A aplicação do Somax2 na eletrônica em tempo real de Chronos IIIc, de Roberto Victório

Autores

DOI:

https://doi.org/10.5216/mh.v24.78611

Palavras-chave:

Inteligência artificial, Música Eletroacústica, Performance musical, Eletrônica mista

Resumo

Este artigo detalha o desenvolvimento de um patch computacional destinado ao processamento em tempo real da peça Chronos IIIc, originalmente composta pelo brasileiro Roberto Victório para violoncelo solo. Nesta versão, a obra incorpora uma camada adicional de elementos eletrônicos. Inicialmente, oferecemos um relato histórico, seguido de uma análise estrutural do projeto composicional de Victório. Em seguida, exploramos o funcionamento do Somax2, um sistema computacional dedicado à improvisação em tempo real, fundamentado interações multiagentes e um modelo de Inteligência Artificial baseado em escuta de máquina e aprendizado estatístico. Com base nesse entendimento, apresentamos o processo de realização eletrônica da peça, investigando como as parametrizações dos módulos disponíveis podem reproduzir as interações concebidas pelo compositor entre o violoncelo e a orquestra em uma das versões da obra. Finalmente, compartilhamos resultados obtidos durante a execução do design, destacando aspectos relevantes da performance.

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Biografia do Autor

William Teixeira, Universidade Federal de Mato Grosso do Sul, Campo Grande/MS, Brasil, william.teixeira@ufms.br

William Teixeira é Professor Adjunto no Curso de Música da Universidade Federal de Mato Grosso do Sul (desde 2016). Bacharel em música com habilitação em violoncelo pela UNESP (2012), concluiu seus estudos de Pós-Graduação sob orientação do compositor Silvio Ferraz, como bolsista FAPESP, obtendo os títulos de Mestre em música pela UNICAMP (2014) e Doutor em música pela USP (2017), com estágios de pesquisa na Paul Sacher Stiftung (Suíça) e na Akademie der Künste, Berlim (Alemanha). Realiza Pós-Doutorado em Filosofia na PUC-RS com pesquisa sobre filosofia analítica da arte.

Marco Fiorini, Institut de Recherche et Coordination Acoustique/Musique, Paris, France, marco.fiorini@ircam.fr

Marco Fiorini is an Italian musician and researcher dedicated to improvisation and new forms of musical expression, with a mixed artistic and scientific background. He is currently working in the Music Representation team at IRCAM STMS in Paris, where he works on artistic research projects together with musicians such as Jöelle Léandre, Lorenzo Colombo, Sylvain Luc, György Kurtág Jr, Jean-Marc Montera, Horse Lords and tellKujira. He is engaged in research related to the ERC REACH project, in particular on the co-creative improvisation software Somax2, and is exploring new forms of interaction in improvised music with artificial agents as part of a PhD thesis at Sorbonne University in Paris. He has given numerous concerts, presentations and workshops in several countries, oscillating between free improvisation, spontaneous composition, sound performance and sound art and performing at prestigious improvisation and contemporary music festivals such as ManiFeste (Centre George Pompidou, Paris), Klang (Royal Danish Academy of Music, Copenhagen), Mixtur (ESMUC, Barcelona), Improtech and Le Mans Sonore

Mikhail Malt, Institut de Recherche et Coordination Acoustique/Musique, Paris, France mikhail.malt@ircam.fr

Researcher in the Musical Representations team at IRCAM, Computer Music Designer Teacher (IRCAM Department of Pedagogy), Associate Research Director at Sorbonne University, and Composer, with a background in engineering, composition, and conducting. His research focuses on computer-assisted music composition and musical formalization. Since joining IRCAM in 1990 as a student and in 1992 as a research composer, his work has bridged research and teaching, particularly in computer music and composition curricula. Currently, his research develops across three main axes: Modeling and musical representation: exploring the expressivity of formal models in computer-assisted composition, real-time generative music, and open works; Development of interfaces and tools for computer-assisted composition; Musical analysis, computer-assisted performance, and musical creation.

Gérard Assayag, Institut de Recherche et Coordination Acoustique/Musique, Paris, France gerard.assayag@ircam.fr

Gérard Assayag is a co-founder of Collegium Musicae, the Sorbonne University Institute for Music Sciences, and has contributed to launching the Sorbonne Institute for Artificial Intelligence (SCAI), where he played a key role in defining the Digital Humanity Axis program. He co-founded the French Society for Computer Music (AFIM) and the International Society for Mathematics and Computation in Music (SMCM), as well as the Journal of Mathematics and Music (JMM), a leading peer-reviewed publication in the field. Assayag serves on the editorial boards of JMM, the Journal of New Music Research (JNMR), and the Springer Computational Music Science Series. He has organized major conferences, including Forum Diderot (1999), Sound and Music Computing (2004), Mathematics and Computation in Music (2011), Mathemusical Conversations (Singapore, 2015), and the Improtech series (Paris-New York 2012, Paris-Philadelphia 2017, and Paris-Athina 2019). Assayag has also co-edited several influential works such as Mathematic and Music (1999), The OM Composer's Book I-III (2006–2016), and Mathemusical Conversations (2016). Through his theoretical research and technologies like OpenMusic and Omax, Assayag introduced the concept of symbolic interaction, enabling advanced musical dialogue between humans and machines. His current focus evolves towards Co-Creativity in Cyber-Human Workshop, shaping the future of artistic human-machine interaction.

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Publicado

2024-12-17

Como Citar

TEIXEIRA, W.; FIORINI, M.; MALT, M.; ASSAYAG, G. A aplicação do Somax2 na eletrônica em tempo real de Chronos IIIc, de Roberto Victório. Música Hodie, Goiânia, v. 24, 2024. DOI: 10.5216/mh.v24.78611. Disponível em: https://revistas.ufg.br/musica/article/view/78611. Acesso em: 19 dez. 2024.

Edição

v. 24 (2024): Música Hodie

Seção

Dossiê SiMN 2023 Música Nova
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