Program - SBCM 2017

OPEN CONCERTS: The 3 concerts of the SBCM at the nights of Sunday 3/9, Monday 4/9 and Tuesday 5/9 will be open to the general public! Bring in your friends and help us forward this information for interested parties!

First day: Sunday, September 3rd

14:00 - 15:00: Registration + Welcome coffee
15:00 - 15:30: Opening ceremony
15:30 - 17:00: Keynote talk I: Xavier Serra, Universitat Pompeu Fabra (Spain)
17:00 - 17:45: Coffee-break
17:30 - 18:00: Walk
18:00 - 19:00: Opening concert

Second day: Monday, September 4th

09:30 - 10:00: Welcome coffee
10:00 - 11:00: Technical Papers I - Audio Synthesis
11:00 - 12:00: Music Papers I - Composition and improvisation
Lunch break
14:00 - 14:30: Poster Craze
14:30 - 15:30: Poster Session I
15:30 - 17:00: Keynote talk II: Emilios Cambouropoulos - Aristotle University of Thessaloniki (Greece)
17:00 - 17:45: Coffee-break
17:30 - 18:00: Walk
18:00 - 19:00: Acousmatic Concert

Third day: Tuesday, September 5th

09:30 - 10:00: Welcome coffee
10:00 - 11:00: Technical Papers II - Music Information Retrieval
11:00 - 12:00: Technical Papers III - Computer Music (I)
Lunch break
13:30 - 14:30: Music Papers II - Music software
14:30 - 15:30: Technical Papers IV - Computer Music (II)
15:30 - 17:00: Keynote talk III: Damián Keller - Federal University of Acre (Brazil)
17:00 - 17:45: Coffee-break
17:30 - 18:00: Walk
18:00 - 19:00: Performatic Concert

Fourth day: Wednesday, September 6th

09:30 - 10:00: Welcome coffee
10:00 - 11:00: Technical Papers V - Music visualization and multimodal interaction
11:00 - 12:00: Technical Papers VI - Computer Music Outreach
Lunch break
13:30 - 14:30: Poster Session II
14:30 - 15:30: Discussion panel and CE-CM meeting
15:30 - 17:00: Workshop (Rodrigo Schramm): Music Information Retrieval
17:00 - 17:45: Coffee-break
17:45 - 18:00: Closing ceremony

Oral Sessions

Technical Papers I: Audio Synthesis

  • Design and implementation of an open-source subtractive synthesizer on the Arduino due platform (R. Pirotti, M. Pimenta, and M. Johann)
  • Modeling a physical model with conditional adversarial autoencoders (S. Sinclair)
  • Timbre spaces with sparse autoencoders (P. Riera, M. Zabaljauregui, and M. Eguia)

Technical Papers II: Music Information Retrieval

  • A probabilistic model for recommending music based on acoustic features and listening data (R. Borges and M. Queiroz)
  • The million playlists songs dataset: a descriptive study over multiple sources of user-curated playlists (F. Falcão and D. Gondim)
  • Impact of genre in the prediction of perceived emotions in music (F. Tanios and T. Tavares)

Technical Papers III: Computer Music (I)

  • Else library for pure data (A. Porres)
  • Vivace: a collaborative live coding language and platform (V. V. da Silva Junior, G. Lunhani, G. R. Junior, C. Luporini, D. Penalva, R. Fabbri and R. Fabbri)
  • aAaA: an attribute aware abstraction architecture allowing arbitrary argument assignment in Pure Data (J. Padovani)

Technical Papers IV: Computer Music (II)

  • A domain specific language for drum beat programming (A. D. Bois and R. Ribeiro)
  • Synesthesia add-on: a tool for HTML sonification (R. Bodo and F. Schiavoni)
  • Web audio application development with mosaicode (L. Gonçalves, F. Schiavoni, and A. Gomes)

Technical Papers V: Music visualization and multimodal interaction

  • Gestures of body joints, musical pulses and laban effort actions: Towards an interactive tool for music and dance (L. Souza and S. Freire)
  • A score-informed approach for pitch visualisation of a cappella vocal quartet performances (R. Schramm, H. S. Nunes, and E. Benetos)

Technical Papers VI: Computer Music Outreach

  • Impact of algorithmic composition on player immersion in computer games: A case study using Markov chains (R. Oliveira and T. Tavares)
  • Challenges for a second decade of ubimus research: Metaphors for creative action (D. Keller)
  • Technology enhanced learning of expressive music performance (R. Ramirez)

Music Papers I: Composition and Improvisation

  • Communicating a World View: figer, a Manifold Composition (Sever Tipei)
  • An analysis of Desdobramentos do continuo for violoncello and live electronics performed by audio descriptors (Danilo Rossetti, William Teixeira, Jônatas Manzolli)
  • The Maxwell Demon: Comprovisation in Ecologically Grounded Creative Practice (Luzilei Aliel, Damian Keller, Rogério Costa)

Music Papers II: Music Software

  • AirQ Sonification as a context for mutual contribution between Science and Music. (Julian Arango)
  • Web Orchestra Studio: a real-time interactive platform for music and education (J. Kestenberg, V. Rolla, D. Lúcio, and L. Velho)
  • The Maxwell Demon (performance by Luzilei Aliel)

Poster sessions I/II

  • A tool for the musical education of deaf people (E. Duarte and T. Tavares)
  • An algorithm for guiding expectation in free improvisational solo performances (J. Fornari)
  • An open dataset for vocal music transcription (M. Woitowitz, H. S. Nunes, and R. Schramm)
  • Complex networks of chord transitions in Alexander Scriabin’s piano pieces (J. Pérgola)
  • Developing a set of applications for music creation using low-cost brain-computer interfaces (G. Santo and M. Queiroz)
  • Live coding console with remote audience into the web (G. Lunhani and F. Schiavoni)
  • Melody and accompaniment separation using enhanced binary masks (S. Moura and M. Queiroz)
  • Methods on composer identification using markov chains (A. Neto and R. Pereira)
  • New developments on the augmentation of a classical guitar: Addition of embedded sound synthesis and OSC communication over network (E. Meneses and M. Wanderley)
  • Pedal board approach to sound effects customization (T. F. M. Arcanjo, F. M. R. Junior, and T. Rocha)
  • T2M/M2T: Sonifying text and textualizing sound using audio tags (B. Mesz and L. Samaruga)

Discussion panel and CE-CM meeting

Panel members: Marcelo Queiroz, Luiz Naveda, Rogério Costa, Flávio Schiavoni, Rodrigo Schramm and Tiago Tavares.


Opening concert - September 3rd - 18:00

  • “Sinfonieta de abertura” (Luzilei Aliel, Migue Antar and Yonara Dantas) - Orquestra Errante (*) and KairosPania (**).
  • “phátis” for flauta transversal and live electronics (José H. Padovani) - Cássia Carrascoza, flute; José H. Padovani, live electronics.
  • “O Estranho” for voice, percussion, video and digital processing (Lilian Campesato and Fernando Iazzetta) - Lilian Campesato, voice; Fernando Iazzetta, percussion, video and digital processing.
  • “Arquipélago silencioso” improvisation performance for guitar, saxophone and live electronics. (André Martins e Rogério Costa) - Andre Martins, guitar and live electronics; Rogério Costa, saxophone and live electronics.

Acousmatic concert - September 4th - 18:00

  • “Colour Etude” (Omar Perracha)
  • “Figer” (Sever Tipey)
  • “Rare yet soft” (Kyong Mee Choi)
  • “Lignes et points” (Antonio D’Amato)
  • “Suíte [en]quadrada” (Luzilei Aliel, Migue Antar and Yonara Dantas) - Orquestra Errante (*) and KairosPania (**)

Performatic concert - September 5th - 18:00

  • “Allure – a machinic performance” (André Martins) - guitar and live electronics.
  • “Desdobramentos do contínuo” (Danilo Rossetti) - Willian Teixeira, violoncello; Danilo Rosseti, livre electronics.
  • “For alto saxophone” (Rodolfo Valente) - Pedro Bittencourt, saxophone; Rodolfo Valente, live electronics.
  • “Puzzle Pieces” (Paul Schuette) - Brianna Matzke, piano; Paul Schuette, live electronics.

(*) Orquestra Errante: Mariana Carvalho, piano and ventilarpa; Denis Abranches, acoustic guitar; Fábio Manzione, percussion; Fábio Martinelli, trombone; Max Schenkman, voice and experimental luteria; Pedro Sollero, guitar; Migue Antar, bass; Pedro Canales, bass clarinet; Caio Righi, flute; Inés Terra, voice; Natália Francischini, guitar; Vinicius Fernandes, guitar; Luzilei Aliel, live electronics; Micael Antunes, live electronics; Rogério Costa, saxophone and coordenation

(**) KairosPania: Anna Kobzareva, Carmen Esteves, Filipe Augusto, Kelly Caldas, Lara Kadocsa, Samya Ennes, Victor Pessoa, Yonara Dantas.