Music

Music

 

Music - The Music team accompanying the performance of "Ghost Particles" for the CREATIONS Summer School 2016

 

In just three days, participants collaborated, exchanged innovative ideas, designed, performed and recorded the production of the soundtrack for the "Ghost Particles" Summer School scene. Except from live-on-stage performance, the final sound-design production was realized on VST instruments recorded on a DAW environment installed with the minimum requirements on the spot. Though teachers were introduced in automatic composition modules, the final music concept used physical tone scales combined with real audio recordings composed and produced during the Summer School.  This group describes their ideas based upon the 12-tone chromatic scale following the melodic sequences and the combinations introduced below.

 

 

Introduction / Background
According to Global Science Opera in real time (GSOrt) demonstrator:

The GSOrt demonstrator will also have the task of initializing educational communities into the idea of “sonification” for educational purposes that is the challenge of explaining a scientific concept through sound.

The approach that the demonstrator adapts towards this task is threefold.

 

  • Symbolic (the connection between sounds/music in comparison with the scientific concept is purely artistic)
  • Mathematic (the connection between science and the Arts is directly reflected in pure mathematics)
  • Adaptive (which is a combination of the above)

 

The symbolic way of sonification in an educational setting we can say that fully rely on the creativity of teachers who encourage students to approach imaginative ways to convert ideas into sounds. Using basic concepts of the musical phenomenon as pitch (or even noise),notes (tone frequencies), note durations, Time signature (or other rhythmic or measure attributes), teachers guide the students to create sound designs, or musical pieces, expressing the required concepts.

The mathematical approach is associated with the direct sonification of data. Here the teacher explains the correlations between arithmetic or mathematical figures and the behavior of data flow (the parameters) of a scientific concept. Usually this method employs mathematical applications that can be associated with live coding, giving data conversions to audio directly via a computer application.

The adaptive approach is the combination of the two above methods. In the adaptive approach the teacher has the opportunity to choose how sonification can assist him/her depending both on the teaching needs and the learning environment. In this way purely mathematical approaches can be combined with creative solutions coming directly from a performance arts setting.

 

Questions

What ways should we adapt for accompanying the performance?
Can you imagine a sonification concept for the scene?


Links :
http://www.opendiscoveryspace.eu/el/node/834782
http://www.opendiscoveryspace.eu/community/global-science-opera-real-tim...

http://www.mickeyhart.net/news/sonification-finding-music-science-4921
and
http://spdf.gsfc.nasa.gov/research/sonification/sonification_software.html

 

Useful Tool:
http://quantizer.media.mit.edu/

 

In Greek (to be explained/translated during the workshop):
http://www.opendiscoveryspace.eu/community/pmglp-842026

 


Brainstorming Day 2

 

Nikolaos Terpsiadis
Alfred Eric Leslie Satie (Honfleur, 17 May 1866 -- Paris, 1 July 1925) Gnossiene no.1 https://www.youtube.com/watch?v=PLFVGwGQcB0 . Tenuta in closing note of the theme. Tone is transformed to unisono and then it splits to two or more voices expressing dualism or more substances.

Stefanos Poultsakis
Creating chromatic sequence from heavier (lower) to lighter (higher) according to the table of particle masses.

 

 

The "making of"  - Day 2/ Day3/ Day 4

 

The Final Start

(Nikolaos Terpsiadis)
Please consult: http://portal.opendiscoveryspace.eu/el/node/844482

 

The idea of “sonification” in mathematical terms

In order to achieve a “sonification” of the standard model or based on the standard model, we took advantage of a happy coincidence. The fundamental particles (fermions) of the standard model are 12 (6 quarks: up, charm, top, down, strange, bottom and 6 leptons: electron, muon, tau, electron neutrino, muon neutrino, tau neutrino) while the notes of the chromatic scale are 12 (C, C#, D, D#, E, F, F#, G, G#, A, A#, B). Thus, we had to create a transformation that matches the 12 particles (Image 1) to the 12 notes of the musical scale (Image 2). 

Image 1. Particles of the Standard Model.

Image 2. Chromatic Musical Scale.

 

In mathematical terms, we define two sets, the set of the particles and the set of the musical notes. We call P the set whose elements are the particles:

P = {u, d, c, s, t, b, e, μ, τ, νe, νμ, ντ

We call N the set whose elements are the musical notes of the chromatic scale:

N = {C, C#, D, D#, E, F, F#, G, G#, A, A#, B}

So, we have two sets of the same cardinality (twelve elements each) (Image 3) and we are looking for an order.

Image 3. Particles and notes.

 

To carry out the transformation that will match the particles to the musical notes, we have to define a function f from P to N that will match every element of set P to an element of set N. Set P will be the domain and set N will be the range of the function f. Function f should be an injection (one-to-one), so that each element of the range is mapped to by at most one element of the domain as we don’t want two different particles correspond to the same note. Function f should be a surjection (onto), so that each element of the range is mapped to by at least one element of the domain as we don’t want any notes remain unmatched. Therefore, function f should be a bijection, i.e. a one-to-one and onto mapping between the two sets P and N. What remains is to define the rule under which each element of set P will match to a unique element of set N, i.e. each particle will match to a note. The characteristic of the particles that was selected is their mass measured in eV/c2 (m = E/c2). We take an idea for the mass distribution among the particles from the following table (Image 4):

Image 4. Approximate mass distribution.

 

The rule was selected to be a correspondence between the mass and the pitch. More mass will correspond to heavier pitch, while less mass will correspond to higher pitch (Image 5).

Image 5. Matching table.

 

Therefore, the output values of function f are defined as follows:

f(t) = C

f(b) = C#

f(τ) = D

f(c) = D#

f(m) = E

f(s) = F

f(ντ) = F#

f(d) = G

f(u) = G#

f(e) = A

f(νμ) = A#

f(νe) = B

and the following table with the input and output values for function f is derived (Image 6):

Image 6. Input and output values table. 

 

Image 7. Introduction recording in progress.

 

 

 

The Final Party

(Stefanos Poultsakis)

Image 8 Final Party in progress

The ascending scale of the introduction F3-F4 from the previous piece is now replaced by a descending scale of the initial idea starting from B leading to a "sudden pause" and the minor theme with the guitar of the hero-particle feeling isolated. Please consult http://portal.opendiscoveryspace.eu/discussion/what-do-you-think-brainst...

 

 

 

 

The Big Bang Dance

(Petros Stergiopoulos, Katerina Bulakou)

After collaborating with the Movement/Dance group the request was to compose a max 90sec piece with the following characteristics: Loud and noisy at the beginning, soft and emotional in the middle, fading to oblivion at the end.

The idea for producing the symbolic music for the introduction of the Big Bang was to use the sonification model taken from the introduction (please consult the Final Start above)

 

 

 

but now with specific particles selected.

The resulted notes for this sonification scheme were: B, F, G, G#, A, A#. The expanded chord developed on a sound designing tool inspired the use of an artificial Choir, French Horns and Percussion.

 

Image 9 Big Bang recording in progress

The idea of particle splitting was recorded using multiple instances of a soprano voice (Katerina Bulakou) put vertically on different tracks.

Full details and an update will be published on this page.

 

 


The Final Pieces - Day 2, Day 3, Day 4

  1. THE FINAL START:
    http://connect.ea.gr/creations-summer-satie2016/output/Satie-Start-Final...
  2. THE FINAL PARTY:
    http://connect.ea.gr/party2016/output/Party+final+in+MP3.mp3
  3. THE BIG BANG DANCE
    http://connect.ea.gr/bigbangfinal2016/output/CREATIONS+-+Big+Bang+-+Summer+School+2016.mp3

 


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Μέλη 7

Συζητήσεις

Nikolaos Terpsiadis
2016.07.09
-/5

In order to achieve a “sonification” of the standard model or based on the standard model, we took advantage of a happy coincidence.

Nikolaos Terpsiadis
2016.07.09
-/5

Nino Neutrino is a shy little boy. He is almost invisible like the diaphanous drops of the rain. He appears only when the party is over and everybody else is gone.

Petros Stergiopoulos
2016.07.01
-/5

Please don't hesitate to write your opinion here!
Every idea is valuable!

Petros Stergiopoulos
2016.07.01
-/5

Please don't hesitate to write your opinion here!
Every idea is valuable!

Nikolaos Terpsiadis
2016.07.09
-/5

Nino Neutrino is a shy little boy. He is almost invisible like the diaphanous drops of the rain. He appears only when the party is over and everybody else is gone.

Nikolaos Terpsiadis
2016.07.09
-/5

In order to achieve a “sonification” of the standard model or based on the standard model, we took advantage of a happy coincidence.