS
17 B E RNA RD LUB AT: DE S IGN OF THE F I R S T P ROTOT Y P E
17.1 Study with a Jazzman: Bernard Lubat
17.2 Recombining and Phrasing
17.3 Downstream Controls
17.4 Reduction,Multiplication and Limits
17.5 “Hybridization”
17.6 Transversal Issues
17.7 Conclusion
18 COL L A BOR AT IONS WI TH E X P E RT MUS ICI ANS
18.1 Rémi Fox
18.2 Hervé Sellin
18.3 Michelle AgnesMagalhaes
18.4 Jovino Santos Neto
18.5 LouisMazetier
18.6 Velonjoro, Kilema, and Charles Kely
18.7 “Ateliers Inatendus”
V CONCLUS ION
19 CONCLUS ION
19.1 Summary and Contributions
19.2 Perspectives
A V IDEOS R E F E R ENCED IN THE THE S I S : L INKS AND DE – SCR I P T IONS
A.1 Performances andWork Sessions Using ImproteK
A.2 ExtraMaterial: Demos, EarlyWorks, and Experiments
A.3 Bernard Lubat: Design of the First Prototype
A.4 Some Listening Sessions and Interview withMusicians
A.5 Archives: Other Collaborations
B IMP L EMENTAT ION 201
B.1 A Library for Guided Generation ofMusical Sequences .
B.2 Reactive Improvisation Handler
B.3 Dynamic Performance-Oriented Sequencer
C INT E RV I EWS WI TH HE RV É S E L L IN
C.1 Transcriptions of Interviews and Listening Sessions .
C.2 “Three Ladies” Project: Statement of Intent and Improvisation
BI BL IOGR A PHY