Re: About silence and breath

[Kevin Austin <kevin.austin@xxxxxxxxxxxx>]

Responding as a composer, not a scientist, in this context I have used  
the word "segmentation" to mean to determine where something 'begins'  
and 'ends', possibly a very low level (fundamental) process, and this  
(in my use) is perceptual. Segmentation therefor occurs at many  
levels, largely dependent upon the perceptual / cognitive processes of  
the individual.


Best

Kevin


On 2009, Jul 5, at 11:21 AM, Pablo Hernan Rodriguez Zivic wrote:

> When you say segmentation you are refering to something like the  
> grouping structure of Lerdhal and Jackendoff?

> > 'Silence' in music (as noted by others) may be a perceptual  
> > phenomena, and not related to having 'no acoustical event'. The  
> > Mahler First Symphony begins from 'silence', and the silence is  
> > sustained (sic) behind the acoustical events of the introduction.  
> > As a perceptual event, I consider acoustical silence an  
> > implausibility. If you wish to model silence acoustically, it looks  
> > like this 00000000000, however if you wish to model silence in a  
> > 'musical' sense, you may wish to research [what I consider to be]  
> > the first step in auditory scene analysis, segmentation.
> When you say segmentation you are refering to something like the  
> grouping structure of Lerdhal and Jackendoff?
> > Please keep us informed on your progress.
> Of course amigo!
>
> Saludos!
> > > Date:    Sat, 4 Jul 2009 12:11:48 -0300
> > > From:    Pablo Hernan Rodriguez Zivic <elsonidoq@xxxxxxxxx>
> > > Subject: About Silence
> > >
> > > Hello everyone!
> > >
> > > My name is Pablo. I apologize in advance of my english =D.
> > >
> > > I recently joined this mailing list because I'm doing some research
> > > about music. My intention is to use computational/statistical  
> > > models to
> > > create music, and that models be driven by cognitive/musical  
> > > claims (1).
> > >
> > > Since the very beginning of my research I had trouble modeling  
> > > silence.
> > > The silence is not just another pitch which has the ability of not  
> > > to
> > > sound. I think that silence has to be treated apart from pitches,  
> > > but I
> > > don't know how.
> > >
> > > So here comes my question: Do you know anything I can read to help  
> > > me
> > > out with this?
> > >
> > > Thanks you all!
> > >
> > > Pablo
> > >
> > >
> > > (1) If you are interested, you can hear an example here of what I've
> > > already done: http://lafhis.dc.uba.ar/%7Epzivic/E.nar.mid
> > >
> > > In that example, the piano is of Scott Joplin, and the solo is  
> > > composed
> > > by mi program. The silences that you hear, are artificial, is just  
> > > a simple rule that I
> > > introduced, if the solo plays all the time it gets annoying.