Escuta com máquina e o solfejo em processos criativos informados por descritores de áudio

Abstract

The aim of this paper is to explore sound/audio analysis and visualization techniques as a means of broadening the listening experience in creative processes.To this end, a brief historical review of empirical epistemology in the field of acoustics is carried out, highlighting some sound visualization methods developed in this context.The theoretical and technological advances resulting from this context are related to the emergence of the first sound recording and reproduction machines at the turn of the 19th century, as well as the impact of subsequent technologies on analytical and creative musical practices.

In this context, we address some conceptual and artistic issues related to the term machine listening, which usually refers to audio analysis practices based on automated processes for identifying, classifying and triggering events in compositions with interactive musical systems. For the purposes of this dissertation, we propose using the alternative term listening with machines. In the midst of a reflection on the experience of listening in compositional processes, the use of this term seeks to highlight the centrality of the role of the human agent in mediated listening processes.

Finally, we present some methods for visualizing audio attributes, developed during my master’s research, which resulted in the production of sound sketches.The principle of generating and interpreting these sketches integrated the creative processes of two pieces:Interstício, for violin and real-time electronics, and Sorte, for guitar and interactive audiovisual system.