Jean‐Julien Aucouturier
Dados Biográficos
| ID | 9119600 |
|---|---|
| NOME | Jean‐Julien Aucouturier |
| PRENOMES | Jean‐Julien |
| SOBRENOME | Aucouturier |
| ASSINATURA | AUCOUTURIER J J |
| AFILIAÇÕES | Centre National de la Recherche Scientifique |
| ORCID | 0000-0002-4477-4812 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 9 |
| TOTAL DE CITAÇÕES | 15 |
| TOTAL COMO AUTOR | 9 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2003 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2021 |
| ÍNDICE H | 2 |
Beyond Correlation
While acoustic analysis methods have become a commodity in voice emotion research, experiments that attempt not only to describe but to computationally manipulate expressive cues in emotional voice and speech have remained relatively rare. We give here a nontechnical overview of voice-transformation techniques from the audio signal-processing community that we believe are ripe for adoption in this context. We provide sound examples of what they c…
Distinct signatures of subjective confidence and objective accuracy in speech prosody
Vocal signals only impact speakers’ own emotions when they are self-attributed
Content Management for the Live Music Industry in Virtual Worlds
The real-world music industry is undergoing a transition away from the retailing and distribution of fixed objects (records, files) to the consumption of live, interactive events (concerts, happenings). This development is paralleled by the recent flourishing of live music in virtual worlds, which in many ways could become the epitome of its real-world counterpart. For the artists, virtual concerts are cheap and easy to organize, and can therefor…
Re-inventing Fourier
Artists asked to represent sound in a visual way mysteriously re-invented many of the concepts that preside over the mathematical signal transforms used in computer music. Their drawings adopted a systematic 2-dimensional structure and sometimes resembled time-frequency representations such as the Fourier transform. This makes us ponder here over the different criteria of what makes a “good” computer representation for the scientist, and what mak…
The Hypothesis of Self-Organization for Musical Tuning Systems
Musical tuning systems are found in intriguing diversity in human cultures around the world and over the history of human music-making. Traditional justifications for the adoption of such musical systems consider tuning an algorithmic optimization of consonance. However, it is unclear how this can be implemented in a realistic evolutionary process, with no central entity in charge of optimization. Inspired by the methodology of artificial languag…
Introduction-From Genres to Tags
1996: Possibly the first research publication trying to access musical content in a database, based on algorithms that analyse the audio content rather than on editorial information (Wold and Blum
Jamming with Plunderphonics
This paper proposes to use the techniques of Concatenative Sound Synthesis in the context of real-time Music Interaction. We describe a system that generates an audio track by concatenating audio segments extracted from pre-existing musical files. The track can be controlled in real-time by specifying high-level properties (or constraints) holding on metadata about the audio segments. A constraint-satisfaction mechanism, based on local search, se…
Representing Musical Genre
Musical genre is probably the most popular music descriptor. In the context of large musical databases and Electronic Music Distribution, genre is therefore a crucial metadata for the description of music content. However, genre is intrinsically ill-defined and attempts at defining genre precisely have a strong tendency to end up in circular, ungrounded projections of fantasies. Is genre an intrinsic attribute of music titles, as, say, tempo? Or …
Representing Musical Genre
Musical genre is probably the most popular music descriptor. In the context of large musical databases and Electronic Music Distribution, genre is therefore a crucial metadata for the description of music content. However, genre is intrinsically ill-defined and attempts at defining genre precisely have a strong tendency to end up in circular, ungrounded projections of fantasies. Is genre an intrinsic attribute of music titles, as, say, tempo? Or …
Introduction-From Genres to Tags
1996: Possibly the first research publication trying to access musical content in a database, based on algorithms that analyse the audio content rather than on editorial information (Wold and Blum
Jamming with Plunderphonics
This paper proposes to use the techniques of Concatenative Sound Synthesis in the context of real-time Music Interaction. We describe a system that generates an audio track by concatenating audio segments extracted from pre-existing musical files. The track can be controlled in real-time by specifying high-level properties (or constraints) holding on metadata about the audio segments. A constraint-satisfaction mechanism, based on local search, se…
Representing Musical Genre
Musical genre is probably the most popular music descriptor. In the context of large musical databases and Electronic Music Distribution, genre is therefore a crucial metadata for the description of music content. However, genre is intrinsically ill-defined and attempts at defining genre precisely have a strong tendency to end up in circular, ungrounded projections of fantasies. Is genre an intrinsic attribute of music titles, as, say, tempo? Or …
Jamming with Plunderphonics
This paper proposes to use the techniques of Concatenative Sound Synthesis in the context of real-time Music Interaction. We describe a system that generates an audio track by concatenating audio segments extracted from pre-existing musical files. The track can be controlled in real-time by specifying high-level properties (or constraints) holding on metadata about the audio segments. A constraint-satisfaction mechanism, based on local search, se…
The Hypothesis of Self-Organization for Musical Tuning Systems
Musical tuning systems are found in intriguing diversity in human cultures around the world and over the history of human music-making. Traditional justifications for the adoption of such musical systems consider tuning an algorithmic optimization of consonance. However, it is unclear how this can be implemented in a realistic evolutionary process, with no central entity in charge of optimization. Inspired by the methodology of artificial languag…
Introduction-From Genres to Tags
1996: Possibly the first research publication trying to access musical content in a database, based on algorithms that analyse the audio content rather than on editorial information (Wold and Blum
Re-inventing Fourier
Artists asked to represent sound in a visual way mysteriously re-invented many of the concepts that preside over the mathematical signal transforms used in computer music. Their drawings adopted a systematic 2-dimensional structure and sometimes resembled time-frequency representations such as the Fourier transform. This makes us ponder here over the different criteria of what makes a “good” computer representation for the scientist, and what mak…
Content Management for the Live Music Industry in Virtual Worlds
The real-world music industry is undergoing a transition away from the retailing and distribution of fixed objects (records, files) to the consumption of live, interactive events (concerts, happenings). This development is paralleled by the recent flourishing of live music in virtual worlds, which in many ways could become the epitome of its real-world counterpart. For the artists, virtual concerts are cheap and easy to organize, and can therefor…
Beyond Correlation
While acoustic analysis methods have become a commodity in voice emotion research, experiments that attempt not only to describe but to computationally manipulate expressive cues in emotional voice and speech have remained relatively rare. We give here a nontechnical overview of voice-transformation techniques from the audio signal-processing community that we believe are ripe for adoption in this context. We provide sound examples of what they c…
Distinct signatures of subjective confidence and objective accuracy in speech prosody
Vocal signals only impact speakers’ own emotions when they are self-attributed
Computer Science (8 obras) · Music and Audio Processing (6 obras) · Neuroscience and Music Perception (6 obras) · Art (5 obras) · Psychology (5 obras) · Music Technology and Sound Studies (4 obras) · Visual arts (4 obras) · World Wide Web (4 obras) · Human–computer interaction (3 obras) · Mathematics (3 obras)