A framework for computer-assisted sound design systems supported by modelling affective and perceptual properties of soundscape
暂无分享,去创建一个
Philippe Pasquier | Jianyu Fan | Miles Thorogood | P. Pasquier | Miles Thorogood | Jianyu Fan | Philippe Pasquier
[1] N. Pearse,et al. Deciding on the Scale Granularity of Response Categories of Likert Type Scales: The Case of a 21-Point Scale , 2011 .
[2] David Birchfield,et al. Design of a Generative Model for Soundscape Creation , 2005, ICMC.
[3] David Sonnenschein,et al. Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema , 2001 .
[4] R. Fay. Acoustic Communication , 2003, Springer Handbook of Auditory Research.
[5] Linda Candy,et al. Supporting the creative user: a criteria-based approach to interaction design , 1997 .
[6] Stefan Kersten,et al. Authoring augmented soundscapes with user-contributed content , 2011 .
[7] Philippe Pasquier,et al. Impress: A Machine Learning Approach to Soundscape Affect Classification for a Music Performance Environment , 2013, NIME.
[8] G. A. Mendelsohn,et al. Affect grid : A single-item scale of pleasure and arousal , 1989 .
[9] Rebecca Cain,et al. A positive soundscape evaluation tool , 2009 .
[10] Athanasia Zlatintsi,et al. A supervised approach to movie emotion tracking , 2011, 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP).
[11] Philippe Pasquier,et al. Computationally Created Soundscapes with Audio Metaphor , 2013, ICCC.
[12] Philippe Pasquier,et al. BF-Classifier: Background/Foreground Classification and Segmentation of Soundscape Recordings , 2015, AM '15.
[13] Steven Minton,et al. Minimizing Conflicts: A Heuristic Repair Method for Constraint Satisfaction and Scheduling Problems , 1992, Artif. Intell..
[14] Jordi Janer,et al. Soundscape Generation for Virtual Environments using Community-Provided Audio Databases , 2010 .
[15] Arne Eigenfeldt,et al. Audio Metaphor: Audio Information Retrieval for Soundscape Composition , 2012 .
[16] Simon Colton,et al. On impact and evaluation in computational creativity: a discussion of the Turing Test and an alternative proposal , 2011 .
[17] William J. Davies,et al. Development of a soundscape simulator tool , 2009 .
[18] Greg deBeer. Pro Tools 10 for Game Audio , 2012 .
[19] Vincenzo Lombardo,et al. A Framework for Soundscape Analysis And Re-synthesis , 2009 .
[20] Catherine Lavandier,et al. Comparison between multiple linear regressions and artificial neural networks to predict urban sound quality , 2010 .
[21] Jason Freeman,et al. Soundscape Composition and Field Recording as a Platform for Collaborative Creativity , 2011, Organised Sound.
[22] Birgitta Berglund,et al. Soundscape psychophysics in place , 2007 .
[23] Anna Jordanous. Evaluating Evaluation: Assessing Progress in Computational Creativity Research , 2011, ICCC.
[24] K. Kallinen,et al. Emotion perceived and emotion felt: Same and different , 2006 .
[25] Etienne B. Roesch,et al. A Blueprint for Affective Computing: A Sourcebook and Manual , 2010 .
[26] Andy Farnell,et al. Designing Sound , 2008 .
[27] Barry Truax,et al. Sound, Listening and Place: The aesthetic dilemma , 2012, Organised Sound.
[28] Xavier Serra,et al. Freesound Radio: supporting music creation by exploration of a sound database , 2009 .
[29] Mathieu Lagrange,et al. SimScene : a web-based acoustic scenes simulator , 2015 .
[30] Jean-François Augoyard,et al. Sonic Experience: A Guide to Everyday Sounds , 2006 .
[31] Christopher Ariza,et al. The Interrogator as Critic: The Turing Test and the Evaluation of Generative Music Systems , 2009, Computer Music Journal.
[32] Stefania Serafin,et al. Sound Design to Enhance Presence in Photorealistic Virtual Reality , 2004, ICAD.
[33] Simon Fraser,et al. SOUNDSCAPE EMOTION RECOGNITION VIA DEEP LEARNING , 2018 .
[34] Celine Latulipe,et al. Quantifying the Creativity Support of Digital Tools through the Creativity Support Index , 2014, ACM Trans. Comput. Hum. Interact..
[35] Jordi Janer,et al. An Online Platform for Interactive Soundscapes with User-Contributed Audio Content , 2011 .
[36] Xavier Serra,et al. Ecological Acoustics Perspective for Content-Based Retrieval of Environmental Sounds , 2010, EURASIP J. Audio Speech Music. Process..
[37] Alexander Brandon. Audio for Games: Planning, Process, and Production (New Riders Games) , 2004 .
[38] R. M. Schafer,et al. The Soundscape: Our Sonic Environment and the Tuning of the World , 1993 .
[39] Xavier Serra,et al. Freesound 2: An Improved Platform for Sharing Audio Clips , 2011 .
[40] M. Boden. The creative mind : myths & mechanisms , 1991 .
[41] John E. W. Poxon,et al. An exploratory evaluation of perceptual, psychoacoustic and acoustical properties of urban soundscapes , 2013 .
[42] Philippe Pasquier,et al. Automatic Soundscape Affect Recognition Using A Dimensional Approach , 2016 .
[43] Philippe Pasquier,et al. Automatic Recognition of Eventfulness and Pleasantness of Soundscape , 2015, AM '15.
[44] Arne Eigenfeldt,et al. A Methodology for the Comparison of Melodic Generation Models Using Meta-Melo , 2013, ISMIR.
[45] D. Dubois,et al. In search for soundscape indicators : Physical descriptions of semantic categories , 2006 .
[46] Jeffrey J. Scott,et al. MUSIC EMOTION RECOGNITION: A STATE OF THE ART REVIEW , 2010 .
[48] Mark Shepard. Tactical sound garden toolkit , 2007, SIGGRAPH '07.
[49] Arne Eigenfeldt,et al. Negotiated Content: Generative Soundscape Composition by Autonomous Musical Agents in Coming Together: Freesound , 2011, ICCC.
[50] J. Gratch,et al. The Oxford Handbook of Affective Computing , 2014 .
[51] William W. Gaver. What in the World Do We Hear? An Ecological Approach to Auditory Event Perception , 1993 .
[52] Paul Lamere,et al. Social Tagging and Music Information Retrieval , 2008 .
[53] Barry Truax,et al. Soundscape, Acoustic Communication and Environmental Sound Composition , 1996 .
[54] R. Garland. The Mid-Point on a Rating Scale: Is it Desirable? , 1991 .
[55] William J. Davies,et al. The positive soundscape project , 2007 .
[56] P. Symonds,et al. On the Loss of Reliability in Ratings Due to Coarseness of the Scale. , 1924 .
[57] J. Jacoby,et al. Is There an Optimal Number of Alternatives for Likert Scale Items? Study I: Reliability and Validity , 1971 .
[58] Dan Ventura. A Reductio Ad Absurdum Experiment in Sufficiency for Evaluating (Computational) Creative Systems , 2008 .
[59] Justin Salamon,et al. Scaper: A library for soundscape synthesis and augmentation , 2017, 2017 IEEE Workshop on Applications of Signal Processing to Audio and Acoustics (WASPAA).
[60] Bruce Thompson,et al. Score Reliability in Webor Internet-Based Surveys: Unnumbered Graphic Rating Scales versus Likert-Type Scales , 2001 .
[61] Philippe Pasquier,et al. Soundscape Audio Signal Classification and Segmentation Using Listeners Perception of Background and Foreground Sound , 2016 .
[62] Danièle Dubois,et al. CATEGORIES FOR SOUNDSCAPE : TOWARD A HYBRID CLASSIFICATION , 2010 .
[63] Philippe Pasquier,et al. Emo-soundscapes: A dataset for soundscape emotion recognition , 2017, 2017 Seventh International Conference on Affective Computing and Intelligent Interaction (ACII).
[64] Dick Botteldooren,et al. The temporal structure of urban soundscapes , 2006 .
[65] Andrea Valle,et al. Imaginary soundscapes: the SoDA project , 2014, Audio Mostly Conference.
[66] Sergio L. Toral Marín,et al. Small world networks and creativity in audio clip sharing , 2012, Int. J. Soc. Netw. Min..
[67] Geraint A. Wiggins. Searching for computational creativity , 2006, New Generation Computing.
[68] Geraint A. Wiggins,et al. Towards A Framework for the Evaluation of Machine Compositions , 2001 .
[69] Arthur Flexer,et al. Statistical evaluation of music information retrieval experiments , 2006 .