Books by Davide Rocchesso
Since the 1950's, Sound and Music Computing (SMC) research has been producing a profound impact o... more Since the 1950's, Sound and Music Computing (SMC) research has been producing a profound impact on the development of culture and technology in our post-industrial society. SMC research approaches the whole sound and music communication chain from a multidisciplinary point of view. By combining scientific, technological and artistic methodologies it aims at understanding, modelling, representing and producing sound and music using computational approaches. This book, by describing the state of the art in SMC research, gives hints of future developments, whose general purpose will be to bridge the semantic gap, the hiatus that currently separates sound from sense and sense from soun
L’unità di ricerca in Interazione si occupa di oggetti per i quali il senso emerge dall’interazio... more L’unità di ricerca in Interazione si occupa di oggetti per i quali il senso emerge dall’interazione, tra persone e cose, persone e persone, o tra gli oggetti stessi se dotati di forme di autonomia. Sono materia della ricerca, quindi, le interfacce nella loro accezione più ampia, il cui senso è da ricercarsi nell’interazione tra le parti coinvolte. Con la crescente diffusione e ubiquità delle tecnologie informatiche, le nuove ecologie degli oggetti giocano un ruolo importante. Questa prospettiva obbliga i designer a concepire inedite pratiche di composizione e configurazione, e gli scienziati a inventare metriche e metodi di valutazione. In particolare, l’interazione gestuale e corporea, con le sue caratteristiche di continuità ed espressività, introduce nuove sfide metodologiche e inedite possibilità creative. L’interazione è anche al centro dei processi di fruizione e comunicazione dei prodotti, artistici e di design.È dunque manifesta la necessità di dedicare particolare attenzione alle attività di ricerca che riguardano gli aspetti tecnologici, teorico-scientifici e progettuali dell’interazione.
Sonic Interaction Design
"Sound is an integral part of every user experience but a neglected medium in design disciplines.... more "Sound is an integral part of every user experience but a neglected medium in design disciplines. Design of an artifact’s sonic qualities is often limited to the shaping of functional, representational, and signaling roles of sound. The interdisciplinary field of sonic interaction design (SID) challenges these prevalent approaches by considering sound as an active medium that can enable novel sensory and social experiences through interactive technologies. This book offers an overview of the emerging SID research, discussing theories, methods, and practices, with a focus on the multisensory aspects of sonic experience.
Sonic Interaction Design gathers contributions from scholars, artists, and designers working at the intersections of fields ranging from electronic music to cognitive science. They offer both theoretical considerations of key themes and case studies of products and systems created for such contexts as mobile music, sensorimotor learning, rehabilitation, and gaming. The goal is not only to extend the existing research and pedagogical approaches to SID but also to foster domains of practice for sound designers, architects, interaction designers, media artists, product designers, and urban planners. Taken together, the chapters provide a foundation for a still-emerging field, affording a new generation of designers a fresh perspective on interactive sound as a situated and multisensory experience."
Contributors:
Federico Avanzini, Gerold Baier, Stephen Barrass, Olivier Bau, Karin Bijsterveld, Roberto Bresin, Stephen Brewster, Jeremy Coopersotck, Amalia De Gotzen, Stefano Delle Monache, Cumhur Erkut, George Essl, Karmen Franinović, Bruno L. Giordano, Antti Jylhä, Thomas Hermann, Daniel Hug, Johan Kildal, Stefan Krebs, Anatole Lecuyer, Wendy Mackay, David Merrill, Roderick Murray-Smith, Sile O’Modhrain, Pietro Polotti, Hayes Raffle, Michal Rinott, Davide Rocchesso, Antonio Rodà, Christopher Salter, Zack Settel, Stefania Serafin, Simone Spagnol, Jean Sreng, Patrick Susini, Atau Tanaka, Yon Visell, Mike Wezniewski, John Williamson
The Sonification Handbook
This book is a comprehensive introductory presentation of the key research areas in the interdisc... more This book is a comprehensive introductory presentation of the key research areas in the interdisciplinary fields of sonification and auditory display. Chapters are written by leading experts, providing a wide-range coverage of the central issues, and can be read from start to finish, or dipped into as required (like a smorgasbord menu).
Sonification conveys information by using non-speech sounds. To listen to data as sound and noise can be a surprising new experience with diverse applications ranging from novel interfaces for visually impaired people to data analysis problems in many scientific fields.
This book gives a solid introduction to the field of auditory display, the techniques for sonification, suitable technologies for developing sonification algorithms, and the most promising application areas. The book is accompanied by the online repository of sound examples.
Nowadays, human-object and human-human interactions are often facilitated by computational means.... more Nowadays, human-object and human-human interactions are often facilitated by computational means. Interaction designers aim at designing such interactions to make them more effective and pleasant. Sonic Interaction Design emphasizes the role of sound as a mediator of meaningful interactions.
A COST Action on Sonic Interaction Design was run between 2007 and 2011, to pro-actively contribute to the creation and consolidation of new design theories, tools, and practices in this innovative and interdisciplinary domain. The Action stood on four legs: cognitive science, design, interactive art, and information display. This book reports on many research activities that have been conducted over a four-year period, organized as workshops, training schools, short-term scientific missions, and an exhibition.
DAFX - Digital Audio Effects
Product Information
About The Product
Three completely new chapters devoted to the major resear... more Product Information
About The Product
Three completely new chapters devoted to the major research areas of: Virtual Analog Effects, Automatic Mixing and Sound Source Separation, authored by leading researchers in the field .
Improved presentation of the basic concepts and explanation of the related technology.
Extended coverage of the MATLABTM scripts which demonstrate the implementation of the basic concepts into software programs.
Companion website (www.dafx.de) which serves as the download source for MATLABTM scripts, will be updated to reflect the new material in the book.
The rapid development in various fields of Digital Audio Effects, or DAFX, has led to new algorithms and this second edition of the popular book, DAFX: Digital Audio Effects has been updated throughout to reflect progress in the field. It maintains a unique approach to DAFX with a lecture-style introduction into the basics of effect processing. Each effect description begins with the presentation of the physical and acoustical phenomena, an explanation of the signal processing techniques to achieve the effect, followed by a discussion of musical applications and the control of effect parameters. Topics covered include: filters and delays, modulators and demodulators, nonlinear processing, spatial effects, time-segment processing, time-frequency processing, source-filter processing, spectral processing, time and frequency warping musical signals.
Updates to the second edition include:
Discussing DAFX from both an introductory and advanced level, the book systematically introduces the reader to digital signal processing concepts, how they can be applied to sound and their use in musical effects. This makes the book suitable for a range of professionals including those working in audio engineering, as well as researchers and engineers involved in the area of digital signal processing along with students on multimedia related courses.
Papers by Davide Rocchesso
Proceedings of the XII Colloquium on Music Informatics, Feb 2019
Concepts and formalism from acoustics are often used
to exemplify quantum mechanics. Conversely, ... more Concepts and formalism from acoustics are often used
to exemplify quantum mechanics. Conversely, quantum
mechanics could be used to achieve a new perspective on
acoustics, as shown by Gabor studies. Here, we focus
in particular on the study of human voice, considered as
a probe to investigate the world of sounds. We present
a theoretical framework that is based on observables of
vocal production, and on some measurement apparati
that can be used both for analysis and synthesis. In
analogy to the description of spin states of a particle,
the quantum-mechanical formalism is used to describe
the relations between the fundamental states associated
with phonetic labels such as phonation, turbulence, and
slow myoelastic vibrations. The intermingling of these
states, and their temporal evolution, can still be interpreted
in the Fourier/Gabor plane, and effective extractors can
be implemented. This would constitute the basis for a
Quantum Vocal Theory of sound, with implications in
sound analysis and design.
Path-following tasks have been investigated mostly under visual conditions, that is when subjects... more Path-following tasks have been investigated mostly under visual conditions, that is when subjects are able to see both the path and the tool, or limb, used for navigation. Moreover, only basic path shapes are usually adopted. In the present experiment, participants must rely exclusively on continuous, non-speech and ecological auditory and vibrotactile cues to follow a path on a flat surface. Two different, asymmetric path shapes were tested. Participants navigated by moving their index finger over a surface sensing position and force. Results show that the different non-visual feedback modes did not affect the task's accuracy, yet they affected its speed, with vibrotactile feedback causing the slowest gestures. Also, vibrotactile feedback caused participants to exert more force over the surface. Finally, the shape of the path was relevant to the accuracy, and participants tended to prefer audio over vibrotactile and audio-tactile feedback.
Embodied sound design is a process of sound creation that involves the designer’s vocal apparatus... more Embodied sound design is a process of sound creation that involves the designer’s vocal apparatus and gestures. The possibilities of vocal sketching were investigated by means of an art installation. An artist–designer interpreted several vocal self-portraits and rendered the corresponding synthetic sketches by using physics-based and concatenative sound synthesis. Both synthesis techniques afforded a broad range of artificial sound objects, from concrete to abstract, all derived from natural vocalisations. The vocal-to-synthetic transformation process was then automated in SEeD, a tool allowing to set and play interactively with physics- or corpus-based sound models. The voice-driven process and tool, developed and evaluated through design exercises, show how an embodied sound sketching system can work in supporting the externalisation of sonic concepts.
International Journal of Human-Computer …, Jan 1, 2009
Sonic interaction design
Proceeding of the twenty-sixth annual CHI conference extended abstracts on Human factors in computing systems - CHI '08, 2008
Sonic Interaction Design (SID) is an emerging field that is positioned at the intersection of aud... more Sonic Interaction Design (SID) is an emerging field that is positioned at the intersection of auditory display, ubiquitous computing, interaction design, and interactive arts. SID can be used to describe practice and inquiry into any of various roles that sound may play in the interaction loop between users and artifacts, services, or environments, in applications that range from the critical
The effect of inharmonicity on the perceived quality of piano tones
Integration of acoustical information in the perception of impacted sound sources: the role of information accuracy and exploitability
The Sound Design Toolkit
SoftwareX, 2017
The Sound Design Toolkit is a collection of physically informed sound synthesis models, specifica... more The Sound Design Toolkit is a collection of physically informed sound synthesis models, specifically designed for practice and research in Sonic Interaction Design. The collection is based on a hierarchical, perceptually founded taxonomy of everyday sound events, and implemented by procedural audio algorithms which emphasize the role of sound as a process rather than a product. The models are intuitive to control – and the resulting sounds easy to predict – as they rely on basic everyday listening experience. Physical descriptions of sound events are intentionally simplified to emphasize the most perceptually relevant timbral features, and to reduce computational requirements as well.
Negli ambienti esecutivi in tempo reale, la sintesi per modelli fisici si può applicare in modo e... more Negli ambienti esecutivi in tempo reale, la sintesi per modelli fisici si può applicare in modo efficiente usando lo schema di interazione tra eccitatore e risuonatore, dove uno strumento musicale è diviso in due blocchi: un eccitatore non lineare e un risuonatore lineare.
In questo articolo si forniscono alcune strutture generali che possono essere usate per rappresentare ampie famiglie di strumenti musicali.
Nello schema di eccitatore proposto, viene mantenuta una parte dinamica (con memoria) che è responsabile di un comportamento complesso in molte differenti condizioni di utilizzo. Viene adottato un approccio a lettura di tabelle precalcolate per due ragioni: la prima è che il carico computazionale è relativamente basso, la seconda è che si possono cambiare le caratteristiche dell'eccitatore con un semplice cambiamento di tabella e con nessun cambiamento nella struttura degli algoritmi.
Infine, viene presentato uno schema generale di risuonatore, che permette una simulazione fedele di dispersioni e perdite nelle corde e nei tubi acustici. Questo schema ben si presta ad essere realizzato su processori dedicati all'elaborazione del segnale.
Proceedings of the International Workshop on Interactive Sonification, 2004
I. INTRODUCTION In human-machine interfaces, many tasks (steering, dragging, etc.) require contin... more I. INTRODUCTION In human-machine interfaces, many tasks (steering, dragging, etc.) require continuous control and continuous feedback. The latter can be acquired visually, kinesthetically, or auditorily, but it is important that in closing the control feedback loop the user does not have to repeatedly change the locus of attention. If the locus is mainly visual, the haptic and auditory channels are both suitable for providing nondistracting, informative feedback. A particularly interesting arena for experimentation with sounds is that of embodied ...
Proc. DAFX, Sep 26, 2002
A physically based model of the frictional interaction between dry surfaces is presented. The pap... more A physically based model of the frictional interaction between dry surfaces is presented. The paper reviews a number of static and dynamic friction models, and discusses numerical techniques for the accurate and efficient numerical implementation of a dynamic elasto-plastic model. An application to the bowed string is provided, and the resulting simulations are compared to recent results from the literature.
Proc. Stockholm Music Acoustics Conf.(SMAC 2003), Aug 1, 2003
Proceedings of the Stockholm Music Acoustics Conference, August 6-9, 2003 (SMAC 03), Stockholm, S... more Proceedings of the Stockholm Music Acoustics Conference, August 6-9, 2003 (SMAC 03), Stockholm, Sweden BOWED STRING SIMULATION USING AN ELASTO-PLASTIC FRICTION MODEL Stefania Serafin Federico Avanzini Davide Rocchesso CCRMA, Dept. of Music Dip. ...
Proceedings of International Conference on Auditory Display, Jul 1, 2004
This paper explores the use of a physics-based sound model of continuous contact for auditory dis... more This paper explores the use of a physics-based sound model of continuous contact for auditory display in interactive settings. An audio-visual interactive display is developed in which the sound model is controlled by the user's gestures. The display is used to investigate to what extent audition can substitute for haptic feedback in conveying perception of inertial properties of a manipulated object. In a first experiment the audio-visual display is controlled through a standard pointing device (a marble mouse, or trackball). A second experiment uses a tangible object and a computer vision system that tracks the object motion. Early results suggest that the perception of effort is a cross-modal phenomenon in which auditory feedback plays a relevant role.
Uploads
Books by Davide Rocchesso
Sonic Interaction Design gathers contributions from scholars, artists, and designers working at the intersections of fields ranging from electronic music to cognitive science. They offer both theoretical considerations of key themes and case studies of products and systems created for such contexts as mobile music, sensorimotor learning, rehabilitation, and gaming. The goal is not only to extend the existing research and pedagogical approaches to SID but also to foster domains of practice for sound designers, architects, interaction designers, media artists, product designers, and urban planners. Taken together, the chapters provide a foundation for a still-emerging field, affording a new generation of designers a fresh perspective on interactive sound as a situated and multisensory experience."
Contributors:
Federico Avanzini, Gerold Baier, Stephen Barrass, Olivier Bau, Karin Bijsterveld, Roberto Bresin, Stephen Brewster, Jeremy Coopersotck, Amalia De Gotzen, Stefano Delle Monache, Cumhur Erkut, George Essl, Karmen Franinović, Bruno L. Giordano, Antti Jylhä, Thomas Hermann, Daniel Hug, Johan Kildal, Stefan Krebs, Anatole Lecuyer, Wendy Mackay, David Merrill, Roderick Murray-Smith, Sile O’Modhrain, Pietro Polotti, Hayes Raffle, Michal Rinott, Davide Rocchesso, Antonio Rodà, Christopher Salter, Zack Settel, Stefania Serafin, Simone Spagnol, Jean Sreng, Patrick Susini, Atau Tanaka, Yon Visell, Mike Wezniewski, John Williamson
Sonification conveys information by using non-speech sounds. To listen to data as sound and noise can be a surprising new experience with diverse applications ranging from novel interfaces for visually impaired people to data analysis problems in many scientific fields.
This book gives a solid introduction to the field of auditory display, the techniques for sonification, suitable technologies for developing sonification algorithms, and the most promising application areas. The book is accompanied by the online repository of sound examples.
A COST Action on Sonic Interaction Design was run between 2007 and 2011, to pro-actively contribute to the creation and consolidation of new design theories, tools, and practices in this innovative and interdisciplinary domain. The Action stood on four legs: cognitive science, design, interactive art, and information display. This book reports on many research activities that have been conducted over a four-year period, organized as workshops, training schools, short-term scientific missions, and an exhibition.
About The Product
Three completely new chapters devoted to the major research areas of: Virtual Analog Effects, Automatic Mixing and Sound Source Separation, authored by leading researchers in the field .
Improved presentation of the basic concepts and explanation of the related technology.
Extended coverage of the MATLABTM scripts which demonstrate the implementation of the basic concepts into software programs.
Companion website (www.dafx.de) which serves as the download source for MATLABTM scripts, will be updated to reflect the new material in the book.
The rapid development in various fields of Digital Audio Effects, or DAFX, has led to new algorithms and this second edition of the popular book, DAFX: Digital Audio Effects has been updated throughout to reflect progress in the field. It maintains a unique approach to DAFX with a lecture-style introduction into the basics of effect processing. Each effect description begins with the presentation of the physical and acoustical phenomena, an explanation of the signal processing techniques to achieve the effect, followed by a discussion of musical applications and the control of effect parameters. Topics covered include: filters and delays, modulators and demodulators, nonlinear processing, spatial effects, time-segment processing, time-frequency processing, source-filter processing, spectral processing, time and frequency warping musical signals.
Updates to the second edition include:
Discussing DAFX from both an introductory and advanced level, the book systematically introduces the reader to digital signal processing concepts, how they can be applied to sound and their use in musical effects. This makes the book suitable for a range of professionals including those working in audio engineering, as well as researchers and engineers involved in the area of digital signal processing along with students on multimedia related courses.
Papers by Davide Rocchesso
to exemplify quantum mechanics. Conversely, quantum
mechanics could be used to achieve a new perspective on
acoustics, as shown by Gabor studies. Here, we focus
in particular on the study of human voice, considered as
a probe to investigate the world of sounds. We present
a theoretical framework that is based on observables of
vocal production, and on some measurement apparati
that can be used both for analysis and synthesis. In
analogy to the description of spin states of a particle,
the quantum-mechanical formalism is used to describe
the relations between the fundamental states associated
with phonetic labels such as phonation, turbulence, and
slow myoelastic vibrations. The intermingling of these
states, and their temporal evolution, can still be interpreted
in the Fourier/Gabor plane, and effective extractors can
be implemented. This would constitute the basis for a
Quantum Vocal Theory of sound, with implications in
sound analysis and design.
In questo articolo si forniscono alcune strutture generali che possono essere usate per rappresentare ampie famiglie di strumenti musicali.
Nello schema di eccitatore proposto, viene mantenuta una parte dinamica (con memoria) che è responsabile di un comportamento complesso in molte differenti condizioni di utilizzo. Viene adottato un approccio a lettura di tabelle precalcolate per due ragioni: la prima è che il carico computazionale è relativamente basso, la seconda è che si possono cambiare le caratteristiche dell'eccitatore con un semplice cambiamento di tabella e con nessun cambiamento nella struttura degli algoritmi.
Infine, viene presentato uno schema generale di risuonatore, che permette una simulazione fedele di dispersioni e perdite nelle corde e nei tubi acustici. Questo schema ben si presta ad essere realizzato su processori dedicati all'elaborazione del segnale.