Jamie Bullock

Fundamental frequency modulation in singing voice synthesis

A model is presented for the analysis and synthesis of low frequency human-like pitch deviation, as a replacement for existing modulation techniques in singing voice synthesis systems. Fundamental frequency (f0) measurements are taken from vocalists producing a selected range of utterances without vibrato and trends in the data are observed. A probabilistic function that provides natural sounding low frequency f0 modulation to synthesized singing voices is presented and the perceptual relevance is evaluated with subjective listening tests.

Modernising musical works involving Yamaha DX-based synthesis: a case study

In this article we describe a new approach to performing musical works that use Yamaha DX7-based synthesis. We also present an implementation of this approach in a performance system for Madonna of Winter and Spring by Jonathan Harvey. The Integra Project, ‘A European Composition and Performance Environment for Sharing Live Music Technologies’ (a three year co-operation agreement part financed by the European Commission, ref. 2005-849), is introduced as framework for reducing the difficulties with modernising and preserving works that use live electronics.

Live Electronics in Practice: Approaches to training professional performers

Teaching live electronic music techniques to instrumental performers presents some interesting challenges. Whilst most higher music education institutions provide opportunities for composers to explore computer-based techniques for live audio processing, it is rare for performers to receive any formal training in live electronic music as part of their study. The first experience of live electronics for many performers is during final preparation for a concert. If a performer is to give a convincing musical interpretation ‘with’ and not simply ‘into’ the electronics, significant insight and preparation are required. At Birmingham Conservatoire we explored two distinct methods for teaching live electronics to performers between 2010 and 2012: training workshops aimed at groups of professional performers, and a curriculum pilot project aimed at augmenting undergraduate instrumental lessons. In this paper we present the details of these training methods followed by the qualitative results of specific case studies and a post-training survey. We discuss the survey results in the context of tacit knowledge gained through delivery of these programmes, and finally suggest recommendations and possibilities for future research.