Exploring TEIA: Designing Musical Textures for Live Electronic Music
Resumo
This article presents TEIA (Stochastic Textures with Assisted Interaction), a Max tool developed for real-time texture generation in the composition Gestos: uma homenagem a Jaques Morelenbaum. The tool is inspired by György Ligeti’s metaphor of spider webs, used to explore the notion of texture in composition. TEIA treats musical texture as a high-level perceptual phenomenon shaped by the interrelationships of sound components, focusing on their density, variety, and interactions. Drawing on psychoacoustic and compositional analyses of Ligeti and Xenakis, the tool generates complex sonic textures through pitch shifter configurations that manipulate sound masses. The article begins by discussing the creative context and compositional influences behind Gestos, exploring the intersection of composition, perception and computer music. It then delves into the design and functionality of the tool, highlighting its core textural behaviours, audio descriptors, and PCA-based analysis. Finally, the article reflects on the potential of TEIA to enable real-time manipulation of sound texture, thus contributing to the ongoing dialogue between composition, technology and perception.
Referências
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Micael Antunes, Danilo Rossetti, and Jônatas Manzolli. A computer-based framework to analyze continuous and discontinuous textural works using psychoacoustic audio descriptors. In Proceedings of the 17º Brazilian Symposium on Computer MusicFederal, pages 4–11, São João del Rey, 2019.
Micael Antunes, Danilo Rossetti, and Jônatas Manzolli. A computer-aided analysis of the Orchestration in Iannis Xenakis’ Aroura. In Proceedings of the 10th European Music Analysis Conference, pages 555–556, Moscow, 2021.
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Jamie Bullock. Implementing audio feature extraction in live electronic music. Doctoral thesis, Birmingham City University, Birmingham, 2008.
Emilios Cambouropoulos and Costas Tsougras. Auditory Streams in Ligeti’s Continuum: A Theoretical and Perceptual Approach. Journal of interdisciplinary music studies, 3(1-2):119–137, 2009.
Micael Antunes da Silva. Explorando texturas sonoras: análise e composição com suporte de descritores de áudio e modelos computacionais. Tese (doutorado), Universidade Estadual de Campinas (UNICAMP), Instituto de Artes, Campinas, SP, 2024. Orientadores: Jônatas Manzolli, Danilo Augusto de Albuquerque Rossetti.
C. Douglas, J. Noble, and S. McAdams. Auditory Scene Analysis and the Perception of Sound Mass in Ligetis Continuum. Music Perception: An Interdisciplinary Journal, 33(3):287–305, 2016.
Silvio Ferraz. Análise e Percepção Textural: Peça VII, de 10 peças para Gyorgy Ligeti. Cadernos de Estudos: Análise Musical, 3:68–79, 1990.
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Anssi Klapuri and Manuel Davy, editors. Signal Processing Methods for Music Transcription. Engineering. Springer, New York, NY, 1 edition, 2006. 124 b/w illustrations.
György Ligeti and Jonathan W. Bernard. States, Events, Transformations. Perspectives of New Music, 31(1):164, 1993.
György Ligeti, Hans Heinz Stuckenschmidt, and Louise Duchesneau. Music in the Technological Era. In György Ligeti’s Cultural Identities, pages 21–38. Routledge, Abingdon, 2017.
Mikhail Malt and Emmanuel Jourdan. Le “BSTD”–Une représentation graphique de la brillance et de l’écart type spectral, comme possible représentation de l’évolution du timbre sonore. In L’analyse musicale aujourd’hui, pages 1 – 14, Strasbourg, 2009. Delatour.
Stephen McAdams. Timbre as a structuring force in music. In Timbre: Acoustics, perception, and cognition, pages 211–243. Springer, Berlin, 2019.
Jason Noble. PERCEPTUAL AND SEMANTIC DIMENSIONS OF SOUND MASS. Doctroal thesis, Schulich School of Music McGill University, Montreal, 2018.
Danilo Rossetti, Micael Antunes, and Jônatas Manzolli. Compositional procedures in electronic music and the emergence of time continuum. Organised Sound, 25(2):156–167, 2020. Publisher: Cambridge University Press.
Danilo Rossetti and Jônatas Manzolli. Studying the perception of sound in space: Granular sounds spatialized in a high-order ambisonics system. Opus, 26(2):1–26, 2020.
Danilo Rossetti and Jônatas Manzolli. Analysis of Granular Acousmatic Music: Representation of sound flux and emergence. Organised Sound, 24(2):205–216, 2019. Publisher: Cambridge University Press.
S. S. Stevens. Psychophysics: Introduction to its perceptual, neural, and social prospects. Transaction Publishers, New Brunswick, NJ, 1975.
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Iannis Xenakis. Kéleütha Écrits. L’Arche Éditeur, Paris, 1994.
Micael Antunes, Danilo Rossetti, and Jônatas Manzolli. A computer-based framework to analyze continuous and discontinuous textural works using psychoacoustic audio descriptors. In Proceedings of the 17º Brazilian Symposium on Computer MusicFederal, pages 4–11, São João del Rey, 2019.
Micael Antunes, Danilo Rossetti, and Jônatas Manzolli. A computer-aided analysis of the Orchestration in Iannis Xenakis’ Aroura. In Proceedings of the 10th European Music Analysis Conference, pages 555–556, Moscow, 2021.
Wallace Berry. Structural functions in music. Dover books on music, music history. Dover, New York, 1987.
Sebastian Böck and Gerhard Widmer. Maximum filter vibrato suppression for onset detection. In Proc. of the 16th Int. Conf. on Digital Audio Effects (DAFx). Maynooth, Ireland (Sept 2013), volume 7, page 4. Citeseer, 2013.
Gianmario Borio and Hermann Danuser. Die Internationalen Ferienkurse für Neue Musik Darmstadt 1946-1966. Concert program, lectures, masterclasses, tutors. In: Geschichte und Dokumentation in vier Bänden., volume 3. 1997.
Jamie Bullock. Implementing audio feature extraction in live electronic music. Doctoral thesis, Birmingham City University, Birmingham, 2008.
Emilios Cambouropoulos and Costas Tsougras. Auditory Streams in Ligeti’s Continuum: A Theoretical and Perceptual Approach. Journal of interdisciplinary music studies, 3(1-2):119–137, 2009.
Micael Antunes da Silva. Explorando texturas sonoras: análise e composição com suporte de descritores de áudio e modelos computacionais. Tese (doutorado), Universidade Estadual de Campinas (UNICAMP), Instituto de Artes, Campinas, SP, 2024. Orientadores: Jônatas Manzolli, Danilo Augusto de Albuquerque Rossetti.
C. Douglas, J. Noble, and S. McAdams. Auditory Scene Analysis and the Perception of Sound Mass in Ligetis Continuum. Music Perception: An Interdisciplinary Journal, 33(3):287–305, 2016.
Silvio Ferraz. Análise e Percepção Textural: Peça VII, de 10 peças para Gyorgy Ligeti. Cadernos de Estudos: Análise Musical, 3:68–79, 1990.
David Huron. Characterizing Musical Textures. In Proceedings of the 1989 International Computer Music Conference, Columbus, Ohio, USA, November 1989.
Anssi Klapuri and Manuel Davy, editors. Signal Processing Methods for Music Transcription. Engineering. Springer, New York, NY, 1 edition, 2006. 124 b/w illustrations.
György Ligeti and Jonathan W. Bernard. States, Events, Transformations. Perspectives of New Music, 31(1):164, 1993.
György Ligeti, Hans Heinz Stuckenschmidt, and Louise Duchesneau. Music in the Technological Era. In György Ligeti’s Cultural Identities, pages 21–38. Routledge, Abingdon, 2017.
Mikhail Malt and Emmanuel Jourdan. Le “BSTD”–Une représentation graphique de la brillance et de l’écart type spectral, comme possible représentation de l’évolution du timbre sonore. In L’analyse musicale aujourd’hui, pages 1 – 14, Strasbourg, 2009. Delatour.
Stephen McAdams. Timbre as a structuring force in music. In Timbre: Acoustics, perception, and cognition, pages 211–243. Springer, Berlin, 2019.
Jason Noble. PERCEPTUAL AND SEMANTIC DIMENSIONS OF SOUND MASS. Doctroal thesis, Schulich School of Music McGill University, Montreal, 2018.
Danilo Rossetti, Micael Antunes, and Jônatas Manzolli. Compositional procedures in electronic music and the emergence of time continuum. Organised Sound, 25(2):156–167, 2020. Publisher: Cambridge University Press.
Danilo Rossetti and Jônatas Manzolli. Studying the perception of sound in space: Granular sounds spatialized in a high-order ambisonics system. Opus, 26(2):1–26, 2020.
Danilo Rossetti and Jônatas Manzolli. Analysis of Granular Acousmatic Music: Representation of sound flux and emergence. Organised Sound, 24(2):205–216, 2019. Publisher: Cambridge University Press.
S. S. Stevens. Psychophysics: Introduction to its perceptual, neural, and social prospects. Transaction Publishers, New Brunswick, NJ, 1975.
Karlheinz Stockhausen. Musique dans l’espace. Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, pages 76–82, 1959. Publisher: JSTOR.
Iannis Xenakis. Kéleütha Écrits. L’Arche Éditeur, Paris, 1994.
Publicado
15/09/2025
Como Citar
ANTUNES, Micael.
Exploring TEIA: Designing Musical Textures for Live Electronic Music. In: SIMPÓSIO BRASILEIRO DE COMPUTAÇÃO MUSICAL (SBCM), 19. , 2025, Campinas/SP.
Anais [...].
Porto Alegre: Sociedade Brasileira de Computação,
2025
.
p. 82-89.
DOI: https://doi.org/10.5753/sbcm.2025.99999.
