Georges Bloch

OMax brothers: a dynamic yopology of agents for improvization learning

We describe a multi-agent architecture for an improvization oriented musician-machine interaction system that learns in real time from human performers. The improvization kernel is based on sequence modeling and statistical learning. The working system involves a hybrid architecture using two popular composition/perfomance environments, Max and OpenMusic, that are put to work and communicate together, each one handling the process at a different time/memory scale. The system is capable of processing real-time audio/video as well as MIDI. After discussing the general cognitive background of improvization practices, the statistical modeling tools and the concurrent agent architecture are presented. Finally, a prospective Reinforcement Learning scheme for enhancing the systems realism is described.

Interaction with Machine Improvisation

We describe two multi-agent architectures for an improvisation oriented musician-machine interaction systems that learn in real time from human performers. The improvisation kernel is based on sequence modeling and statistical learning. We present two frameworks of interaction with this kernel. In the first, the stylistic interaction is guided by a human operator in front of an interactive computer environment. In the second framework, the stylistic interaction is delegated to machine intelligence and therefore, knowledge propagation and decision are taken care of by the computer alone. The first framework involves a hybrid architecture using two popular composition/performance environments, Max and OpenMusic, that are put to work and communicate together, each one handling the process at a different time/memory scale. The second framework shares the same representational schemes with the first but uses an Active Learning architecture based on collaborative, competitive and memory-based learning to handle stylistic interactions. Both systems are capable of processing real-time audio/video as well as MIDI. After discussing the general cognitive background of improvisation practices, the statistical modelling tools and the concurrent agent architecture are presented. Then, an Active Learning scheme is described and considered in terms of using different improvisation regimes for improvisation planning. Finally, we provide more details about the different system implementations and describe several performances with the system.

Perceptual evaluation of a programmable radiation pattern loudspeaker simulating a real instrument

Conventional loudspeaker radiation patterns have no relationship to those of the sound sources which they purport to simulate [Causse et al., Proceedings of I.S.M.A. Tokyo, 67–70 (1992)]. In this particular study, the perceptual difference between a real instrument and a programmable radiation pattern loudspeaker system (12 independently programmable loudspeakers mounted on a polyhedral structure) was investigated. In a first experiment, the trombone was chosen for its radiation pattern which presents a cylindrical symmetry and a monotonic variation according to frequency. For purposes of reproducibility during perceptive tests, the programmable radiation pattern loudspeaker was compared with an artificially driven trombone: The musical material was recorded just after the U‐bend of the bell joint. This signal was reproduced by a driver, corrected by inverse filtering techniques, and mounted at the same location. To supply the programmable radiation pattern loudspeaker system, close‐microphone recordings ...

Edith Piaf, Billie Holiday, and Elisabeth Schwarzkopf Making Music Together

Billie Holiday, Edith Piaf, and Elisabeth Schwarzkopf are three great musical ladies, born in 1915. Could we make them singing together? This was the goal of a performance made for a music festival in L’Aquila (Italy) in 2015. This raises musical questions: what kind of sound could link Billie Holiday to Schwarzkopf, Schwarzkopf to Piaf? What kind of musical structure? With the help of the software ImproteK, the three ladies eventually sang together Autumn Leaves and The Man I love. ImproteK allowsmony of the used material (called “memories”) to the harmonic progression of the reference song (called “scenario”). The machine can also include into its “memory” what is currently played during the performance. This process raises fascinating questions about musical notation and style: the chosen common notation will define how the improvisation will follow the reference scenario, where the chosen memories inds and character interacting with this structure. The result can be arresting, surrealistic, kitsch; it is often fun.