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Perceptual equivalence of the Liljencrants-Fant and linear-filter glottal flow models
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In: ISSN: 0001-4966 ; EISSN: 1520-8524 ; Journal of the Acoustical Society of America ; https://hal.archives-ouvertes.fr/hal-03322875 ; Journal of the Acoustical Society of America, Acoustical Society of America, 2021, 150 (2), pp.1273-1285. ⟨10.1121/10.0005879⟩ ; https://doi.org/10.1121/10.0005879 (2021)
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Mosquito sound communication: are male swarms loud enough to attract females?
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Les instruments chanteurs
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In: ISSN: 1263-8072 ; Acoustique et Techniques : trimestriel d'information des professionnels de l'acoustique ; https://hal.archives-ouvertes.fr/hal-02025861 ; Acoustique et Techniques : trimestriel d'information des professionnels de l'acoustique, Neuilly-sur-Seine : Centre d'information et de documentation sur le bruit, 2019, 89, pp.36-43 (2019)
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Le contrôle des instruments chanteurs
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In: Congrès Français d’Acoustique, CFA 2018 ; https://hal.archives-ouvertes.fr/hal-02008980 ; Congrès Français d’Acoustique, CFA 2018, Apr 2018, Le Havre, France. pp.1249-1255 (2018)
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Liminal utterances and shapes of sadness: Local and acoustic perspectives on vocal production among the Yezidis of Armenia
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Gestural control of voice synthesis. The Cantor Digitalis and Digitartic instruments ; Contrôle gestuel de la synthèse vocale. Les instruments Cantor Digitalis et Digitartic
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In: ISSN: 0765-0019 ; EISSN: 1958-5608 ; Traitement du Signal ; https://hal.archives-ouvertes.fr/hal-01679397 ; Traitement du Signal, Lavoisier, 2015, 32 (4), pp.417-442. ⟨10.3166/ts.32.417-442⟩ ; http://ts.revuesonline.com/ (2015)
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Abstract:
International audience ; 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.EXTENDED ABSTRACTGestural control of speech or singing synthesis is difficult, because of the very fast articulators motions encountered in speech and singing. For singing, another difficult question is accurate rhythmic coordination and precision, because syllables must coincide with musical beats, at a given tempo. Then, the precise location of beats for different syllables must be controlled.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 is an extension of Cantor Digitalis and allows for singing syllables, including plosives, fricative, liquid and nasal consonants. Any in-between canonical place of articulation is possible by linear interpolation of the consonant parameters, for each mode of articulation.In this paper, the focus is given on Digitartic through the issue of consonant gestures and musical beat synchronization. Three modes of Vowel-Consonant-Vowel (VCV) articulation are discussed according to three levels of rhythmic precision and musical context. A VCV articulation is composed of the onset phase (articulators approaching the position of maximum constriction), the medial phase (maximum of constriction) and the offset phase (constriction release). Offset phase of plosives is very short compared to other consonants.The first control mode consists of triggering the syllable at the beginning of the onset phase. However, when the syllable starts on the musical beat, it is perceived with a delay depending on the duration of articulation phases. Anticipating precisely this delay is very difficult. The second control mode of control allows for triggering the VCV dissyllable in two steps. In the first step, the onset phase is triggered, and in the second step, the offset phase is triggered. In this way, plosives can be synchronized with musical beats without any delay. The third control mode is a continuous control of the phases of articulation, without any triggering. This requires a fast synthesis engine, a high interface sampling rate, as well as an expert control gesture, fast and precise enough to reproduce speech articulation phases.The continuous control mode of articulation is performed by a back-and-forth gesture with the pen of the non-preferred hand, along the vertical dimension of the graphic tablet. Place of articulation is continuously controlled along the horizontal dimension, and the mode of articulation is assigned to different areas on the tablet. This back-and-forth gesture is analog to the somewhat symmetric articulation of the VCV dissyllable. The gesture amplitude allows for different degrees of articulation (hypoarticulation to hyperarticulation). Controlling durations of each phase of articulation is another mean to increase expressiveness. The preferred hand is controlling pitch, vocal effort and vowel quality on another graphic tablet. Then it is possible to modify pitch and vocal effort during each phase of articulation. Cantor Digitalis and Digitartic allow for expressive musical performances. They are regularly used for concerts. ; 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.
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Keyword:
[INFO.INFO-CL]Computer Science [cs]/Computation and Language [cs.CL]; [INFO.INFO-SD]Computer Science [cs]/Sound [cs.SD]; [INFO.INFO-TS]Computer Science [cs]/Signal and Image Processing; [SHS.MUSIQ]Humanities and Social Sciences/Musicology and performing arts; [SPI.ACOU]Engineering Sciences [physics]/Acoustics [physics.class-ph]; [SPI.SIGNAL]Engineering Sciences [physics]/Signal and Image processing; Articulation control; Contrôle de l’articulation; Contrôle gestuel; Contrôle rythmique; Digital musical instrument; Gestural control; Instrument de musique numérique; Rythmic control; Syllable synthesis; Synthèse syllabique; Synthèse vocale; Voice synthesis
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URL: https://doi.org/10.3166/ts.32.417-442
https://hal.archives-ouvertes.fr/hal-01679397/file/FeugereDalessandro15_articulationControl_openSource.pdf
https://hal.archives-ouvertes.fr/hal-01679397/document
https://hal.archives-ouvertes.fr/hal-01679397
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| 9 |
Contrôle gestuel de la synthèse vocale - Les instruments Cantor Digitalis et Digitartic ; Gestural control of voice synthesis. The cantor digitartic instruments
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In: Traitement du signal [Trait. Signal], ISSN 0765-0019, 2015, 32, 4, p. 417-442 (2015)
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| 10 |
Contrôle gestuel de la synthèse vocale: instruments Cantor Digitalis et Digitartic
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| 11 |
Rule-Based performative synthesis of sung syllables
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In: International Conference on New Interfaces for Musical Expression (NIME 2014) ; https://hal.archives-ouvertes.fr/hal-01712566 ; International Conference on New Interfaces for Musical Expression (NIME 2014), 2014, London, Unknown Region. pp.86-87 (2014)
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| 12 |
Drawing melodies: Evaluation of chironomic singing synthesis
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In: ISSN: 0001-4966 ; EISSN: 1520-8524 ; Journal of the Acoustical Society of America ; https://hal.archives-ouvertes.fr/hal-01621771 ; Journal of the Acoustical Society of America, Acoustical Society of America, 2014, 135 (6), pp.3601-3612 (2014)
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| 16 |
Digitartic: bi-manual gestural control of articulation in performative singing synthesis
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In: Proceeding of the 13th International Conference on New Interfaces for Musical Expression ; 13th International Conference on New Interfaces for Musical Expression (NIME) ; https://hal.archives-ouvertes.fr/hal-01000268 ; 13th International Conference on New Interfaces for Musical Expression (NIME), May 2013, Daejeon, South Korea. pp.331-336 (2013)
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Gestural control of singing voice synthesis by rules and musical applications ; Synthèse par règles de la voix chantée contrôlée par le geste et applications musicales
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In: https://tel.archives-ouvertes.fr/tel-00926980 ; Son [cs.SD]. Université Pierre et Marie Curie - Paris VI, 2013. Français (2013)
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| 18 |
Performative voice synthesis for edutainment in acoustic phonetics and singing: a case study using the "Cantor Digitalis"
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In: Intelligent Technologies for Interactive Entertainment ; 5th International ICST Conference, INTETAIN 2013 ; https://hal.archives-ouvertes.fr/hal-00932116 ; 5th International ICST Conference, INTETAIN 2013, Jul 2013, Mons, Belgium. pp 169-178, ⟨10.1007/978-3-319-03892-6_20⟩ (2013)
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Performative voice synthesis for edutainment in acoustic phonetics and singing: a case study using the "Cantor Digitalis"
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DIGITARTIC : Synthèse gestuelle de syllabes chantées
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In: Journées d'Informatique Musicale ; https://hal.archives-ouvertes.fr/hal-03041811 ; Journées d'Informatique Musicale, 2012, Mons, France (2012)
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