Proc.

of the 12th International Symposium on CMMR, So Paolo, Brazil, July 5-8, 2016

Development of a sound reproduction four-channel

system with 360 horizontal sound image applied to
music, sound arts, and bioacoustics

Jos Augusto Mannis1 2, Tato Taborda1 and Djalma de Campos Gonalves Jnior 2
1
Instituto de Arte e Comunicao Social - PPGCA UFF
2 Departamento de Msica UNICAMP

jamannis@unicamp.br
taborda.tato@gmail.com
djalmacgjr@gmail.com

Abstract. This article refers to ongoing research related to the Postdoctoral

project multichannel audio devices applied to music, sound art and
bioacoustics developed by the author for UFF (2016-2018) with support from
CAPES and in collaboration with the Laboratory of Acoustics and Sound Arts
LASom/DM/IA/UNICAMP. This work aims to (1) consolidate a spatial sound
projection device involving signal processing; and (2) its application in the arts
(music) and science (biology and ecology) domains.

Keywords: Immersive environment; Electroacoustic Music; Bioacoustics

1 Introduction

This investigation is part of the postdoctoral project developed by Prof. Jos

Augusto Mannis, with the support of CAPES, having Prof. Tato Taborda as his
advisor at UFF (2016-18), involving the Laboratory of Acoustics and Sound Arts -
LASom/DM/IA/Unicamp (University of Campinas), and Laboratory of Sound
Production/UFF (Fluminense Federal University).

Our goal is to consolidate a spatial sound projection device involving sound capture
techniques and signal processing; and its applications in the domains of music and
sound arts (performances, sound installations) and ecology (environment monitoring,
bioacoustics, museology applied to natural sciences). Therefore, we must develop and
improve knowledge, techniques and methods in multichannel audio systems,
especially in sound reproduction in a four-channel audio immersion environment.

2 Main Problem

We have been working, since 2013, in a research project aiming at the

development of a four-channel sound recording and playback device

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 Proc. of the 12th International Symposium on CMMR, So Paolo, Brazil, July 5-8, 2016

(conception and implementation), for application in the fields of Arts

and Biology, expecting to achieve the following: to rebuild in the
laboratory a 360 horizontal sound image, a multichannel system to
capture sound, to analyze delays between the incidences of the
wavefront in each microphone, and through the same microphone
recording point, to determine the spatial position of the sound source.
Part of the problem to be solved is reproducing the sound recorded in
four channels, four microphones arranged in a square with edge A (3 to
10 m) allowing studio reconstitution in deferred time of the sound image
perceived at the central point of the square at the moment of sound
capture.

Fig. 1. Left: Recording and playback devices superimposed. The transducers in both cases must
occupy the same relative spatial position. Right: illustration of different sound plans in depth
can be perceived in the sound recording relief when reproduced on a proper device.

Since the signal must also serve to locate the position of each sound source by
recording analysis, the recording must be performed only with omnidirectional
microphones. However, during the capture with omnidirectional microphones, each
microphone receives delays of the signals already registered by other microphones
(recidivism), requiring its cancellation by phase inversion. However, the simple
cancellation of this hypothesis may not be enough, it is probably necessary to dose the
mixture and the signal intensities so that the resulting sound image is homogeneous
and balanced, which is why we included the coefficient. We propose an algorithm
to obtain cancellation of phase opposition [Eq. 1] (Algorithm owner).
The signal processing will start from the following algorithm:

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 Proc. of the 12th International Symposium on CMMR, So Paolo, Brazil, July 5-8, 2016

Development of a sound reproduction system in four channels 3

EFQ DFQ
LF RF

LB RB
EBQ DBQ

Microphones: LNO, LSO, RNE, RSE

Quadraphonic signal recurrence of phase cancellation processing: LF, LB, RF, RB

Quadraphonic signal processing Quadradisc CD-4: EFQ, EBQ, RFQ, RBQ

A = 10,00 m (also 5,00 m and 3,00 m)

D = 10 . 2^0,5 = 14,14 m

c (21 C) = 343,48 m/s 10,0m= 29,09 ms 14,14m = 41,13 ms

c (25 C) = 345,81 m/s 10,0m= 28,89 ms 14,14m = 40,85 ms
c (30 C) = 348,70 m/s 10,0m= 28,65 ms 14,14m = 40,52 ms
c (35 C) = 51,56 m/s 10,0m= 28,42 ms 14,14m = 40,19 ms

Recidivism phase cancellation processing - Eq. 1

LF = LNO LSO ( 10,0 m) RNE (10,0 m) RSE (14,14 m)

LB = LSO LNO ( 10,0 m) RSE (10,0 m) RNE (14,14 m)
RF = RNE RSE ( 10,0 m) LNO (10,0 m) LSO (14,14 m)
RB = RSE RNE ( 10,0 m) LSO(10,0 m) LNO (14,14 m)

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 Proc. of the 12th International Symposium on CMMR, So Paolo, Brazil, July 5-8, 2016

The coefficient in Eq. 1 will be used in order to find the exact mixture
point for the cancellation stage so that the sound image and a feeling of relief
(Condamines, 1978) may remain continuous, stable and balanced.
The device set up for this investigation reconstructs the sound image caused
only by sources located outside the square delineated by the four microphones.
Moreover, with phase cancellations we also experience the result of further
processing proposed by Peter Scheiber (SCHEIBER, 1971) [Eq. 2] known as
Compatible Discrete 4 (CD-4) or Quadradisc.
Compatible Discrete 4 Processing (CD-4) ou Quadradisc - [Eq. 2]

(LF+LB)+(LF-LB) = 2LF [EFQ]

(LF+LB)-(LF-LB) = 2LB [EBQ]
(RF+RB)+(RF-RB) = 2RF [DFQ]
(RF+RB)-(RF-RB) = 2RB [DBQ]
Another part of the experiment allows a complementary sound capture to
record sound events occurring in the area created by the square formed by the four
original microphones. This additional recording would occur in a single point located
in the center of the square. This technique can also be made with omnidirectional
microphones, with its superior quality of response in relation to the cardioid
microphones (DICKREITER, 1989), to obtain a sound quality similar to the sound
image from outside the square.
The original design capture scheme idealized by the author consists in a
design from a model known as Jecklin Disc (Jecklin, 1981) (Johnsson; Nykanen,
2011), with two omnidirectional separated by an absorbent material Disc 280mm in
diameter, overlapping two orthogonally Jecklin Discs with omnidirectional capsules
facing up or with 90 adapter reaching the configuration shown in the following figure:

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 Proc. of the 12th International Symposium on CMMR, So Paolo, Brazil, July 5-8, 2016

Development of a sound reproduction system in four channels 5

Fig. 2. Setting to recording sound events within the square, overlapping two orthogonally
Jecklin Discs. Capture recording channels: [LF] front left; [RF] front right; [LB] Back left;
[RB] back right.

The two setups cannot be applied at the same time, since the radiated sound
waves inside the square would deform the spatial perception of the sound image due
to phase cancellation delays.
However, two recordings made at different times can be mixed and
superimposed, resulting in a significant opportunity for sound art, combining different
materials and managing different sound events captured spatially. This is precisely a
mixing space with a perception of movements and positions of sound sources within
an immersive space.

3 Goals

General goals:
Complete the development of a four-channel sound projection device,
already in progress, supporting correlated research involving
multichannel sound recording systems and signal processing techniques
necessary to obtain immersion conditions;
Create listening conditions in the laboratory, characterizing a sound
immersion environment for hearing horizontal soundscapes in 360o
recorded with a multichannel sound pickup system;
Develop artistic creation in this sound projection device;
To provide researchers in the Bioacoustical field, the possibility of
sound observation in central position (sweet spot - center of the square)
in natural environments, with 360 degrees of horizontal spatial sound
images, in the laboratory at deferred time

Specific goals:
Establish the configuration of the four-channel sound reproduction device,
already under way;
Develop basic and affordable proposal for immersion installations
soundscape covering 360 degrees
Encourage the creation of original musical works and sound art for this
sound projection configuration;
Conduct trials with biology researchers on the observation of natural
environments in laboratory (with immersion audio device) in deferred time, without
human presence at the time of sound pickup;

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 Proc. of the 12th International Symposium on CMMR, So Paolo, Brazil, July 5-8, 2016

Perform musical spectacles and art installations with immersion

environment in low-cost devices;
Perform sound immersion environments in natural history museums and
biology;
Provide training and a new search tool for biology researchers;
Training musicians and artists on how to use these new tools;
Training biologists how to use these new tools

4 Methodology

Recording devices will be purchased with funds from other financial supporters,
and will be configured as (a) Figure 1 - featuring four AB sound-making setups
(DICKREITER 1989) consisting of four microphones. Each square represents an edge
socket set AB; (B) Figure 2 - superposition of two Jecklin discs. The preliminary tests
are an attempt to stabilize and validate the sound projection device using four
speakers purchased for this project, whose scope is restricted to signal processing and
sound projection conditions for an audience located in the sweet spot of the sound
projection device, configured as a square, whose evaluation will be made through the
quality of the sound perceived in this listening position. The testing and subjective
assessment of spatial perception can be performed by staff researchers of different
ages and genders. This qualitative evaluation will include the personal impressions of
the listeners and the statistical measurements adopted by Piotr Kleczkowski
(Kleczkowski et al. 2015) also taking into account the methods and procedures
employed by David Romblom (ROMBLOM et al., 2013).

The sound material used as stimulus in the test sessions will be based on the same
materials adopted in the experiments made by Jens Blauert (BLAUERT, 1997),
namely broad spectrum noise, filtered noise with low bandwidth, tonic sounds,
recorded speech, and impacts, since each one induces spatial perceptions with
different qualities to the human ear.

References

1. Scheiber, P.: Analysing phase-amplitude matrices. In: Audio Engineering Society

Convention, 41.,1971, New York. Preprint No.815 (J-5) 23 p.
2. Jecklin, J.: A different way to record classical music. In: Journal of the Audio Engineering
Society, (AES) 29 (5): pp 329-332 (May 1981)
3. Johnsson, R. Nyknen, A.: Comparison of speech intelligibility in artificial head and Jecklin
disc recordings. Audio Engineering Society Convention, 130., 2011, London, Convention
Paper 8386. 9 p. (HD)
4. Dickreiter, M.:, Tonmeister technology: recording environments, sound sources and
microphone techniques. Traduo: Stephen F. Temmer. New York: Temmer enterprises,
1989. 141 p.

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 Proc. of the 12th International Symposium on CMMR, So Paolo, Brazil, July 5-8, 2016

Development of a sound reproduction system in four channels 7

5. Kleczkowski, P. et al.: Multichannel sound reproduction quality improves with algular

separation of direct and reflected sounds. In: Journal of the Audio Engineering Society
(AES) 63 (6): 427-442. (June 2015)
6. Romblom, D.: A Perceptual evaluation of recording, rendering, and reproduction techniques
for multichannel spatial audio. Audio Engineering Society Convention, 135., 2013, New
York. Convention Paper 9004. 10 p. (HD)
7. Blauert, J.: Spatial hearing: the psychoacoustic of human sound localization. Ed. Rev.
Cambridge (EUA): MIT Press, 1997. 494 p. (PL)

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 Proceedings of the

12th International Symposium on

Computer Music Multidisciplinary Research

5 8 July, 2016
So Paulo, Brazil

Organized by

The Computer Music Research Group

&
The NuSom - Research Centre on Sonology
So Paulo, Brazil

in collaboration with

The Laboratory of Mechanics and Acoustics,

Marseille, France
 Published by

The Laboratory of Mechanics and Acoustics,

4 impasse Nikola Tesla, CS 40006,
F-13453 Marseille Cedex 13 - France

June, 2016

All copyrights remain with the authors.

Proceedings Editors: M. Aramaki, R. Kronland-Martinet, S. Ystad

ISBN 978-2-909669-25-0
ISSN 1159 - 0947 (PUBLICATIONS OF THE L.M.A.)
Publications of the LMA
Listed in the Pascal base of the INIST
N 159 (23/06-2016/)
Proc. of the 12th International Symposium on CMMR, Sao Paolo, Brazil, July 5-8, 2016

Welcome

Dear participant,
welcome to Sao Paulo, and welcome to CMMR 2016 Bridging People and
Sound! We hope that this edition will create a venue for fruitful discussion and
plenty of opportunities for interaction, with good outcomes both for your work
and for everyone elses.
The 12th International Symposium on Computer Music Multidisciplinary
Research (CMMR) encouraged submissions related to the theme Bridging Peo-
ple and Sound. Moving away from the traditional emphasis on technology, we
invited researchers, scholars, and professionals to reflect on the contexts and
processes that make possible the connections between artists and listeners on
the one side and audio and music technologies on the other. Music technology is
much more than the tools or the instruments we use to make music: around it we
see the emergence of user communities, the development of aesthetic concepts,
the establishment of new listening habits, and the expansion of musical forms,
genres and styles. Given that musical practices are becoming increasingly medi-
ated by technology, this years theme proposed the investigation on how these
practices have been directed, influenced or restricted by the devices, techniques
and tools that have been applied in music production.
Sao Paulo, capital of the Brazilian state with the same name, is Brazils
largest city and the main financial center in Latin America. It is characterized
by the huge confluence of immigrants, throughout its entire history, coming from
other parts of Brazil and from abroad, and contributing with their traditions,
their music, their food, their work and their lives. This cultural melting pot is
reflected in the plurality of artistic, social, and political expressions that occupy
the city from end to end, overflowing its streets, squares and buildings.
CMMR 2016 - Bridging People and Sound - is being held in the main campus
of the University of Sao Paulo located at the University City, one of the few
privileged extensive green areas of the city. Activities are taking place at the
Computer Science Department and the Concert Hall of the Brasiliana Library.
The symposium is jointly organized by the Computer Music Research Group,
the NuSom - Research Centre on Sonology, and the CNRS - Laboratoire de
Mecanique et dAcoustique (France).
The Computer Music and the Sonology research groups at the University of
Sao Paulo are honoured with your visit, and we hope were able to provide you
with the things youll need to make the most out of the next four days. Enjoy
your stay!

Marcelo Queiroz
Fernando Iazzetta
CMMR 2016 Chairs

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Proc. of the 12th International Symposium on CMMR, Sao Paolo, Brazil, July 5-8, 2016

Organization

The 12th International Symposium on Computer Music Multidisciplinary Re-

search CMMR2016 Bridging People and Sound is organized by the Computer
Music Research Group, the NuSom - Research Centre on Sonology (S ao Paolo,
Brazil) and the Laboratoire de Mecanique et dAcoustique (Marseille, France).

Symposium Chairs
Marcelo Queiroz, IME/USP, S
ao Paulo, Brazil
Fernando Iazzetta, ECA/USP, S
ao Paulo, Brazil

Proceedings Chairs
Richard Kronland-Martinet, CNRS-LMA, France
Slvi Ystad, CNRS-LMA, France
Mitsuko Aramaki, CNRS-LMA, France

Paper and Program Chairs

Richard Kronland-Martinet, CNRS-LMA, France
Slvi Ystad, CNRS-LMA, France
Mitsuko Aramaki, CNRS-LMA, France
Marcelo Queiroz, IME/USP, Sao Paulo, Brazil

Music Chair
Fernando Iazzetta, ECA/USP, S
ao Paulo, Brazil

Demonstration Chair
Regis Faria, FFCLRP/USP, Ribeir
ao Preto, Brazil

Local Organizing Committee

Marcelo Queiroz, IME/USP, S
ao Paulo, Brazil
Fernando Iazzetta, ECA/USP, S
ao Paulo, Brazil
Regis Faria, FFCLRP/USP, Ribeir
ao Preto, Brazil

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Proc. of the 12th International Symposium on CMMR, Sao Paolo, Brazil, July 5-8, 2016

Paper Committee

Mitsuko Aramaki, CNRS-LMA Marseille, France

Federico Avanzini, University of Padova, Italia
Mathieu Barthet, Centre for Digital Music, QMUL, UK
Frederic Bevilacqua, IRCAM Paris, France
Marta Bie nkiewicz, Aix-Marseille University, France
Christophe Bourdin, Aix-Marseille University, France
Lionel Bringoux, Aix-Marseille University, France
John Ashley Burgoyne, ILLC, Universiteit van Amsterdam, The Netherlands
Marcelo Caetano, INESC TEC, Portugal
Emilios Cambouroupoulos, Aristotle University of Thessaloniki, Greece
Amilcar Cardoso, University of Coimbra, Portugal
Olivier Derrien, CNRS-LMA Marseille, France
Joel Eaton, University of Plymouth, UK
Georg Essl, University of Michigan, USA
Regis R.A. Faria, Universidade de S ao Paulo, Brazil
Bruno Giordano, University of Glasgow, UK
Rolf Inge Gdoy, University of Oslo, Norway
Brian Gygi, Veterans Affairs Northern California Health Care Service, USA
Kristoffer Jensen, Independent researcher, Denmark
Luis Jure, Universidad de la Rep ublica, Uruguay
Maximos Kaliakatsos-Papakostas, University of Thessaloniki, Greece
Timour Klouche, SIM Berlin, Germany
Richard Kronland-Martinet, CNRS-LMA Marseille, France
Darius Kucinskas, Kaunas University of Technology, Lithuania
Fernando Iazzetta, Universidade de S ao Paulo, Brazil
Thor Magnusson, University of Sussex, UK
Jonatas Manzolli, Universidade Estadual Campinas, Brazil
Sylvain Marchand, University of Brest, France
Jean-Arthur Micoulaud-Franchi, CNRS USR Sanpsy, Bordeaux, France
Marcelo Queiroz, Universidade de S ao Paulo, Brazil
Davide Rocchesso, Universit`a Iuav di Venezia, Italia
Matthew Rodger, Queens University Belfast, UK
Flavio Schiavoni, Federal University of Sao Jo
ao Del Rey, Brazil
Diemo Schwarz, IRCAM Paris, France
Stefania Serafin, Aalborg University Copenhagen, Danmark
Julius Smith, Stanford University, USA
Tiago Tavares, State University of Campinas (UNICAMP), Brazil
Marcelo Wanderley, McGill University, Canada
Ian Whalley, University of Waikato, New Zealand
Duncan Williams, University of Plymouth, UK
Slvi Ystad, CNRS-LMA Marseille, France

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Proc. of the 12th International Symposium on CMMR, Sao Paolo, Brazil, July 5-8, 2016

Table of Contents

I - Music structure analysis - Music Information

Retrieval
deepGTTM-I: Local Boundaries Analyzer based on a Deep Learning
Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Masatoshi Hamanaka, Keiji Hirata, and Satoshi Tojo

Visualizing Interval Patterns in Pitch Constellation . . . . . . . . . . . . . . . . . . . . 21

Guillaume Blot, Pierre Saurel, and Francis Rousseaux

Exploring Multi-Task Feature Learning: Learning Specific Features for

Music Genre Classification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Yao Cheng, Xiaoou Chen, and Deshun Yang

Copista - OMR System for Historical Musical Collection Recovery . . . . . . 51

Marcos Laia, Fl
avio Schiavoni, Daniel Madeira, D
arlinton Carvalho,
Jo
ao Pedro Moreira, Avner de Paulo, and Rodrigo Ferreira

II - Sound, Motion and Gesture

Sound and Posture: an Overview of Recent Findings . . . . . . . . . . . . . . . . . . . 66
Lennie Gandemer, Gaetan Parseihian, Christophe Bourdin, and
Richard Kronland-Martinet

Investigating the Effects of a Postural Constraint on the Cellists

Bowing Movement and Timbral Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Jocelyn Roze, Richard Kronland-Martinet, Mitsuko Aramaki,
Christophe Bourdin, and Slvi Ystad

Eclipse: A Wearable Instrument for Performance Based Storytelling . . . . . 99

Ezgi Ucar

III - Music Composition, Public Spaces and Mobility

Sound Interaction Design and Creation in the Context of Urban Space . . . 109
Juli
an Jaramillo Arango

Towards a New Approach to Design Sounds in Public Transport . . . . . . . . 117

Gaetan Parseihian, Emmanuelle Delgrange, Christophe Bourdin,
Vincent Brejard, Damien Arpaja, Francois Agier, and Richard
Kronland-Martinet

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Proc. of the 12th International Symposium on CMMR, Sao Paolo, Brazil, July 5-8, 2016

Social Filters on the Use of Public Spaces: the Electroacoustic Music

Studio of Sweden . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130
Tiago de Mello

IV - Computer-supported Interactive Systems for

Music Production, Performance and Listening
Using Pure Data for Real-Time Granular Synthesis Control through
Leap Motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Damian Anache

Angkasa: A Software Tool for Spatiotemporal Granulation . . . . . . . . . . . . . 147

Muhammad Hafiz Wan Rosli and Andres Cabrera

Subjective Experience in an Interactive Music Virtual Environment: an

Exploratory Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Thomas Deacon, Mathieu Barthet, and Tony Stockman

V - Image/Sound Interaction - Digital Games

An Extensible and Flexible Middleware for Real-Time Soundtracks in
Digital Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Wilson Kazuo Mizutani and Fabio Kon

New Atlantis: A Shared Online World Dedicated to Audio Experimentation 183

Peter Sinclair, Roland Cahen, Jonathan Tanant, and Peter Gena

Estilhaco 1 & 2: Conversations between Sound and Image in the

Context of a Solo Percussion Concert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201
Fernando Rocha and Eli Stine

VI - Interactive Music Production

Interaction, Convergence and Instrumental Synthesis in Live Electronic
Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Danilo Rossetti

Musical Communication Modeling Methodology (MCMM): A

Theoretical Framework for Event-Based Ubiquitous Music Interaction . . . 217
Fl
avio Luiz Schiavoni

VII - New Digital Instruments - Multisensory

Experiences
A Virtual Musical Instrument for 3D Performance with Short Gestures . . 233
Andre Montes Rodrigues, Marcelo Knorich Zuffo, Olavo da Rosa
Belloc, and Regis Rossi Alves Faria

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Proc. of the 12th International Symposium on CMMR, Sao Paolo, Brazil, July 5-8, 2016

Using Sound to Enhance Taste Experiences: An Overview . . . . . . . . . . . . . . 241

Felipe Reinoso Carvalho, Abdellah Touhafi, Kris Steenhaut,
Raymond van Ee, and Carlos Velasco
Revolt and Ambivalence: Music, Torture and Absurdity in the Digital
Oratorio The Refrigerator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Paulo C. Chagas

VIII - Poster Session

Dynamic Mapping Strategies using Content-based Classification: a
Proposed Method for an Augmented Instrument . . . . . . . . . . . . . . . . . . . . . . 270
Gabriel Rimoldi and J
onatas Manzolli
The Mitt: Case Study in the Design of a Self-contained Digital Music
Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Ivan Franco and Marcelo M. Wanderley

Music Generation with Relation Join . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Xiuyan Ni, Ligon Liu, and Robert Haralick
Retrograde of Melody and Flip Operation for Time-Span Tree . . . . . . . . . . 298
Keiji Hirata and Satoshi Tojo
DataSounds: Sonification Tool for Scientific Data Analysis . . . . . . . . . . . . . 306
Arnaldo DAmaral Pereira Granja Russo and Luiz Carlos Irber
J
unior
Life-like Behaviour in a Gestural Interface for Interacting with Sound . . . . 315
Peter Beyls

Lowering Dissonance by Relating Spectra on Equal Tempered Scales . . . . 323

Micael Antunes da Silva and Regis Rossi A. Faria
Development of a Sound Reproduction Four-Channel System with 360
Horizontal Sound Image applied to Music, Sound Arts, and Bioacoustics . 331
Jose Augusto Mannis, Tato Taborda, and Djalma de Campos
Goncalves J
unior
Graphic Interfaces for Computer Music: Two Models . . . . . . . . . . . . . . . . . . 338
Ariane de Souza Stolfi
On the Symbolic Transmission of Meaning Through Music . . . . . . . . . . . . . 346
Bernardo Penha and Jose Fornari

Author Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354