By Philippe Guillemain, Jonathan Terroir (auth.), Richard Kronland-Martinet, Thierry Voinier, Sølvi Ystad (eds.)
This booklet constitutes the completely refereed post-proceedings of the 3rd foreign computing device tune Modeling and Retrieval Symposium, CMMR 2005, held in Pisa, Italy, in September 2005.
The 24 revised complete papers awarded have been conscientiously chosen in the course of rounds of reviewing and development. a result of interdisciplinary nature of the realm, the papers deal with a large number of subject matters. The papers are prepared in topical sections on sound synthesis; tune notion and cognition; interactive song: interface, interplay, gestures and sensors, song composition; tune retrieval: tune functionality, tune research, tune illustration; in addition to interdisciplinarity and desktop music.
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Additional info for Computer Music Modeling and Retrieval: Third International Symposium, CMMR 2005, Pisa, Italy, September 26-28, 2005. Revised Papers
C. Vergez and X. Rodet. New algorithm for nonlinear propagation of a sound wave. application to a physical model of a trumpet. Journal of Signal Processing, 4(1):79–87, January 2000. Special issue on nonlinear signal processing. 7. C. Vergez and X. Rodet. Air ﬂow related improvements for basic physical models of brass instruments. In Proceedings of ICMC’2000, Berlin, German, August 2000. 8. S. J. Elliott and J. M. Bowsher. Regeneration in Brass Wind Instruments. Journal of Sound and Vibration, 83(2):181–217, 1982.
Current research: Diﬀerent notes produced by the model (tuned with the f0 -based optimization) may sound with timbre discrepancies. This is not very surprising since many parameters combination lead to the same sound frequency (but not necessarily with the same timbre). Therefore, current research is focussed on including timbre descriptors in the optimization. Flowchart presented in ﬁgure 2 remains unchanged, but instead of the only fundamental frequency, other timbre descriptors are considered ().
Even when a natural sound is distorted during transmission, for instance by the telephone where higher frequencies are lost and noise is added, we do not doubt that the speaker is human. This example shows that an important part of the naturalness, as deﬁned above, is contained in the control of the sound source rather than in the sound itself. We therefore search for cues that are important for rendering a music performance natural, in the sense that the listener thinks that it is performed by a human and not by a computer program.
Computer Music Modeling and Retrieval: Third International Symposium, CMMR 2005, Pisa, Italy, September 26-28, 2005. Revised Papers by Philippe Guillemain, Jonathan Terroir (auth.), Richard Kronland-Martinet, Thierry Voinier, Sølvi Ystad (eds.)