<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">OK let’s get going then, these are recent and subtle ones, some of my favourite. For more classic ones, check IRCAM’s database, Brahms (<a href="http://brahms.ircam.fr/" class="">http://brahms.ircam.fr/</a>) which might give you hundreds<div class=""><br class=""></div><div class="">Alex Harker’s Fluence, where the algorithmically composed ‘fixed media’ follows the clarinet through real-time description (but so much more too!) <a href="http://www.alexanderjharker.co.uk/Releases.html" class="">http://www.alexanderjharker.co.uk/Releases.html</a></div><div class=""><br class=""></div><div class="">Sam Pluta’s latest trombone piece for RAGE THORMBONES - they literally play descriptors through mic’ed mutes - <a href="http://www.sampluta.com/compositionMatrixForGeorgeLewis.html" class="">http://www.sampluta.com/compositionMatrixForGeorgeLewis.html</a></div><div class=""><br class=""></div><div class="">Aaron Einbond’s abuse and subversions of CataRT in the last 10 years - check his website. <a href="https://aaroneinbond.wordpress.com/projects/" class="">https://aaroneinbond.wordpress.com/projects/</a></div><div class=""><br class=""></div><div class="">If I may, my last 7 pieces all use descriptor-based real-time granulation (and sometimes musaiking) which allow me to analyse a ring-buffer and then compose the granular process (i.e. swarms of quiet pitched material, or pulsed loud transient echos, etc). I talk about it a bit here in an informal talk about calibration (to allow such use, one has to think of ways to normalise input!) <a href="https://www.youtube.com/watch?v=QhjeoCwqed0" class="">https://www.youtube.com/watch?v=QhjeoCwqed0</a> and in this paper (<a href="http://eprints.hud.ac.uk/id/eprint/33478/" class="">http://eprints.hud.ac.uk/id/eprint/33478/</a>)</div><div class=""><br class=""></div><div class="">I can put you in contact with those people off-list, should that help you, but again these are just personal favourites (and subtlest), there are a lot of pieces doing things like that to various degree of success.</div><div class=""><br class=""></div><div class="">Good luck!</div><div class=""><br class=""></div><div class="">p</div><div class=""><br class=""></div><div class=""><br class=""><div class=""><br class=""></div><div class=""><br class=""><div><blockquote type="cite" class=""><div class="">On 7 Mar 2020, at 21:03, Vinicius Cesar <<a href="mailto:oviniciusc.oliveira@gmail.com" class="">oviniciusc.oliveira@gmail.com</a>> wrote:</div><br class="Apple-interchange-newline"><div class=""><div dir="ltr" class=""><br class=""><div class="">Dear Pierre,<div class=""><br class=""></div><div class="">I mean machine listening as the retrieving of musical and sound attributes through audio descriptors. From simple implementation like pitch and envelop tracking to more complex methods involving audio descriptors like MFCC, spectral centroid etc. I'm looking for mixed works that makes use of these type of process to create interaction between instrumental writing and electroacoustic process.</div></div></div><br class=""><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Sat, Mar 7, 2020 at 3:23 PM Pierre Alexandre <<a href="mailto:p.a.tremblay@hud.ac.uk" class="">p.a.tremblay@hud.ac.uk</a>> wrote:<br class=""></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">Dear Vinicius<br class="">
<br class="">
There are a lot of works doing so indeed! Maybe if you define a threshold of what you considering machine listening, that would help me point at various works in various places?<br class="">
<br class="">
p<br class="">
<br class="">
> On 7 Mar 2020, at 18:10, Vinicius Cesar <<a href="mailto:oviniciusc.oliveira@gmail.com" target="_blank" class="">oviniciusc.oliveira@gmail.com</a>> wrote:<br class="">
><br class="">
><br class="">
> Hello,<br class="">
><br class="">
> My name is Vinicius, I am a brazilian composer. I am currently working on a master research at the Estate University of Campinas in São Paulo, about compositional strategies and interactive music system in mixed works, and I'm looking for mixed works that makes use of machine listening/music information retrieval. It can be pieces for any instrumentation, but must be notated in score.<br class="">
> If someone has pieces with these characteristics or knows some composer that works with this kind of music, contact me, please!<br class="">
><br class="">
> All the best,<br class="">
><br class="">
> Vinicius<br class="">
><br class="">
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