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About

Diogo Cocharro has a multifaceted activity and interests related to sound and music. He nurtures a passion for music performance and all technological-­based forms of creating music, in particular music production and music interactivity. These interests lead him to graduate in Electronic Music and Musical Production from School of Applied Arts (ESART) in Castelo Branco and pursuing a Master in Multimedia with specialization in Sound Design and Interactive Music from the Faculty of Engineering of the University of Porto.  Since then, he has worked as a research assistant at the Sound and Music Computing Group from INESC TEC and as an Invited Assistant Professor at ESART. He counts with several publications in internationals conference and renown journals. As a media artist, Cocharro has co-­developed a few interactive music installations, including Tweetering Sounds (2010), Sound Potter (2010), Human Pong (2011), PerturbArte (2011) with presentations at the Future Places Festival and at Casa da Musica. As a musician he worked with different projects covering many different musical genres, with whom he performed in various venues across Portugal. The album "Colouring Book" with the awarded revelation band Lokomotive Station and the collaboration with Xicara stand out in his activities as a musician. As a sound technician he has been working as a freelancer for a few years now in various renown festival in Portugal. All these complementary skills and aptitudes promote above all an active listener who strives to understand artistic needs in order to provide exceptional and creative solutions.

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Publications

2016

A multi-level tonal interval space for modelling pitch relatedness and musical consonance

Authors
Bernardes, G; Cocharro, D; Caetano, M; Guedes, C; Davies, MEP;

Publication
JOURNAL OF NEW MUSIC RESEARCH

Abstract
In this paper we present a 12-dimensional tonal space in the context of the Tonnetz, Chew's Spiral Array, and Harte's 6-dimensional Tonal Centroid Space. The proposed Tonal Interval Space is calculated as the weighted Discrete Fourier Transform of normalized 12-element chroma vectors, which we represent as six circles covering the set of all possible pitch intervals in the chroma space. By weighting the contribution of each circle (and hence pitch interval) independently, we can create a space in which angular and Euclidean distances among pitches, chords, and regions concur with music theory principles. Furthermore, the Euclidean distance of pitch configurations from the centre of the space acts as an indicator of consonance.

2016

Conchord: An Application for Generating Musical Harmony by Navigating in the Tonal Interval Space

Authors
Bernardes, G; Cocharro, D; Guedes, C; Davies, MEP;

Publication
Music, Mind, and Embodiment

Abstract
We present Conchord, a system for real-time automatic generation of musical harmony through navigation in a novel 12-dimensional Tonal Interval Space. In this tonal space, angular and Euclidean distances among vectors representing multi-level pitch configurations equate with music theory principles, and vector norms acts as an indicator of consonance. Building upon these attributes, users can intuitively and dynamically define a collection of chords based on their relation to a tonal center (or key) and their consonance level. Furthermore, two algorithmic strategies grounded in principles from function and root-motion harmonic theories allow the generation of chord progressions characteristic of Western tonal music.

2016

Harmony Generation Driven by a Perceptually Motivated Tonal Interval Space

Authors
Bernardes, G; Cocharro, D; Guedes, C; Davies, MEP;

Publication
COMPUTERS IN ENTERTAINMENT

Abstract
We present D'accord, a generative music system for creating harmonically compatible accompaniments of symbolic and musical audio inputs with any number of voices, instrumentation, and complexity. The main novelty of our approach centers on offering multiple ranked solutions between a database of pitch configurations and a given musical input based on tonal pitch relatedness and consonance indicators computed in a perceptually motivated Tonal Interval Space. Furthermore, we detail a method to estimate the key of symbolic and musical audio inputs based on attributes of the space, which underpins the generation of key-related pitch configurations. The system is controlled via an adaptive interface implemented for Ableton Live, MAX, and Pure Data, which facilitates music creation for users regardless of music expertise and simultaneously serves as a performance, entertainment, and learning tool. We perform a threefold evaluation of D'accord, which assesses the level of accuracy of our key-finding algorithm, the user enjoyment of generated harmonic accompaniments, and the usability and learnability of the system.