Opus (Associação Nacional de Pesquisa e Pós-Graduação em Música), Vitória, v. 31, 2025
Pablo Soto Hurtado (Pontificia Universidad Católica de Chile) y Eileen Karmy (Universidad de Playa Ancha)
Abstract
This article examines the context of musical performances in major Chilean cities in the early twentieth century, using as a case study the 1913 tour of the Spanish guitarist and ventriloquist Francisco Sanz Baldoví. While Sanz has been recognized as a key figure in the development of ventriloquism, his guitar concerts—integral to his artistic productions—have been largely overlooked in the historiography of the guitar as a solo concert instrument. This omission is particularly striking in the Chilean context, where Sanz gave numerous large-scale concerts that helped to popularize the guitar as a concert instrument among broad audiences. The article situates Sanz’s productions within the broader development of the cultural and musical industry in the early twentieth century. Drawing on press reports of his performances in Chile, it analyzes how the distinctive features of his artistic presentations both enriched the landscape of musical performance and challenged the conventional mechanisms through which the concert guitar was typically disseminated.
Keywords: Francisco “Paco” Sanz, variety shows, Spanish guitarists in Chile, concert guitar in the early twentieth century.
Cultural Trends, 1–18, 2025
Eileen Karmy (Universidad de Playa Ancha), Daniela Fugellie (Universidad Alberto Hurtado), José Manuel Izquierdo (Pontificia Universidad Católica de Chile), René Silva-Ponce (Universidad Austral de Chile) and Rodrigo Cádiz (Pontificia Universidad Católica de Chile)
Abstract
Chile’s legal and institutional framework for music promotion has inadvertently fostered a degree of rigidity, particularly in the realm of classical music. This produces a perception of an elite domain, despite concurrent cultural democratisation policies that aim to broaden access. This article examines the complexities of this landscape, exploring the potential for a more inclusive model of cultural democracy within classical music. By analysing current Chilean policies, we identify limitations and opportunities. Furthermore, we delve into the Fundación de Orquestas Juveniles e Infantiles de Chile (FOJI) as a case study, given its unique position as an independent entity with state linkages. This analysis aims to foster a broader understanding of classical music and identify its challenges, informed by empirical research, including document analysis, interviews, and archival research. This approach allows for a nuanced exploration of the interplay between policy, institutional practices, and individual experiences within the Chilean classical music landscape.
Keywords
Youth orchestras; classical music; heritage; culture; democracy.
Vol. 26 Núm. 1 (2025): Dosier: Periodismo musical en América Latina: procesos culturales e interdisciplinariedad
Nayive Ananías (Pontificia Universidad Católica de Chile)
Abstract
This article analyzes and contrasts the discourses —during the first half of the 20th century—of the Brazilian music critics Lúcia Branco, Beatriz Leal Guimarães, Ondina Portella RibeiroDantas, and Magdala da Gama Oliveira regarding classical music repertoires and performers, both foreign and local, as well as male and female. Furthermore, it highlights the elitist judgments and the denigration of samba, coinciding with the period of its nationalization and export. Advocates of written tradition music, these women engaged in debates over who embodied the Brazilian identity. For these music critics from the Carioca aristocracy, the Brazilian identity had to be purified by eliminating African traces. The struggle between the learned and the popular —the harmless versus the harmful— is also evidence of the racism and classism propagated by the media, and also by women.
Keywords
Female music criticism, Brazilian music criticism, classical music, popular music, samba.
Proceedings of the Conference on AI Music Creativity (AIMC 2025)
Agustín Macaya, Denis Parra y Rodrigo Cádiz (Pontificia Universidad Católica de Chile)
Abstract
Generative models in deep learning have experienced great development in art generation. Even though image-based art generation has had a big success, music still needs to catch up compared to its visual counterpart. Extreme focus on improving the generated outputs has neglected the importance of understanding what generative models learn and understand about music. This investigation aims to understand how latent space characteristics can be related to the concepts of creativity, fidelity, and novelty. Unsupervised variational autoencoders (VAEs) with different latent space characteristics were trained to generate chords. Reconstruction and generation capabilities were analyzed. A set of probing networks was trained to determine the representations learned by the unsupervised models. Particular focus was drawn to identify which musical concepts were learned in the latent space. Analysis shows that a bigger latent space will favor, with limitations, novelty-creativity at the expense of fidelity-standards, which gets worse but also to a limit. Other findings show that smaller latent spaces do not allow for good dataset reconstruction but still follow good fidelity-standards at generation time at the expense of lower novelty-creativity. Finally, results show that bigger latent spaces are required for learning complex musical concepts.
Proceedings of the Conference on AI Music Creativity (AIMC 2025)
Benjamín Saldías, Denis Parra, Marcelo Mendoza y Rodrigo Cádiz (Pontificia Universidad Católica de Chile)
Abstract
This paper explores the application of artificial intelligence in symbolic music generation, focusing on the use of a Variational Autoencoder (VAE) trained on the Thesaurus of Scales and Melodic Patterns by Nicolas Slonimsky. We consider two main tasks: generating novel musical scales and interpolating between known and generated scales. The analysis includes an evaluation of generated scales using metrics such as novelty, symmetry, and coverage, as well as assessments of interpolation quality through structural similarity and local binary pattern analysis. The results indicate that the model is capable of producing musically coherent and structurally diverse scales, demonstrating its potential as a tool for assisting composers in exploring new melodic frameworks. While the approach successfully captures key characteristics of Slonimsky’s scales, certain limitations remain, including dataset constraints and the need for more quantitative evaluation methods. These findings contribute to ongoing research on AI-assisted music composition, suggesting directions for future improvements, such as expanding datasets, refining evaluation metrics, and exploring the model’s potential for transfer learning in other musical contexts.
Revista Musical Chilena ,Vol. 79 Núm. 243 (2025): Enero – Junio
Daniela Fugellie (Universidad Alberto Hurtado)
Abstract
The Chilean composer Gustavo Becerra-Schmidt cultivated serialism until the mid-1950s. However, a trip to Europe, where he visited conservatories in Austria, Spain and Italy, as well as the Summer Courses of Contemporary Music in Darmstadt (1955), led him to distance himself from this method. Instead, he proposed a renewal of composition teaching in Chile, based on the idea of music as a form of communication. He addressed these ideas in his composition class, which became colloquially known as “Taller 44” around 1960. This article analyses two pieces by Becerra-Schmidt’s students that were successfully premiered in 1962: La ausencia by Enrique Rivera and América insurrecta by Fernando García. They both make use of Spanish-language poetry and procedures associated with serialism, ranging from complex twelve-tone techniques to seemingly free total chromaticism. The article aims to study how the composers of these works combine musical, expressive and semantic aspects in their search for a music capable of communicating a message –as their teacher expected– without renouncing serial procedures.
Keywords
Gustavo Becerra-Schmidt; Enrique Rivera; Fernando García; Taller 44; twelve-tone music, serialism.
Vol 7 No 13 (2025): Revista Actos
Diego Caris (Universidad Alberto Hurtado), José Manuel Izquierdo (Pontificia Universidad Católica de Chile), Daniela Fugellie (Universidad Alberto Hurtado) and Ignacio Rivera (investigador independiente)
Abstract
This article analyzes the programming of seven professional orchestras in Chile between 2010 and 2024, with a special focus on the inclusion of Chilean works, within the context of public policies requiring a 25% quota of national music in certain ensembles. Trends in the preservation of the Western canon and diversity in the national orchestral repertoire are examined. The research reveals that the presence of Chilean music is limited, though variable depending on the orchestra, and highlights the impact of funding mechanisms on programming. Through the analysis of over 1,000 concerts and 3,200 works, the study provides a broad perspective on how orchestral repertoires reflect tensions between the global canon and the promotion of local music.
Keywords
Programming in orchestra, canon, repertoire, classical music, public policy.
Las paradojas de la lira: Activaciones, versiones y diversiones en torno a los impresos de Vanegas Arroyo, Universidad Autónoma de México, 2025
Mariana Masera, Susana González Aktories y Federico Eisner Sagües
This research proposes an approach to 19th-century popular lyric poetry in Mexico, which was captured in a rich collection of printed materials known as “pliegos de cordel”. These chapbooks reflect practices of orality and syncretism that have persisted from ancient times to the present day in Latin America. This approach explores the role of the “reader-listener” as an active agent, whose perspective contributes to the (re)cognition of these materials through a collective research-creation process. It is a proposal that seeks to broaden the avenues for studying and interpreting the message contained in these historical documents and the existing knowledge about the forms of communication they established as printed devices in their time, adding those that allow for their reinterpretation and expansion of their reading from paradigms and technologies that are current today.
This proposal stems from a collaborative project involving members of three research groups: Poética Sonora MX (PSMX), Laboratorio de Culturas e Impresos Populares Latinoamericanos (LACIPI) and Laboratorio Nacional de Materiales Orales (LANMO). The motivations behind this exploration arise from the dialogue and collaboration sustained over several years among these three groups, each of which addresses orality and the creative practices derived from it in different cultural and temporal contexts, as well as with distinct purposes. However, they all share an interest in taking studies on orality and voice beyond the strictly academic and documentary, to exercises that prove revealing and enriching for our understanding of these chapbooks.
The intention of this project is to put into practice the methods of activating expressions of popular lyric poetry that are part of the collection published by Vanegas Arroyo press in Mexico, with creative guidance from Federico Eisner-Sagüés, a Uruguayan poet, sound artist, and researcher based in Chile.
Proceedings of the International Computer Music Conference (ICMC 2025)
Esteban Gutiérrez (Universitat Pompeu Fabra), Rodrigo Cádiz (Pontificia Universidad Católica de Chile), Carlos Sing Long (Pontificia Universidad Católica de Chile), Frederic Font (Universitat Pompeu Fabra), Xavier Serra (Universitat Pompeu Fabra)
Abstract
This paper explores the innovative application of the Fractional Fourier Transform (FrFT) in sound synthesis, highlighting its potential to redefine time-frequency analysis in audio processing. As an extension of the classical Fourier Transform, the FrFT introduces fractional order parameters, enabling a continuous interpolation between time and frequency domains and unlocking unprecedented flexibility in signal manipulation. Crucially, the FrFT also opens the possibility of directly synthesizing sounds in the alpha-domain, providing a unique framework for creating timbral and dynamic characteristics unattainable through conventional methods. This work delves into the mathematical principles of the FrFT, its historical evolution, and its capabilities for synthesizing complex audio textures. Through experimental analyses, we showcase novel sound design techniques, such as alpha-synthesis and alpha-filtering, which leverage the FrFT’s time-frequency rotation properties to produce innovative sonic results. The findings affirm the FrFT’s value as a transformative tool for composers, sound designers, and researchers seeking to push the boundaries of auditory creativity.
País tropical: Brasil y su música, Editorial de la Universidad de Guadalajara, 2025, Enrique Blanc, Roberta Martinelli y Humphrey Inzillo (Coord.)
Nayive Ananías (Pontificia Universidad Católica de Chile)
Chapter from the book País tropical: Brasil y su música, which brings together texts from journalists and specialists from various Latin American countries, organized into three sections: “Sound sources: from Brazilian popular music to rock”, “Navigations through music in Brazil” and “Sound mouths”.
Neuma (Talca), Año 17, vol. 2, Talca, septiembre-diciembre 2024
René Silva-Ponce (Universidad Austral de Chile), Juan Pablo González (Universidad Alberto Hurtado)
Abstract
The music played on the Chilean street barrel organ reflects the cultural exchanges and intersections that have occurred over its more than 170 years of use. Its cylinders contain a blend of original European music with popular songs and local folklore, bearing witness to practices involving manipulating the device for repertoire renewal. To explore this phenomenon, we examined the music from 33 street barrel organ cylinders, analysed discographic productions, and interviewed practitioners. Through this endeavour, we shed light on a surprisingly understudied yet central element of the organilleros’ heritage: its music.
Keywords: Chilean street barrel organ, organ grinders, sound heritage
Revista Musical Chilena, Vol. 78, Núm. 242 (2024): Julio-Diciembre
Pablo Soto Hurtado (Pontificia Universidad Católica de Chile)
Abstract
The following article presents the results of newspaper research concerning the presence of the guitar in El Mercurio de Valparaíso between 1900 and 1905. This investigation was carried out using the digital database “World Newspaper Archive: Historical Newspapers from Around the Globe”, reviewing all mentions of the keyword “guitar” in the newspaper during that time period. The gathered information allows us to verify the widespread presence of the instrument in various social and cultural contexts. In this way, we identified the guitarists, composers, and teachers who were most active during those years, as well as background information regarding the production and circulation of guitar music, news about concerts, and the dynamics of guitar teaching. With all this, the article aims to explore through this newspaper how the guitar was viewed in Chilean society in Valparaíso at the beginning of the 20th century, and to assess the influence of the newspaper’s notes, ads, and reviews in shaping the social perception of the instrument.
Keywords: Guitar, History of the Guitar in Chile, El Mercurio de Valparaíso, Music and the Press, Guitar in Valparaíso
Resonancias, Vol. 28, Núm. 55, julio-diciembre 2024
Ignacio Rivera, Louis Leclerc
Animupa Data Team
In its design, Animupa considered creating a working area for statistical research and data collection related to art music in Chile. The authors of this document form the Data Analysis Team and are responsible for leading this work area.
Considering the collection criteria established in a data management plan, in addition to the suggestions of the project’s principal investigators, this team began collecting data from three sources on art music in Chile: the Revista Musical Chilena, the Foundation for Youth and Children’s Orchestras of Chile (FOJI), and the Fondo de la Música (Music Fund).
This document contains a description, some findings, and reflections on each of these databases.
Cuadernos de Música Iberoamericana, Vol. 37 (2024)
José Manuel Izquierdo König (Pontificia Universidad Católica de Chile)
Abstract
In recent years there has been growing interest in studying the careers of itinerant musicians from the North Atlantic axis during the nineteenth century. But much less has been said about travelling musicians between North and South America, a less explored and dangerous direction. This article reviews the years Josefina Filomeno, a pianist and violinist from Valparaíso, spent in the United States. Filomeno serves as an excellent example to broaden our understanding of the plight of wom-en composers-musicians from South America as travellers. She was acclaimed as a child prodigy in the major cities of the United States. The popularity and reception of her concerts were shaped by many layers beyond her control: from exoticism to eroticism, rural to metropolitan audiences, the mainstream to the classical repertoire, and from one instrument to another. Filomeno’s career raises new issues and helps us to reconsider the costs of a career of this kind for young musicians (particularly for women) and their families.
Keywords: female virtuosos, pianists, mobility, women composers, violinists.
La dimensión marítimo-costera de la modernidad periférica. Experiencias culturales, materiales y simbólicas para comprender las formas de vida urbano-portuaria, Ed. Puntángeles, 2023, ed. Braulio Rojas
Eileen Karmy Bolton (Universidad de Playa Ancha)
Abstract
Memoria Musical de Valparaíso is a research and dissemination project about the musicians who worked in Valparaíso from the late 19th century until well into the 20th century, and who were organized, first in a mutual aid society and then in a professional union. This project began in 2015 and has developed in several stages that have addressed different eras, focusing on different musicians and issues. The central objective has been to preserve, make visible, and enhance the value of the documents corresponding to two distinct but related organizations: the Musical Society of Mutual Aid of Valparaíso (SMSMV), founded in 1893, and the Professional Union of Musicians of Valparaíso (SPMV), which dates back to 1931 and continues to operate today as SIMUPROVAL.
In this chapter, I will first offer a contextual framework that helps understand the relevance and novelty of this project. Next, I will describe the process of creating the digital platform Memoria Musical de Valparaíso, the type of archival documents it contains, the main findings of the research, and the challenges it presents.
Vínculos musicales entre España y el Cono Sur americano: Migraciones y transculturaciones, Editorial Comares, 2024, ed. Julio Ogas
Daniela Fugellie (Universidad Alberto Hurtado)
Chapter from the book Vínculos musicales entre España y el Cono Sur americano, which addresses academic and popular music and, specifically, composers, performers, and musical expressions that move between both spaces.
Cultura prisionera. Ensayos más allá de la música. Santiago de Chile: Santiago-Ander Editorial. Paula Libuy (Ed.).
Nayive Ananías (Pontificia Universidad Católica de Chile)
Chapter from the book Cultura prisionera. Ensayos más allá de la música, which include articles by fourteen Chilean authors about the music of Los Prisioneros and its impact on Chilean society.
Sound and Music Computing (SMC) 2024, Esmae, Porto, Portugal
Esteban Gutiérrez (Universitat Pompeu Fabra) and Rodrigo Cádiz (Pontificia Universidad Católica de Chile)
Abstract
This paper explores the application of stochastic resonance, a phenomenon known for enhancing signal detection through the introduction of random noise or disorder, to sound synthesis and processing. We detail the various models of stochastic resonance described in the literature and introduce a software implementation as an external for Max/MSP. Through a series of examples, including sound synthesis and processing, reducing the signal-to-noise ratio of noisy sounds, and retrieving the missing fundamental, we demonstrate the efficacy and versatility of this approach in molding sounds from noise.
Revueltas. Revista Chilena de Historia Social Popular, núm. 8 (2023)
Eileen Karmy (Universidad de Playa Ancha, Animupa) and Martín Farías (Universidad de Chile)
Abstract
This article analyzes the social biography of the song “El pueblo unido jamás será vencido” (The People United Will Never be Defeated) composed by Sergio Ortega and Quilapayún to understand its relevance after 50 years of its release. Drawing from audio recordings, videos of live performances, archival documents, and interviews, it seeks to reveal how a wide range of people, internationally, have adapted and used the song. In tracing its social biography, this research shows how the song has transformed into an international political anthem, becoming meaningful for a diverse range of social movements.
Keywords: Social biography of a song; political song, versions, Popular Unity, social movements.
Guerrilla Music. Musicking as Resistance, Defiance, and Subversion, Lexington Books, 2024, eds. Leon de Bruin, Jane Southcott
Rolando Ángel-Alvarado (Universidad Alberto Hurtado), René Silva-Ponce (Universidad Austral de Chile)
Chapter from the book Guerrilla Music: Musicking as Resistance, Defiance, and Subversion, written by René Silva-Ponce with Rolando Angel-Alvarado, a professor at the Universidad Alberto Hurtado (UAH).
The book contains 15 chapters written by researchers from around the world and was edited by Leon de Bruin, a professor at the University of Melbourne, and Jane Southcott, a professor at Monash University, both in Australia.
Comité de Publicaciones SCD, 2024
Daniela Fugellie (Universidad Alberto Hurtado)
Feature published in digital format by the Chilean Society of Musical Authors and Performers (SCD), in the context of Women’s Month, about the work of hundreds of women artists in orchestral groups around the world.
Also available at this link.
2024, Switched On. The Dawn of Electronic Sound by Latin American Women, eds. Luis Alvarado and Alejandra Cárdenas
Daniela Fugellie (Universidad Alberto Hurtado)
Chapter of the book Switched On: The Dawn of Electronic Sound by Latin American Women, dedicated to composers and sound artists who have been important for Latin American electronic music and edited by Luis Alvarado and Alejandra Cárdenas.
Available on Contingent Sounds.
Revista Historia 396, vol. 13, núm. 2 (2023)
Eileen Karmy (Universidad de Playa Ancha, Animupa) and Estefanía Urquieta (independent researcher)
Abstract
Drawing from unpublished documents, this paper analyzes the musical work undertaken by Italian maestro Pietro Cesari in the late 19th century Valparaíso, from a transnational perspective. Such an approach allows for making visible and interconnecting his musical works and networks that this musician built in different European and Latin American cities. The analyzis of Cesari’s musical work in Valparaiso as a case study unveil musical and extramusical procedures that European musical workers undertook to make a living in the Southern Cone at the turn of the century.The analysis of Cesari’s unpublished documents and utilitarian compositions allows a twofold argument. On the one hand, the Opera business functioned as a platform for Italian musicians to access new musical jobs in the postcolonial states on the Southern Cone. Such jobs spawned the formation of bands, concerts, and compositions different from Opera, which leads to the second argument. These musical works helped assimilate liberal values suitable to the process of consolidation of the Chilean nation-state, especially after the War of the Pacific.
Keywords: Musical worker, scrapbook, Valparaíso, anthems, military marches.
Neuma (Talca), Año 16, vol. 2, Talca, sept. 2023
Daniela Fugellie (Universidad Alberto Hurtado), Gonzalo Martínez (Universidad de Talca)
Abstract
This article presents a panoramic and introductory view of the studies around twelve-tone music and serialism at an international and Latin American level, showing that these terms are not clearly delimited, but are linked to different conceptual and aesthetic approaches, giving rise to various compositional practices, which will be reflected in the articles in this issue of Neuma. After commenting on some aspects of the development of dodecaphony and serialism in Europe and Latin America, we take as an example the Chilean case and specifically some works by the composer Gustavo Becerra-Schmidt (1925-2010), demonstrating how the notions of twelve-tone music and serialism have interacted with different conceptual approaches, leading to compositional strategies that must be differentiated in each particular case, even within the work of one same creator.
Keywords: Dodecaphony; serialism; Latin America; Chile; Gustavo Becerra-Schmidt
Journal of New Music Research, Volume 51, 2022 – Issue 4-5
René Silva Ponce (Universidad Austral de Chile), Juan Parra Cancino (Orpheus Institute) and Rodrigo Cádiz (Pontificia Universidad Católica de Chile)
Abstract
This paper redefines the performance practice of street barrel organs by transcending their conventional physical gestures beyond their role as mere music reproduction machines. We propose a new understanding of these instruments by establishing a parallel with how turntables started to be considered musical instruments through hand manipulation. Collaborating with Chilean organilleros, we experimented with the notion of ‘physical gesture transgression’ and explored creating new sounds through various body actions. We provide a list of ‘transgressive gestures,’ proposing expansions through instrument preparation or additional gestures, and how these new gestures can be annotated alongside traditional notation for other musical instruments.
Keywords: Street barrel organs, physical gesture transgression, transgressive gestures, Juan Allende-Blin, Chilean organilleros
Computer Music Journal, Volume 47, Issue 3, Fall 2023
Esteban Gutiérrez (Universitat Pompeu Fabra), Christopher Haworth (University of Birmingham), Rodrigo F. Cádiz (Pontificia Universidad Católica de Chile)
Abstract
Quadratic difference tones belong to a family of perceptual phenomena that arise from the neuromechanics of the auditory system in response to particular physical properties of sound. Long deployed as “ghost” or “phantom” tones by sound artists, improvisers, and computer musicians, in this article we address an entirely new topic: How to create a quadratic difference tone spectrum (QDTS) in which a target fundamental and harmonic overtone series are specified and in which the complex tone necessary to evoke it is synthesized. We propose a numerical algorithm that solves the problem of how to synthesize a QDTS for a target distribution of amplitudes. The algorithm aims to find a solution that matches the desired spectrum as closely as possible for an arbitrary number of target harmonics. Results from experiments using different parameter settings and target distributions show that the algorithm is effective in the majority of cases, with at least 99% of the cases being solvable in real time. An external object for the visual programming language Max is described. We discuss musical and perceptual considerations for using the external, and we describe a range of audio examples that demonstrate the synthesis of QDTSs across different cases. As we show, the method makes possible the matching of QDTSs to particular instrumental timbres with surprising efficiency. Also included is a discussion of a musical work by composer Marcin Pietruszewski that makes use of QDTS synthesis.
Revista Musical Chilena, vol. 77, núm. 239 (2023): Enero-junio
Daniela Fugellie (Universidad Alberto Hurtado), Constanza Toledo (Universidad de Leipzig) and Sergio Araya (independent researcher)
Abstract
This document synthetizes the goals, methodology, and results of the research project “Biographies of Chilean perfor-mers of art music (1945-1995). Research and diffusion of their contribution to Chilean musical life”, sponsored by Chilean Ministry of Culture (Fondo de la Música, Línea de investigación, 583750) and conducted by the authors of this text between 2021 and 2022. Starting from a sample of 50 biographies of performers and ensembles that were active during the second half of the 20th century, the project made it possible to deepen in the contribution of the interpreters in the development of art music in Chile. Outstanding was their pioneer role in different fields, such as the establishment of new ensembles of early and contemporary music, the institutionalization of music education, and the creation of new chairs, among others. Finally, the text reflects on various research gaps that can be essential for the study of Chilean performers as an integral part of the national music history.
Keywords: Performers, art music, biography, oral history.
Gilberto Mendes, Gilberto Mundos: 100 anos, v. 3, n. 3 (2022)
Daniela Fugellie (Universidad Alberto Hurtado)
Abstract
This article explores the presence of Gilberto Mendes as teacher and composer at the Latin-American Courses for Contemporary Music (CLAMC) and at the encounters of the Chilean musical association Anacrusa. Through the study of his activities in these events and his own related writtings the article observes that Mendes cultivated strong links with the Latin-American music scene of his time. This lead to a streghtening of his identification with the Latin-American culture.
Keywords: Gilberto Mendes;Latin-American Courses for Contemporary Music; Musical Association Anacrusa; Latin-American exchange.
Computer Music Journal, Volume 47, Issue 1, Spring 2023
Marie González-Inostroza (Pontificia Universidad Católica de Chile), Rodrigo F. Cádiz (Pontificia Universidad Católica de Chile)
Abstract
One of the main research areas in the field of musical human–AI interactivity is how to incorporate expressiveness into interactive digital musical instruments (DMIs). In this study we analyzed gestures rooted in expressiveness by using AI techniques that can enhance the mapping stage of multitouch DMIs. This approach not only considers the geometric information of various gestures but also incorporates expressiveness, which is a crucial element of musicality. Our focus is specifically on multitouch DMIs, and we use expressive descriptors and a fuzzy logic model to mathematically analyze performers’ finger movements. By incorporating commonly used features from the literature and adapting some of Rudolf Laban’s descriptors—originally intended for full-body analysis—to finger-based multitouch systems, we aim to enrich the mapping process. To achieve this, we developed an AI algorithm based on a fuzzy control system that takes these descriptors as inputs and maps them to synthesis variables. This tool empowers DMI designers to define their own mapping rules based on expressive gestural descriptions, using musical metaphors in a simple and intuitive way. Through a user evaluation, we demonstrate the effectiveness of our approach in capturing and representing gestural expressiveness in the case of multitouch DMIs.
2023, Bach bearbeitet. Bericht über die Tagung im Rahmen des 93. internationalen Bachfestes der neuen Bachgesellschaft in Tübingen – Tübingen : Universitätsbibliothek Tübingen
Daniela Fugellie (Universidad Alberto Hurtado)
Chapter dedicated to the Chilean premieres of Johann Sebastian Bach’s Christmas Oratorio and St. John Passion, included in the book Bach edited (in German). This is a report on the conference held within the framework of the 93rd International Bach Festival of the new Bach Society in Tübingen, Germany.