The KTH Rule System for Singing Synthesis

Berndtsson, Gunilla

doi:10.2307/3681274

Cited by 13 publications

(9 citation statements)

References 16 publications

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“…The beginnings of the synthetic voice in musical representations in the artistic domain date back to the beginning of the 1980s, with the 'Chant' project developed at IRCAM, and used by composers of contemporary classical music [74]. 'Chant' is based on the synthesis by formants (by rules), like other well-known systems, as those developed at KTH in Stockholm [75], or CCRM Stanford [76]. A state of the art description can be found in [77] or in [78].…”

Section: Text-to-song Synthesismentioning

confidence: 99%

Intangible Cultural Heritage and New Technologies: Challenges and Opportunities for Cultural Preservation and Development

Alivizatou

Kitsikidis

Tsalakanidou

et al. 2017

Mixed Reality and Gamification for Cultural Heritage

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Intangible Cultural Heritage (ICH) is a relatively recent term coined to represent living cultural expressions and practices, which are recognised by communities as distinct aspects of identity. The safeguarding of ICH has become a topic of international concern primarily through the work of UNESCO (United Nations Educational, Scientific and Cultural Organisation). However, little research has been done on the role of new technologies in the preservation and transmission of intangible heritage. The chapter examines resources, projects and technologies providing access to ICH and identifies gaps and constraints. It draws on research conducted within the scope of the collaborative research project, i-Treasures. In so doing, it covers the state of the art in technologies that could be employed for access, capture and analysis of ICH in order to highlight how specific new technologies can contribute to the transmission and safeguarding of ICH.

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Section: Text-to-song Synthesismentioning

confidence: 99%

Intangible Cultural Heritage and New Technologies: Challenges and Opportunities for Cultural Preservation and Development

Alivizatou

Kitsikidis

Tsalakanidou

et al. 2017

Mixed Reality and Gamification for Cultural Heritage

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“…L'avantage de la synthèse paramétrique est sa souplesse et son faible coût en calcul et en mémoire. Dans la ligne de « Chant », d'autres groupes ont développé des synthétiseurs de voix chantée à formants par règles (Berndtsson, 1995 ;Cook, 1993).…”

Section: L'évolution De La Synthèse De Voix Chantéeunclassified

Contrôle gestuel de la synthèse vocale. Les instruments Cantor Digitalis et Digitartic

Feugère¹,

d’Alessandro²

2015

Traitement du signal

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Deux instruments de synthèse vocale sont présentés : le Cantor Digitalis et le Digitartic. Ces deux instruments utilisent des gestes bimanuels dérivés de l'écriture ou du dessin sur une tablette graphique. Le signal est calculé par un synthétiseur vocal paramétrique, comprenant des modèles de source voisée et de bruits consonantiques et une structure à formants série/parallèle, pour le conduit vocal. Le Cantor Digitalis permet de chanter des voyelles et des semi-voyelles. Le Digitartic permet de chanter des syllabes, avec des consonnes plosives, fricatives, liquides et nasales. La question de la synchronisation des gestes consonantiques et des appuis rythmiques demandés par la musique est discutée. Ces instruments permettent un jeu musical expressif et sont régulièrement utilisés en concert. ABSTRACT. Two singing synthesis instruments are presented: Digitalis Cantor and Digitartic. Both instruments use bimanual writing or drawing gestures on graphic tablets. The voice signal is computed with the help of a parametric synthesizer, including a voice source model, consonantal noise models and series/parallel formant filters. Cantor Digitalis is a vowel and semi-vowel singing instrument. Digitartic allows for singing syllables, including plosives, fricative, liquid and nasal consonants. The issue of consonant gestures and musical beat synchronization is discussed. These instruments allow for expressive musical performances. They are regularly used for concerts. MOTS-CLÉS : synthèse vocale, synthèse syllabique, instrument de musique numérique, contrôle gestuel, contrôle de l'articulation, contrôle rythmique.

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“…Research in random and periodic pitch deviations (Sundberg 1987;Chowning 1989;Ternstrom and Friberg 1989;Prame 1994;Cook 1995), and the synthesis and perception of short vibrato tones (d'Allessandro and Castellengo 1993), has provided data and models for more natural sounding voice synthesis. On the macro scale, rule systems for vocal performance and phrasing (Berndtsson 1995), and composition (Rodet and Cointe 1984;Barriere, Iovino, and Laurson 1991) have been constructed. The Stockholm KTH rule system is available on the compact disc Information Technology and Music (KTH 1994).…”

Section: Modeling Performancementioning

confidence: 99%