Marcelo F. Caetano

Designing ensembles of fuzzy classification systems: an immune-inspired approach

In this work we propose an immune-based approach for designing of fuzzy systems. From numerical data and with membership function previously defined, the immune algorithm evolves a population of fuzzy classification rules based on the clonal selection, hypermutation and immune network principles. Once AIS are able to find multiple good solutions of the problem, accurate and diverse fuzzy systems are built in a single run. Hence, we construct an ensemble of these classifier in order to achieve better results. An ensemble of classifiers consists of a set of individual classifiers whose outputs are combined when classifying novel patterns. The good performance of an ensemble is strongly dependent of individual accuracy and diversity of its components. We evaluate the proposed methodology through computational experiments on some datasets. The results demonstrate that the performance of the obtained fuzzy systems in isolation is very good. However when we combine these systems, a significant improvement is obtained in the correct classification rate, outperforming the single best classifier.

Improved estimation of the amplitude envelope of time-domain signals using true envelope cepstral smoothing

The amplitude modulations of musical instrument sounds and speech are important perceptual cues. Accurate estimation of the amplitude, or equivalently energy, envelope of a time-domain signal (waveform) is not a trivial task, though. Ideally, the amplitude envelope should outline the waveform connecting the main peaks and avoiding over fitting. In this work we propose a method to obtain a smooth function that approximately matches the main peaks of the waveform using true envelope estimation, dubbed true amplitude envelope. True envelope is a cepstral smoothing technique that has been shown to outperform traditional envelope estimation techniques both in accuracy of estimation and ease of order selection. True amplitude envelope gives a reliable estimation that follows closely sudden variations in amplitude and avoids ripples in more stable regions with near optimal order selection depending on the fundamental frequency of the signal.

Automatic Generation of Chord Progressions with an Artificial Immune System

Chord progressions are widely used in music. The automatic generation of chord progressions can be challenging because it depends on many factors, such as the musical context, personal preference, and aesthetic choices. In this work, we propose a penalty function that encodes musical rules to automatically generate chord progressions. Then we use an artificial immune system (AIS) to minimize the penalty function when proposing candidates for the next chord in a sequence. The AIS is capable of finding multiple optima in parallel, resulting in several different chords as appropriate candidates. We performed a listening test to evaluate the chords subjectively and validate the penalty function. We found that chords with a low penalty value were considered better candidates than chords with higher penalty values.

A source-filter model for musical instrument sound transformation

The model used to represent musical instrument sounds plays a crucial role in the quality of sound transformations. Ideally, the representation should be compact and accurate, while its parameters should give flexibility to independently manipulate perceptually related features of the sounds. This work describes a source-filter model for musical instrument sounds based on the sinusoidal plus residual decomposition. The sinusoidal component is modeled as sinusoidal partial tracks (source) and a time-varying spectral envelope (filter), and the residual is represented as white noise (source) shaped by a time-varying spectral envelope (filter). This article presents estimation and representation techniques that give totally independent and intuitive control of the spectral envelope model and the frequencies of the partials to perform perceptually related sound transformations. The result of a listening test confirmed that, in general, the sounds resynthesized from the source-filter model are perceptually similar to the original recordings.

Application of an artificial immune system in a compositional timbre design technique

Computer generated sounds for music applications have many facets, of which timbre design is of groundbreaking significance. Timbre is a remarkable and rather complex phenomenon that has puzzled researchers for a long time. Actually, the nature of musical signals is not fully understood yet. In this paper, we present a sound synthesis method using an artificial immune network for data clustering, denoted aiNet. Sounds produced by the method are referred to as immunological sounds. Basically, antibody-sounds are generated to recognize a fixed and predefined set of antigen-sounds, thus producing timbral variants with the desired characteristics. The aiNet algorithm provides maintenance of diversity and an adaptive number of resultant antibody-sounds (memory cells), so that the intended aesthetical result is properly achieved by avoiding the formal definition of the timbral attributes. The initial set of antibody-sounds may be randomly generated vectors, sinusoidal waves with random frequency, or a set of loaded waveforms. To evaluate the obtained results we propose an affinity measure based on the average spectral distance from the memory cells to the antigen-sounds. With the validation of the affinity criterion, the experimental procedure is outlined, and the results are depicted and analyzed.

Sound morphing by feature interpolation

The goal of sound morphing by feature interpolation is to obtain sounds whose values of features are intermediate between those of the source and target sounds. In order to do this, we should be able to resynthesize sounds that present a set of predefined feature values, a notoriously difficult problem. In this work, we present morphing techniques to obtain hybrid musical instrument sounds whose feature values correspond as close as possible to the ideal interpolated values. When the features capture perceptually relevant information, the morphed sound whose features are interpolated is perceptually intermediate. The features we use are acoustic correlates of salient timbre dimensions derived from perceptual studies, such that sounds whose feature values are intermediate between two would be placed between them in the underlying timbre space. We measure the perceptual impact of the morphed sounds directly by the feature values, using them as an objective measure with which to evaluate the results. Thus we consider that the morphed sounds change perceptually linearly when the corresponding feature values vary linearly.

A multi-level tonal interval space for modelling pitch relatedness and musical consonance

In this paper we present a 12-dimensional tonal space in the context of the Tonnetz, Chew’s Spiral Array, and Harte’s 6-dimensional Tonal Centroid Space. The proposed Tonal Interval Space is calculated as the weighted Discrete Fourier Transform of normalized 12-element chroma vectors, which we represent as six circles covering the set of all possible pitch intervals in the chroma space. By weighting the contribution of each circle (and hence pitch interval) independently, we can create a space in which angular and Euclidean distances among pitches, chords, and regions concur with music theory principles. Furthermore, the Euclidean distance of pitch configurations from the centre of the space acts as an indicator of consonance.

Musical Instrument Sound Morphing Guided by Perceptually Motivated Features

Sound morphing is a transformation that gradually blurs the distinction between the source and target sounds. For musical instrument sounds, the morph must operate across timbre dimensions to create the auditory illusion of hybrid musical instruments. The ultimate goal of sound morphing is to perform perceptually linear transitions, which requires an appropriate model to represent the sounds being morphed and an interpolation function to obtain intermediate sounds. Typically, morphing techniques directly interpolate the parameters of the sound model without considering the perceptual impact or evaluating the results. Perceptual evaluations are cumbersome and not always conclusive. In this work, we seek parameters of a sound model that favor linear variation of perceptually motivated temporal and spectral features used to guide the morph towards more perceptually linear results. The requirement of linear variation of feature values gives rise to objective evaluation criteria for sound morphing. We investigate several spectral envelope morphing techniques to determine which spectral representation renders the most linear transformation in the spectral shape feature domain. We found that interpolation of line spectral frequencies gives the most linear spectral envelope morphs. Analogously, we study temporal envelope morphing techniques and we concluded that interpolation of cepstral coefficients results in the most linear temporal envelope morph.

Self-organizing Bio-inspired Sound Transformation

We present a time domain approach to explore a sound transformation paradigm for musical performance. Given a set of sounds containing a prioridesired qualities and a population of agents interacting locally, the method generates both musical form and matter resulting from sonic trajectories. This proposal involves the use of bio-inspired algorithms, which possess intrinsic features of adaptive, self-organizing systems, as definers of generating and structuring processes of sound elements. Self-organization makes viable the temporal emergence of stable structures without an external organizing element. Regarding musical performance as a creative process that can be described using trajectories through the compositional space, and having the simultaneous emergence of musical matter and form resulting from the process itself as the final objective, the conception of a generative paradigm in computer music that does not contemplate a prioriexternal organizing elements is the main focus of this proposal.