Hi,For our rhythm research we need a decent tempo estimator as a fundamental tool.Adrian sent this:Streamlined Tempo Estimation Based on Autocorrelation and Cross-correlation With PulsesGraham Percival, George Tzanetakis (Trans. Audio, Speech, and Language Processing, 22.12, Dec. 2014)It’s implemented in Marsyas (C++), Python and Matlab.Is this available as an efficient Max/MSP external so we can incorporate it into our apparatus?If not, who can do this, this Fall, for Synthesis' RHYTHM research stream?
(1) Heart Bot Turns Heartbeats Into Personalized Illustrations
Rafael Lozano-Hemmer, Pulse Park (2008)
Project Title: "Heart rate data from contemporary dancers"
Abstract: The composer John MacCallum and choreographer Teoma Naccarato propose a collaborative project that examines the use of real-time, heart rate data from contemporary dancers to drive a polytemporal composition for instrumental ensemble with live electronics.
During our residency, we will:
- develop and expand robust software tools that facilitate the composition and performance of polytemporal work, in which tempos are driven by real-time interaction—in the case of our project, heart rates of dancers, and
- examine strategies for heart rate manipulation via internal and external stimuli, including entrainment between bodily processes and music.
Designing a facile environment within which to explore this type of compositional and performative complexity will bring together a number of current research interests at IRCAM including recent developments in Antescofo, OpenMusic, and gesture following, as well as extensive work on polytemporal music conducted by MacCallum at CNMAT.
In collaboration with Musical Representations Teams as part of the EFFICAC Project
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A beautiful choreographed work: NOWHERE (2009) / central scene / for Pina
from Dimitris Papaioanno
From: "Vangelis Lympouridis" <vl_artcode@yahoo.com>
\Date: July 22, 2014 at 8:39:27 AM GMT+2To: "Adrian Freed" <Adrian.Freed@asu.edu>, "'Sha Xin Wei'" <shaxinwei@gmail.com>, "'John MacCallum'" <john@cnmat.berkeley.edu>
When you have a second please watch this 2 min video with Forsythe’s piece Nowhere and Everywhere at the same time No2.I think it is SO to the core of what we reasoning about… JVangelis Lympouridis, PhDVisiting Scholar,School of Cinematic ArtsUniversity of Southern CaliforniaSenior Research Consultant,
Creative Media & Behavioral Health CenterUniversity of Southern CaliforniaWhole Body Interaction DesignerTel: +1 (415) 706-2638
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I agree with Doug’s caution about the problem with ignoring away the “dependent” variables — values f[t] — and paying attention only to “zero”-crossings. As Adrian would point out as well, this already encodes many assumptions on what is a significant event. For example, that’s the basic problem with the “pluck” detector that Navid has coded and used
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I agree with Doug’s caution about the problem with ignoring away the “dependent” variables — values f[t] — and paying attention only to “zero”-crossings. As Adrian would point out as well, this already encodes many assumptions on what is a significant event. For example, that’s the basic problem with the “pluck” detector that Navid has coded and used
(More precisely, for a fixed y, the intervals in the inverse image of y under f: { f^(-1)[y] }, assuming f is C0).)
But I have a fundamental reason which is to deliberately lever us away from mono-sense-modality-ness. It’s a very crude but hopefully effective method to get us to pay attention to the phenomenology of temporality.
Keeping in mind the modal bracketing that’s being performed by looking at intervals as Julian’s kit provides.
There are more sophisticated approaches — as Pavan pointed out in an AME seminar last month: well known in signal processing 101 as passing to frequency (time) domain. That raises other fundamental issues when the signal cannot be assumed to have a significant periodic component.
And so it goes. Meanwhile I say, let’s get crude and palpably relevant experiments working first, palaver later! Xin Wei