Thesis Chapters by Jonathan Bell
This submission investigates computer-aided performances in which musicians receive auditory info... more This submission investigates computer-aided performances in which musicians receive auditory information via earphones.
The interaction between audio-scores (musical material sent through earpieces to performers) and visual input (musical notation) changes the traditional relationship between composer, conductor, performer and listener. Audio-scores intend to complement and transform the printed score. They enhance the accuracy of execution of difficult rhythmic or pitch relationships, increase the specificity of instructions given to the performer (for example, in the domain of timbre), and may elicit original and spontaneous responses from the performer in real-time.
The present research is inspired by, and positions itself within traditional European notational practices. Through a reflection on the nature and function of notation in a variety of repertoires, this study examines how my own compositional research – and its reliance on audio-scores — relates to and differs from the models considered. Following the realisation of pieces investigating complex rhythms and the use of recorded samples as borrowed/found material, results have proven to be highly effective with a group of vocalists, with works in which audio-scores facilitated the precise realisation of microtonal material. Audio-scores also proved particularly useful in site-specific ‘immersive’ concerts/installations. In these settings, audio-scores mitigate challenges associated with placing musicians at an unusual distances from one another, e.g. around the audience.
This submission constitutes an original contribution to knowledge in the field of computer-aided performance in that it demonstrates how musical notation and current ubiquitous audio technologies may be used in tandem in the conception and performance of new works. Recent findings include a Web application currently being developed at IRCAM. The application is based on a local server and allows the synchronous delivery of audio/screen-scores via the browser of the performers’ smarphones, tablets, or computers.
Keywords: audio-score, click track, composition, computer-aided performance, earpiece, microtonality, music, notation, performance, screen-score, server, voice.
Papers by Jonathan Bell
Proceedings of the 22nd International Conference on World Wide Web Companion, May 13, 2013
The Economic History Review, Nov 1, 2014
Proceedings of the 22nd Acm Sigsoft International Symposium, Nov 11, 2014
Siam Journal on Applied Mathematics, Jul 11, 2006
For a certain class of scalar reaction-diffusion equations, we show that any solution decays if t... more For a certain class of scalar reaction-diffusion equations, we show that any solution decays if the cylindrical domain's width is too narrow, whereas if it is sufficiently thick, there are solutions which lie and persist between two traveling wave fronts. These ideas are then ...
Acm Sigsoft Software Engineering Notes, Jan 23, 2013
We propose a mathematical model a single continuous layer of nerve cells with lateral inhibition ... more We propose a mathematical model a single continuous layer of nerve cells with lateral inhibition type of connection functions in a neural network which admits traveling wave front solutions. We obtain a characterization of the wave front shapes that depend on the relationship between the firing threshold potential and a measure of synaptic connection strength. We also consider a nontrivial standing wave front solution at zero wave speed. Introduction: Several neurological disorders in human, such as cortical epilepsy and migraine (1, 2), are characterized by waves of activity spreading across the surface of the cortex. For this reason, traveling wave solutions constitute biologically an interesting and important concept in the attempt to understand the mechanisms underlying spatially extended networks. The field approach to the neural network modeling taken in this paper goes back at least to the work of Amari (3). The model for a single continuous layer of nerve cells takes the form ( )dy t
DefinitionA large family of acidic adaptor proteins of ∼30 kDa that mainly (but not solely) inter... more DefinitionA large family of acidic adaptor proteins of ∼30 kDa that mainly (but not solely) interact with phosphoserine or -threonine sites on target proteins to facilitate their activity. 14-3-3 proteins have 9–10 alpha helices, generally form homo- or heterodimers, and contain a number of common modification sites (e.g. phosphorylation, divalent cation binding, and so forth) to regulate their activities, interactions, and localizations.Synaptic Proteins and Regulated Exocytosis
Mathematical Modelling in Science and Technology, 1984
Cancer informatics, 2006
In this paper, a model of signaling pathways involving G proteins is investigated. The model inco... more In this paper, a model of signaling pathways involving G proteins is investigated. The model incorporates reaction-diffusion mechanisms in which various reactants participate inside and on the extra-cellular surface membrane. The messenger molecules may diffuse over the surface of the cell membrane and signal transduction across the cell membrane is mediated by membrane receptor bound proteins which connect the genetically controlled biochemical intra-cellular reactions to the production of the second messenger, leading to desired functional responses. Dynamic and steady-state properties of the model are then investigated through weakly nonlinear stability analysis. Turing-type patterns are shown to form robustly under different delineating conditions on the system parameters. The theoretical predictions are then discussed in the context of some recently reported experimental evidence.
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Thesis Chapters by Jonathan Bell
The interaction between audio-scores (musical material sent through earpieces to performers) and visual input (musical notation) changes the traditional relationship between composer, conductor, performer and listener. Audio-scores intend to complement and transform the printed score. They enhance the accuracy of execution of difficult rhythmic or pitch relationships, increase the specificity of instructions given to the performer (for example, in the domain of timbre), and may elicit original and spontaneous responses from the performer in real-time.
The present research is inspired by, and positions itself within traditional European notational practices. Through a reflection on the nature and function of notation in a variety of repertoires, this study examines how my own compositional research – and its reliance on audio-scores — relates to and differs from the models considered. Following the realisation of pieces investigating complex rhythms and the use of recorded samples as borrowed/found material, results have proven to be highly effective with a group of vocalists, with works in which audio-scores facilitated the precise realisation of microtonal material. Audio-scores also proved particularly useful in site-specific ‘immersive’ concerts/installations. In these settings, audio-scores mitigate challenges associated with placing musicians at an unusual distances from one another, e.g. around the audience.
This submission constitutes an original contribution to knowledge in the field of computer-aided performance in that it demonstrates how musical notation and current ubiquitous audio technologies may be used in tandem in the conception and performance of new works. Recent findings include a Web application currently being developed at IRCAM. The application is based on a local server and allows the synchronous delivery of audio/screen-scores via the browser of the performers’ smarphones, tablets, or computers.
Keywords: audio-score, click track, composition, computer-aided performance, earpiece, microtonality, music, notation, performance, screen-score, server, voice.
Papers by Jonathan Bell
The interaction between audio-scores (musical material sent through earpieces to performers) and visual input (musical notation) changes the traditional relationship between composer, conductor, performer and listener. Audio-scores intend to complement and transform the printed score. They enhance the accuracy of execution of difficult rhythmic or pitch relationships, increase the specificity of instructions given to the performer (for example, in the domain of timbre), and may elicit original and spontaneous responses from the performer in real-time.
The present research is inspired by, and positions itself within traditional European notational practices. Through a reflection on the nature and function of notation in a variety of repertoires, this study examines how my own compositional research – and its reliance on audio-scores — relates to and differs from the models considered. Following the realisation of pieces investigating complex rhythms and the use of recorded samples as borrowed/found material, results have proven to be highly effective with a group of vocalists, with works in which audio-scores facilitated the precise realisation of microtonal material. Audio-scores also proved particularly useful in site-specific ‘immersive’ concerts/installations. In these settings, audio-scores mitigate challenges associated with placing musicians at an unusual distances from one another, e.g. around the audience.
This submission constitutes an original contribution to knowledge in the field of computer-aided performance in that it demonstrates how musical notation and current ubiquitous audio technologies may be used in tandem in the conception and performance of new works. Recent findings include a Web application currently being developed at IRCAM. The application is based on a local server and allows the synchronous delivery of audio/screen-scores via the browser of the performers’ smarphones, tablets, or computers.
Keywords: audio-score, click track, composition, computer-aided performance, earpiece, microtonality, music, notation, performance, screen-score, server, voice.