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The Symposium
The Brazilian symposia on computer music have consolidated the position of the country
in the field (see previous
symposia overview). The 6th Brazilian Symposium on Computer Music will be held in Rio
de Janeiro, during the 15th Annual Congress of
the Sociedade Brasileira de Computação (SBC) from 19 to 22 of July. The symposium is
organized by NUCOM, the computer music branch of SBC.
This is a unique opportunity to visit Rio de Janeiro, one of the most beautiful cities
in the world and a leading Latin American cultural center. During the symposium there will
be concerts, papers and lectures on topics at the cutting edge of computer music
technology. Researchers and musicians interested in the interplay between computer
technology and music are invited to submit papers and compositions
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Topics of Interest
This year we are giving special emphasis to "Musical Composition and Computing
Technology".
The topics include, but are not limited to,
- Acoustics, Diffusion, Sonorization
- Audio Hardware Design
- Audio Signal Processing
- Sound Synthesis
- Artificial Intelligence
- Psychoacoustics and Cognitive Modeling
- Computer Aided Music Analysis
- Computer Aided Musical Education
- Real-time Interactive Systems
- Music Data Structures and Representation
- Music Notation, Printing and Optical Recognition
- Systems and Languages for Composition
- Artificial Life and Evolutionary Music Systems
- Internet Applications
- Multimedia Integration
- Computer-Aided Musicology
A selection of papers will be considered for publication in Organised Sound,
Cambridge University Press.
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Committees
Program Committee
- Gerard Assayag, IRCAM, France
- Aluizio Arcela, Universidade de Brasilia, Brazil
- Peter Beyls, St Lukas Hogeschool Brussels, Belgium
- Moisei Boroda, University of Bochum, Germany
- Marcio Brandão, University of Edinburgh, UK
- Antonio Camurri, University of Genova, Italy
- Roger Dannenberg, Carnegie Mellon University, USA
- Anastasia Georgaki, Ionian University, Greece
- Ross Kirk, University of York, UK
- Fabio Kon, University of Illinois Urbana-Champaign, USA
- Mikhail Malt, IRCAM, France
- Jonatas, Manzolli, Unicamp, Brazil
- Eduardo Miranda (chair), Lamesm UFSM-Brazil & Sony CSL Paris, France
- Peter Nelson, University of Edinburgh, UK
- Carlos Palombini, Universidade Federal de Pernambuco, Brazil
- Geber Ramalho (chair), Universidade Federal de Pernambuco, Brazil
- Francis Rumsey, University of Surrey, UK
- Xavier Serra, IUA-Pompeu Fabra University, Spain
- Petri Toiviainen, University of Jyvaskyla, Finland
- Gerhard Widmer, University of Vienna, Austria
Music Composition Committee
- Rodolfo Caesar (chair), Universidade Federal do Rio de Janeiro, Brazil
- Rodrigo Cicchelli Velloso, Universidade Federal do Rio de Janeiro, Brazil
- Francis Dhomont, Université de Montreal, Canada
- Silvio Ferraz, Laboratório de Linguagens Sonoras, PUC-SP, Brazil
- Thomas Kessler, Musik Akademie, Basel, Switzerland
- Denis Smalley, City University, London, UK
Pieces for String Orchestra or Jazz Ensemble will also be judged by the following:
- Ernani Aguiar, Universidade Federal do Rio de Janeiro, Brazil
- André Cardoso, Universidade Federal do Rio de Janeiro, Brazil
- José Arthur Rua, Universidade Federal do Rio de Janeiro, Brazil
Tutorials and Demonstrations Committee
- Robert Willey (chair), Universidade Federal do Pará, Brazil
- Didier Guigue, Universidade Federal da Paraíba, Brazil
- Rodolfo Coelho da Souza, University of Texas, Austin
- Paris Psaros, CREATE, University of California, Santa Barbara
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Guidelines for submission
Papers
Papers describing on-going or concluded research must be submitted in a preliminary
version containing no more than 8 pages (Times Roman 12 and 1.5 interline space).
Portuguese is acceptable for preliminary submissions but for the final camera-ready papers
English is required.
Authors must state the topics on the cover page (refer to topic list above).
Please e-mail submissions to Geber Ramalho (glr@di.ufpe.br)
or Eduardo Miranda (miranda@csl.sony.fr) as MS
Word 97, pdf or postscript files. Alternatively, indicate the URL where your document may
be found.
Tutorial and Demonstration Proposals
Proposals for didactic demonstrations in any area of computer music will be considered,
including demonstrations of commercial products (software or hardware). They will fall
under the following categories:
- Introductory level intended for students and those outside the computer music
field. Topics can range from popular music tools to more complex applications (e.g.,
Orchestral MIDI Sequencing Technique, Algorithmic Processes in Contemporary Music, etc.);
- Advanced applications for more experienced practitioners (e.g., Digital Signal
Processing in Music Composition).
Tutorials shall take place 19 July, followed by the symposium opening in the evening.
Exhibition of products will continue to 22 July. Proposals should include a survey of
topics and an indication of duration. Presenters should be prepared to supply most or all
of the necessary equipment. Online tutorials are welcome, to be accessed by participants
through web browsers during and after the symposium. Online tutorials should be operative
no later than 24 May.
Please e-mail proposals to Robert Willey (rw@libnet.com.br).
Compositions
The Music Selection Committee invites submissions in the following categories:
- Music for Tape (DAT or CD)
- Pieces for Instruments and Electronics (Tape and/or Live)
- Solo Instrument
- String Orchestra*
- Jazz Ensemble**
- Algorithmic Instrumental Pieces
- Solo Instrument
- String Orchestra*
- Jazz Ensemble**
- * String Orchestra: 4 (1st violins); 4 (2nd violins);
3 (violas); 3 (cellos); 2 (double-basses)
- ** Jazz Ensemble: 5 saxophones (2.2.1) also doubling
flutes; 5 trumpets; 4 trombones (3.1); piano; drums; percussion; electric guitar; electric
bass
Pieces composed within the last five years and lasting no longer than 10 minutes will
be preferred. Candidates may submit up to three works.
All entries must be accompanied by the attached Entry Form, along with a short CV
and program notes. Music for Tape requires submission of a DAT or CD recording. Mixed
Pieces (solo, string orchestra or jazz ensemble plus Tape) require submission of the
full score, the tape part (DAT or CD) and a recording of the piece. Pieces for
Instruments (solo, string orchestra or jazz ensemble) and Live
Electronics require submission of the full score, a recording of the piece, and a
detailed description of the equipment employed. Algorithmic Instrumental Pieces
require submission of the score and information concerning the computing technology (i.e.,
analytical discussion plus illustrations of patches, tables, etc.).
Submissions shall be sent at the candidate’s own expenses. Under no circumstances
will the symposium organizing committee be liable to customs duties or any other costs
arising from an application. Entries, whether select or not, will not be returned.
Submissions will be added to NUCOM’s music library, located at LaMuT (Escola de
Música da UFRJ). Candidates are therefore advised not to send originals.
Please send submissions to:
SBCM99 - Music Selection Committee,
a/c ARTE ELETRONICA - PUC-RIO,
Rua Marquês de São Vicente 225,
Prédio Gênesis - Sala 16 B,
Rio de Janeiro - RJ,
22453-900 Brazil
sbcm99@infogene.ctc.puc-rio.br
The Brazilian Symposium on Computer Music is the joint effort of a number of
individuals and institutions. This year we are glad to announce the support of:
- Escola de Música da Universidade Federal do Rio de Janeiro (Brazil), suplying
performers for instrumental pieces;
- the Electronic Studios of Musik Akademie - Basel (Switzerland), providing live
electronics support;
- ARTE ELETRONICA, in the role of executive producers.
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Important Dates
5 March 1999 - Deadline for postage of compositions
19 March 1999 - Deadline for postage of papers, tutorial proposals and demonstrations
22 April 1999 - Notification of acceptance
28 May 1999 - Deadline for final camera-ready papers
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Selection Results
Papers
The selected papers are the following
- Time Morphing using Wigmer Time-Frequency Distribution
Thomas Lysaght
- Gestural Sounds by means of Wave Terrain Synthesis
Anderson Mills and Rodolfo Coelho de Souza
- A Bond Graphs approach to Physical Modelling of Musical Instruments
Peter Gawthrop, Andrew McGregor and Eduardo R. Miranda
- Online additive synthesis by interfacing SOM-A to Java Sound
Aluizio Arcela and Rodolfo Bezerra Batista
- Towards a vocal synthesiser: problems and prospects
Anastasia Georgaki
- Virtual pitch and pitch salience in contemporary composing
Ludger Hofmann-Engl
- Echoic memory in primitive auditory selective attention
Ben Weedon and Zofia Kaminska
- "MUSAS: um programa para analise e sintese de espacos musicais "
Gilberto Carvalho e Hudson Lacerda
- The influence of text in computer music composition: an approach to expression
modelling
Juan Reyes and Maria Munoz
- A computer environment for polymodal music
Jonatas Manzolli
- Computer-aided musical analysis of extended vocal techniques for compositional
applications
Leonardo Fuks
- A stochastic musical composer based on adaptive algorithms
Bruno Abrantes Basseto and Joao Jose Neto
- A robotic rhymic system
Algeir Sampaio, Pablo Javier Cavalcanti and Joao Homero Filho
- Um modelo hibrido inteligente para previsao de acordes
Uraquitan Sidney Cunha and Geber Ramalho
- Developing a timbre morphing package: the process of automatic feature identification
C. J. Hope
- Material, Forma e Processo na Musica Eletroacustica
Fernando Iazzetta
- Modelos de representacao do som na composicao eletroacustica
Fabio Furlanete
- Electroacoustic music: the performative site of mimetic practice
Rose Dodd
- The sonic object: preliminary considerations
Carlos Palombini
- RTSPA1: a program and some technical & practical remarks for real-time sound
spatialization
Oscar Pablo Di Liscia
- Gesture control of musical processes: A MAX environment for the Lightning
Carlos Cerana
- Using DirectCsound, a realtime-oriented version of Csound
Gabriel Maldonado
- Evolutionary computation for music evolution
Artemis Moroni et al.
- GeNotator: an environment for exploring the application of evolutionary techniques in
computer assisted composition
Kurt Thywissen
- Towards an Aritificial Life approach to the Origins of Music
Eduardo R. Miranda
- Musicology facing the challenges of computer projection of its own
interdisciplinarity
Mirjana Veselinovic-Hofman
- The Principles of Structural Unit Separation for Deciphering the Neume Hymnals
Irina V. Bakhmutova, Lyubov A. Nemytikova and Tatyana N. Titkova
- The quantitative Study of Local Variation Regularities on the Base of Russian, French
and American Folk Songs
Irina V. Bakhmutova, Vladimir D. Gusev, Lyubov A. Nemytikova and Tatyana N. Titkova
- "Desenvolvimento de software para educacao musical"
Susana Kruger, Eloy Fritsch et al.
Compositions
We have finally decided which pieces will be performed during the VI Simpósio de
Computação & Música. The performance of some of the listed pieces involving
live-electronics will be discussed with the composers via e-mail.
Due to the large amount and the good quality of most submissions our task was hard. I
would like to apologize for the delay in publishing this list.
I am very grateful to all of you who submitted works.
Rodolfo Caesar, chair of the Music Selection Committee. rc@unisys.com.br
Pieces selected for the concerts of
the VI SBC&M:
- Adkins Matthew - Pagan Circus
Banasik Christian - Begegnung IV
Berger Gary - Transition
Biasutti Michele - Tavola IV
Bürck Rainer - STRINGendo
Calon Christian - Les Corps Éblouis
Carvalho Gilberto - FlutePie
Castagna Sebastian - Tango
Chen Chin-Chin - Points of Arrival
Climent Ricardo - Dsp-bop
Field Ambrose - Pyrotechnic
Freire Sergio - Cacos para um vitral
Fretwell Paul - Travelling Still
Garro Diego - Strum in a Teacup
Guigue Didier - Rios Brasileiros
Hadfield Graham - Io
Hedman Jens - Relief
Hyde Joseph - Vox Mecanix
Lee Junghae - Animation
Lorenzo Mario - Se Bifurca en Otro
Manzolli Jônatas - RecurSom
Minsburg Raúl - Voces del Recuerdo
Nunez Adolfo - Virtual
Pintér Gyula - Ekide and Monici
Sigal Sefchovich - Jorge Rodrigo Babel
Walsh Craig T. - Pipeline Burst Cache
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Format guidelines for final papers
Papers must be submitted in english according to the following format:
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Program (timetable)
More information about the program click
here
Day 1 - 19/07
Time |
Activity |
Venue |
Morning |
Registration |
Registration Desk |
14:00 –
14:45 |
Activity
Opening Ceremony - SBC&M |
Venue
Sala 300F |
| |
Activity
Conference |
|
| |
Title
Author |
Language |
15:00 – 17:15 |
The Evolution of Computer
Technology Applied to Music Composition,
Jean-Claude Risset
(CNRS/France) |
English / Portuguese |
17:30 |
Activity
Informal Gathering*
At 18:30 Hs, UFRJazz will be performing a concert at Ginásio da PUC
as part of SBC’s official entertainment activities. |
Venue
Ginásio da PUC |
Day 2 - 20/07
Time |
Activity
Tutorial |
Venue
Sala 300F |
| |
Title
Author |
Language |
8:00 - 9:15 |
Programação
de Software para Treinamento Auditivo Utilizando Hypercard,
Omar Baracaldo
(Universidad de Los Andes/Colombia) |
Spanish |
Activity
Paper Session I |
Venue
Sala 300F |
|
Topic
Audio Signal Processing and Sound Synthesis |
|
| |
Title
Author |
Language |
9:30 |
Timbre
Morphing of synthesised transients using the Wigner Time-Frequency Distribution,
Thomas Lysaght and David Vernon |
English |
9:50 |
Gestural
Sounds by means of Wave Terrain Synthesis,
Anderson Mills and Rodolfo Coelho de Souza |
Portuguese /
English |
10:10 |
A Bond Graphs
approach to Physical Modeling of Musical Instruments,
Peter Gawthrop, Andrew McGregor and Eduardo Miranda |
Portuguese /
English |
10:30 |
Online
additive synthesis by interfacing SOM-A to Java Sound,
Aluizio Arcela and Rodolfo Bezerra Batista |
Portuguese /
English |
Coffee Break (10:50 - 11:00) |
11:00 |
Towards a
vocal synthesiser: problems and prospects,
Anastasia Georgaki |
English |
|
Topic
Psychoacoustics and Cognitive Modeling |
|
| |
Title
Author |
Language |
11:20 |
Virtual pitch
and pitch salience in contemporary composing,
Ludger Hofmann-Engl |
English |
11:40 |
Echoic memory
in primitive auditory selective attention,
Ben Weedon and Zofia Kaminska |
English |
Lunch Break (12:00 - 13:30) |
|
Activity
Paper Session II |
Venue
Sala 300F |
|
Topic
Computer-Aided Music Analysis Systems and Languages for Composition |
|
| |
Title
Author |
Language |
13:30 |
MUSAS: um
programa para análise e síntese de espaços musicais,
Gilberto Carvalho and Hudson Lacerda |
Portuguese /
English |
13:50 |
The influence
of text in computer music composition: an approach to expression modelling,
Juan Reyes and Maria Muñoz |
Spanish /
English |
14:10 |
A computer
environment for polymodal music,
Jonatas Manzolli |
Portuguese /
English |
14:30 |
Computer-aided
musical analysis of extended vocal techniques for compositional applications,
Leonardo Fuks |
Portuguese /
English |
Coffee Break (14:50 - 15:00) |
|
Topic
Artificial Intelligence |
|
| |
Title
Author |
Language |
15:00 |
A stochastic
musical composer based on adaptive algorithms,
Bruno Abrantes Basseto and João José Neto |
Portuguese /
English |
15:20 |
Sistema
ritmista robótico,
Algeir Sampaio, Pablo Javier Cavalcanti and João Homero Filho |
Portuguese /
English |
15:40 |
Um modelo
híbrido inteligente para previsão de acordes,
Uraquitan Sidney Cunha and Geber Ramalho |
Portuguese /
English |
16:00 |
Developing a
timbre morphing package: the process of automatic feature identification,
C.J. Hope |
English |
Coffee Break (16:20 - 16:45) |
| |
Activity
Conference |
|
| |
Title
Author |
Language |
16:45 –
18:15 |
Du support à
l'espace: musiques fixées et projetées,
Francis Dhomont
(Canada) |
French /
Portuguese |
Dinner Break (18:15 - 19:00) |
Time |
Activity
Concert I |
Venue
Cúpula do Planetário |
19:00 |
|
|
| |
Title |
Author |
Media |
Length |
| |
Voces del
Recuerdo |
Raúl Minsburg
(Argentina) |
tape |
9' |
| |
Flute Pie |
Gilberto Carvalho
(Brazil) |
flute solo |
6' |
| |
Io |
Graham Hadfield
(Great Britain) |
tape |
11' |
| |
Babel |
Jorge Rodrigo Sigal
Sefchovich
(Mexico) |
flute, tape and
live electronics |
9' |
| |
Pyrotechnic! |
Ambrose Field
(Great Britain) |
tape |
4'30" |
| |
Begegnung IV |
Christian Banasik
(Germany) |
piano solo |
8' |
| |
Transition |
Gary Berger
(Switzerland) |
tape |
7'10" |
| |
Ekide and
Monici |
Gyula Pintér
(Hungary) |
flute, violin
and tape |
9'20" |
| |
STRINGendo |
Rainer Bürck
(Germany) |
violin and live
electronics |
9' |
|
En
Cuerdas |
Francis Dhomont* Guest Composer
(Canada) |
tape |
11’27" |
Day 3 - 21/07
Time |
Activity
Tutorial |
Venue
Sala 300F |
| |
Title
Author |
Language |
8:00 - 9:15 |
Programação
de Software para Treinamento Auditivo Utilizando Hypercard,
Omar Baracaldo
(Universidad de Los Andes/Colombia) |
Spanish |
|
Activity
Paper Session III |
Venue
Sala 300F |
|
Topic
The Composer’s Forum: Electroacoustic Music |
|
| |
Title
Author |
Language |
9:30 |
Material,
Forma e Processo na Música Eletroacústica,
Fernando Iazzetta |
Portuguese /
English |
9:50 |
Modelos de
representação do som na composição eletroacústica,
Fabio Furlanete |
Portuguese /
English |
10:10 |
The sonic
object: preliminary considerations,
Carlos Palombini |
Portuguese /
English |
Coffee Break
(10:30 - 11:00) |
|
Topic
Real-time Interactive Systems and Sound Diffusion |
|
| |
Title
Author |
Language |
11:00 |
RTSPA1: a
program and some technical & practical remarks for real-time sound spatialization,
Oscar Pablo Di Liscia |
English |
11:20 |
Gesture
control of musical processes: a MAX environment for the Lightning,
Carlos Cerana |
English |
11:40 |
Using
DirectCsound, a realtime-oriented version of Csound,
Gabriel Maldonado |
English |
Lunch Break (12:00 - 13:30) |
|
Activity
Paper Session IV |
Venue
Sala 300F |
|
Topic
Artificial Life and Evolutionary Music Systems |
|
| |
Title
Author |
Language |
13:30 |
Evolutionary
computation for music evolution,
Artemis Moroni |
English |
13:50 |
GeNotator: an
environment for exploring the application of evolutionary techniques in computer assisted
composition,
Kurt Thywissen |
English |
14:10 |
Towards an
Aritificial Life approach to the Origins of Music,
Eduardo Reck Miranda |
Portuguese /
English |
| |
Topic
Computer-Aided Musicology |
|
14:30 |
Musicology
facing the challenges of computer projection of its own interdisciplinarity,
Mirjana Veselinovic-Hofman |
English |
Coffee Break
(14:50 - 15:00) |
| |
Title
Author |
Language |
15:00 |
The
Principles of Structural Unit Separation for Deciphering the Neume Hymnals,
I.V. Bakhmutova, V.D. Gusev, T.N. Titkova. |
English |
15:20 |
The
quantitative Study of Venue Variation Regularities on the Base of Russian, French and
American Folk Songs,
I.V. Bakhmutova, V.D. Gusev, L.A. Nemytikova and T.N. Titkova |
English |
| |
Topic
Computer Aided Musical Education |
English |
15:40 |
Desenvolvimento
de software para educação musical,
Kruger et al. |
Portuguese /
English |
Coffee Break (16:00 - 16:45) |
| |
Activity
Conference |
Venue
Sala 300F |
| |
Title
Author |
Language |
16:45 –
18:15 |
New
Technologies in Live-Electronics Compositions,
Thomas Kessler
(Musik Akademie, Basel/Switzerland) |
English /
Portuguese |
Dinner Break (18:15 - 19:00) |
Time |
Activity
Concert II |
Venue
Cúpula do Planetário |
19:00 |
|
|
| |
Title |
Author |
Media |
Length |
| |
Relief |
Jens Hedman
(Sweden) |
tape |
11'20" |
| |
Dsp-bop |
Ricardo Climent
(Spain) |
sax and tape |
9' |
| |
Pagan Circus |
Mathew Adkins
(Great Britain) |
tape |
14' |
| |
Se Bifurca en
Otro |
Mario Lorenzo
(Argentina) |
tape |
12' |
| |
Harpsichord
Control |
Thomas Kessler* Guest Composer
(Switzerland) |
harpsichord and
live electronics |
11’ |
| |
Vox Mecanix |
Joseph Hyde
(Great Britain) |
tape |
10' |
|
Cacos
para um vitral |
Sérgio Freire
(Brazil) |
clarinet
solo |
6' |
| |
Atracteurs
étranges (2 mov.) |
Jean-Claude Risset* Guest Composer
(France) |
clarinet and
tape |
9’ |
|
Elementa |
Jean-Claude
Risset*
(France) |
tape |
21’ |
Day 4 - 22/07
Time |
Activity
Tutorial |
Venue
Sala 300F |
| |
Title
Author |
Language |
8:00 - 9:15 |
Programação
de Software para Treinamento Auditivo Utilizando Hypercard,
Omar Baracaldo
(Universidad de Los Andes/Colombia) |
Spanish |
|
Activity
Round Table I |
Venue
Sala 300F |
|
Title
Panelists |
Language |
9:30 - 12:00 |
Digital
Convergence,
Geber Ramalho (chair), Francis Dhomont, Sílvio Meira, François
Pachet and Jean-Claude Risset |
English |
Lunch Break (12:00 - 13:30) |
|
Activity
Round Table II |
Venue
Sala 300F |
|
Title
Panelists |
Language |
13:30 - 16:00 |
Mesa Nucom,
Mauricio Loureiro (chair), Aluizio Arcela, Rodrigo Cicchelli
Velloso, Carole Gubernikoff and Eduardo Reck Miranda |
Portuguese |
Coffee Break (16:00 - 16:15) |
| |
Activity
Conference |
Venue
Sala 300F |
| |
Title
Author |
Language |
16:15 –
17:45 |
The Active
Listening Project at Sony CSL,
François Pachet
(Sony CSL/France) |
English /
Portuguese |
Dinner Break (17:45 - 18:30) |
Time |
Activity
Concert III |
Venue
Cúpula do Planetário |
18:30 |
|
|
| |
Title |
Author |
Media |
Length |
| |
Strum in a
Teacup |
Diego Garro
(Italy) |
tape |
3'30" |
| |
Points of
Arrival |
Chin-Chin Chen
(Taiwan) |
violin and tape |
8'30" |
| |
Travelling
Still |
Paul Fretwell
(Great Britain) |
tape |
12'30" |
| |
Pipeline
Burst Cache |
Craig T. Walsh
(USA) |
cello and tape |
8' |
| |
Animation |
Junghae Lee
(Korea) |
tape |
5' |
|
Tavola
IV |
Michele Biasutti
(Italy) |
viola
and live electronics |
11'30" |
| |
Rios
Brasileiros (1st mov.) |
Didier Guigue
(France) |
string orchestra |
8' |
| |
Virtual |
Adolfo Nunez
(Spain) |
string orchestra
and tape |
11'30" |
| |
RecurSom |
Jônatas Manzolli
(Brazil) |
string orchestra |
5'20" |
|
Tango |
Sebastián
Castagna
(Argentina) |
string
orchestra and tape |
5' |
| |
Les Corps
Éblouis |
Christian Calon
(France) |
tape |
22'45" |
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Organization
For more information, please contact the organizing committee in Rio de Janeiro:
Dr. Rodrigo Cicchelli Velloso
Departamento de Composição
Escola de Musica da UFRJ
Rua do Passeio 98
Rio de Janeiro RJ
20021-290 Brasil
tel: + 55 21 2401391 ramal 38
rodcv@acd.ufrj.br
rodcv@openlink.com.br
sbcm99@infogene.ctc.puc-rio.br
http://www.inf.puc-rio.br/~sbc99/programa/sbcm.html
http://www.di.ufpe.br/~glr/sbcm99/
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|
Programação do Congresso