Modélisation de l'interprétation des pianistes & applications d'auto-encodeurs sur des modèles temporels

Ce mémoire traite d'abord du problème de la modélisation de l'interprétation des pianistes à l'aide de l'apprentissage machine. Il s'occupe ensuite de présenter de nouveaux modèles temporels qui utilisent des auto-encodeurs pour améliorer l'apprentissage de séquences. Dans un premier temps, nous présentons le travail préalablement fait dans le domaine de la modélisation de l'expressivité musicale, notamment les modèles statistiques du professeur Widmer. Nous parlons ensuite de notre ensemble de données, unique au monde, qu'il a été nécessaire de créer pour accomplir notre tâche. Cet ensemble est composé de 13 pianistes différents enregistrés sur le fameux piano Bösendorfer 290SE. Enfin, nous expliquons en détail les résultats de l'apprentissage de réseaux de neurones et de réseaux de neurones récurrents. Ceux-ci sont appliqués sur les données mentionnées pour apprendre les variations expressives propres à un style de musique. Dans un deuxième temps, ce mémoire aborde la découverte de modèles statistiques expérimentaux qui impliquent l'utilisation d'auto-encodeurs sur des réseaux de neurones récurrents. Pour pouvoir tester la limite de leur capacité d'apprentissage, nous utilisons deux ensembles de données artificielles développées à l'Université de Toronto.

Expressive concatenative synthesis by reusing samples from real performance recordings

Here we describe an approach to the expressive synthesis of jazz saxophone melodies that reuses audio recordings and carefully concatenates note samples. The aim is to generate an expressive audio sequence from the analysis of an arbitrary input score using a previously induced performance model and an annotated saxophone note database extracted from real performances. We push the idea of using the same corpus for both inducing an expressive performance model and synthesizing sound by concatenating samples in the corpus. Therefore, a connection between the performers’ instrument sound and performance characteristics is kept during the synthesis process.

The impact of Six Sigma in the performance of a Pollution Prevention program

The diffusion of Pollution Prevention faces organizational barriers as for instance resistance to change, insufficient support from decision-makers, unclear project leadership, insufficient employee accountability and inflexible organizational structures. To understand how to overcome such barriers, the performance of a Pollution Prevention program of a multinational corporation is analyzed. The quantitative analyses of 2096 Pollution Prevention projects conducted between 1995 and 2007 support the conclusion that the performance of the Pollution Prevention program increased after the implementation of the Six Sigma program. Moreover, the analyses of 1906 Pollution Prevention projects and 31,133 Six Sigma projects for cost reduction in 27 countries indicate that in countries where the implementation of Six Sigma is more expressive, pollution is prevented more than in countries with less expressive Six Sigma implementation. In fact, the Six Sigma implementation improved the organizational capability for data based project management. Therefore, comparing six years before and six years after the Six Sigma implementation, the total number of Pollution Prevention projects recognized increased 6.9 times and the total amount of pollution prevented increased by 62%. The qualitative analysis describes how the Six Sigma program interacts with the Pollution Prevention program in the studied company. (C) 2009 Elsevier Ltd. All rights reserved.

Teaching persons with intellectual disabilities and limited receptive and expressive communication how to recognize and assert their human rights

Persons with intellectual disabilities (ID) are far more likely to be abused than the general population, but there is little research on teaching people with ID about their rights. The goal of this study was to teach four participants with ID and limited communication abilities about their human rights by training them on specific rights topics. The training program included icebreaker activities, instruction on rights concepts, watching and answering questions about videotaped scenarios of rights restrictions, watching and answering questions about role pl ay scenarios of rights restrictions, and responding to brief, low risk in situ rights restrictions imposed by the researchers. Participant performance did not improve significantly or consistently from baseline to training on the questions asked about the videotaped or the role play scenarios, but two of three participants demonstrated defmite improvements in responding to in situ rights restrictions.

The expression and production of piano timbre : gestural control and technique, perception and verbalisation in the context of piano performance and practice

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).

Carl Maria von Weber’s Overture to Oberon: A History of Recorded Performance

My research examines the recorded performance history of the Overture to Weber’s Oberon in light of these aesthetic goals. I have charted changes in performance practice trends, including in timing, tempo fluctuation, rhythmic accuracy and ensemble, and the use of portamento. The twenty recordings studied that I surveyed span nearly seventy-five years, and include many of the 20th century’s most prominent conductors and orchestras, including groups from Communist Russia, both pre-World War II and post-World War II continental Europe, the British Isles, and the United States.8 Though by no means comprehensive, my selections encompass a diverse sampling of surviving recordings, ensuring a large enough sample size to reflect general trends in the performance of Weber’s masterpiece. My research and analysis confirms the conventional view of a move toward more accurate—but also more cautious, uniform, and inexpressive— performances. Surprisingly, however, this analysis also suggests that we are on the cusp of a new era in orchestra performance practice, one that shares many of the values of the earlier recorded performances. While maintaining today’s high standards of execution, modern performances now look to regain many of the past’s expressive qualities, doing so in sometimes surprising ways.

Dermatoglyphics in sports sciences: Understanding the distribution of quantitative indicators in non-athletes and athletes of basketball according to their performance

Objectives. One of the concerns of Sports Sciences is the search for methodologies that can help discover potential athletes. In this sense, some initiatives have been taken in an attempt to identify and characterize the genetic profile of dermatoglyphic marks (fingerprints). The present work has the objective of understanding the distribution of quantitative dermatoglyphic indicators in basketball players with different levels of performance compared to non-players. Methods. The subjects observed constituted 125 individuals, divided into five numerically equal groups, three of which were composed of professional basketball players according to their level of participation (Brazilian Team, National Championship and São Paulo Championship) and the last two formed by weekend players and non-players, respectively. Eleven dermatoglyphic variables were analysed in the descriptive level by means of measurement of position, variability and limits of confidence of the median, and, in inferential terms, the Kruskal-Wallis statistical test was adopted. Results. The more expressive ones were: TRC, counting lines a-b and A'-d, behave differently between athletes and non-athletes. Conclusion. Studies about this kind of analysis should be continued, calling on resources that take into consideration all variables simultaneously as a multivariate study. © 2012 Revista Andaluza de Medicina del Deporte.

Sociocognitive performance in autism spectrum disorders and interference of the therapeutic environment

To analyze the sociocognitive performance of children and adolescents with autism spectrum disorders in two environments of language therapy, which differ as to the physical structure. Ten children and adolescents with ages between 4 and 13 years, of both genders, diagnosed with autism spectrum disorders took part in the study. For data collection, eight filming sessions were performed during individual language therapy lasting 30 minutes, being four in a room with conventional environmental organization (common room) and four in a room with specific ambiance [children's interaction core (CIC) room], interspersed during a month. For the analysis of filmed situations, the Sociocognitive Performance Protocol was used and obtained data were subjected to statistical analysis. No statistical significance was found in sociocognitive performance of 10 subjects in the common and CIC rooms, although specific differences were observed in some cases. The creation of preestablished physical environments or specific materials is not and should not be considered essential for language therapy. It is noteworthy, however, that the absence of a large volume of statistically significant data does not indicate that the results are not expressive, reiterating the need for further research in the area.

A estética japonesa na cultura brasileira: reflexões a partir de um estudo etnofotográfico sobre a performance ritual da festa da Cerejeira de Garça-SP

Aiming to understand the Japanese aesthetic in Brazilian culture and to produce a photographic exhibition of artistic and ethnographic nature, we performed a symbolic exegesis of the ritual performance of Garça Cherry Festival - SP (Brazil). The event takes place annually and is held in memory and honor of oriental culture. The festival features various elements of Japanese culture through expressive forms such as dance, music, costumes, martial arts and cooking. Therefore, the study was based on the anthropology of performance and visual anthropology with regard to symbolic exegesis of the party and look artistic and ethnographic photographic records of the proceedings. Such procedures supported the realization of artistic display that contributed, in turn, in promoting the local culture to a wider audience, and, methodologically, have contributed in visual identification and interpretation of the cultural elements of the ceremony.

Automatic prediction of emotions from text in Spanish for expressive speech synthesis in the chat domain

This paper describes a module for the prediction of emotions in text chats in Spanish, oriented to its use in specific-domain text-to-speech systems. A general overview of the system is given, and the results of some evaluations carried out with two corpora of real chat messages are described. These results seem to indicate that this system offers a performance similar to other systems described in the literature, for a more complex task than other systems (identification of emotions and emotional intensity in the chat domain).

Self-aware and self-expressive camera networks

Smart cameras perform on-board image analysis, adapt their algorithms to changes in their environment, and collaborate with other networked cameras to analyze the dynamic behavior of objects. A proposed computational framework adopts the concepts of self-awareness and self-expression to more efficiently manage the complex tradeoffs among performance, flexibility, resources, and reliability. The Web extra at http://youtu.be/NKe31-OKLz4 is a video demonstrating CamSim, a smart camera simulation tool, enables users to test self-adaptive and self-organizing smart-camera techniques without deploying a smart-camera network.

Pathfinder: a performance-game for the augmented drum-kit

Pathfinder is a performance-game for solo drummer, exploring the synergies between multiple contemporary creative practices. The work navigates between music composition, improvisation, projection/light art and game art. At its heart lies a bespoke electro-acoustic instrument, the augmented drum-kit, used not only to provide the sonic content of the work in real-time, but also as a highly expressive game controller that interacts with an instrument-specific game. The musical instrument offers a much wider range of expressive possibilities, control and tactile feedback in comparison to a traditional general-purpose game controller, and as a result it affords a more diverse and nuanced game play performance. Live electronics, lights, projections and the drum-kit all make up the performance-game’s universe, within which the performer has to explore, adapt, navigate and complete a journey.

Gestural communication of music structure during solo classical piano performance

The production and perception of music is a multimodal activity involving auditory, visual and conceptual processing, integrating these with prior knowledge and environmental experience. Musicians utilise expressive physical nuances to highlight salient features of the score. The question arises within the literature as to whether performers’ non-technical, non-sound-producing movements may be communicatively meaningful and convey important structural information to audience members and co-performers. In the light of previous performance research (Vines et al., 2006, Wanderley, 2002, Davidson, 1993), and considering findings within co-speech gestural research and auditory and audio-visual neuroscience, this thesis examines the nature of those movements not directly necessary for the production of sound, and their particular influence on audience perception. Within the current research 3D performance analysis is conducted using the Vicon 12- camera system and Nexus data-processing software. Performance gestures are identified as repeated patterns of motion relating to music structure, which not only express phrasing and structural hierarchy but are consistently and accurately interpreted as such by a perceiving audience. Gestural characteristics are analysed across performers and performance style using two Chopin preludes selected for their diverse yet comparable structures (Opus 28:7 and 6). Effects on perceptual judgements of presentation modes (visual-only, auditory-only, audiovisual, full- and point-light) and viewing conditions are explored. This thesis argues that while performance style is highly idiosyncratic, piano performers reliably generate structural gestures through repeated patterns of upper-body movement. The shapes and locations of phrasing motions are identified particular to the sample of performers investigated. Findings demonstrate that despite the personalised nature of the gestures, performers use increased velocity of movements to emphasise musical structure and that observers accurately and consistently locate phrasing junctures where these patterns and variation in motion magnitude, shape and velocity occur. By viewing performance motions in polar (spherical) rather than cartesian coordinate space it is possible to get mathematically closer to the movement generated by each of the nine performers, revealing distinct patterns of motion relating to phrasing structures, regardless of intended performance style. These patterns are highly individualised both to each performer and performed piece. Instantaneous velocity analysis indicates a right-directed bias of performance motion variation at salient structural features within individual performances. Perceptual analyses demonstrate that audience members are able to accurately and effectively detect phrasing structure from performance motion alone. This ability persists even for degraded point-light performances, where all extraneous environmental information has been removed. The relative contributions of audio, visual and audiovisual judgements demonstrate that the visual component of a performance does positively impact on the over- all accuracy of phrasing judgements, indicating that receivers are most effective in their recognition of structural segmentations when they can both see and hear a performance. Observers appear to make use of a rapid online judgement heuristics, adjusting response processes quickly to adapt and perform accurately across multiple modes of presentation and performance style. In line with existent theories within the literature, it is proposed that this processing ability may be related to cognitive and perceptual interpretation of syntax within gestural communication during social interaction and speech. Findings of this research may have future impact on performance pedagogy, computational analysis and performance research, as well as potentially influencing future investigations of the cognitive aspects of musical and gestural understanding.

Pathfinder. Performance at the Sonorities Festival of Contemporary Music 2016

Pathfinder (2016) is an audiovisual performance-game for a solo drummer,exploring the synergies between multiple contemporary creative practices.The work navigates between music composition, improvisation, projection/ light art and game art. At its heart lies a bespoke electro-acoustic instrument,the augmented drum-kit, used not only to provide the sonic content of the work in real-time, but also as a highly expressive game controller that interacts with an instrument-specific game. The musical instrument offers a much wider range of expressive possibilities, control and tactile feedback in comparison to a traditional general-purpose game controller, and as a result it affords a very diverse and nuanced gameplay performance. Live electronics, lights, projections and the drum-kit all make up the performance-game’s universe, within which the performer has to explore, adjust, navigate and complete a journey.

Genetic Aspects Of Athletic Performance: The African Runners Phenomenon.

The current dominance of African runners in long-distance running is an intriguing phenomenon that highlights the close relationship between genetics and physical performance. Many factors in the interesting interaction between genotype and phenotype (eg, high cardiorespiratory fitness, higher hemoglobin concentration, good metabolic efficiency, muscle fiber composition, enzyme profile, diet, altitude training, and psychological aspects) have been proposed in the attempt to explain the extraordinary success of these runners. Increasing evidence shows that genetics may be a determining factor in physical and athletic performance. But, could this also be true for African long-distance runners? Based on this question, this brief review proposed the role of genetic factors (mitochondrial deoxyribonucleic acid, the Y chromosome, and the angiotensin-converting enzyme and the alpha-actinin-3 genes) in the amazing athletic performance observed in African runners, especially the Kenyans and Ethiopians, despite their environmental constraints.