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About

Gilberto Bernardes is a Portuguese saxophonist and new media artist/researcher. He holds a Ph.D. in digital media from the University of Porto (Portugal) under the UT Austin-Portugal Program, a master in music performance from the Conservatory of Amsterdam, a Bachelors in music performance from the Superior School of Music and Performing Arts (Porto, Portugal), and a  "Premier Prix" in saxophone and chamber music from the ENM d'Issy-les-Moulineaux. Bernardes performs regurarly in Europe. Of notice his presence at the International Saxophone Week (Amsterdam, The Netherlands) with the premier of the saxophone transcription of "Dialogues de l'Ombre Double" by Pierre Boulez and the Gaudeamus Music Week at the Bimhuis (Amsterdam, The Netherlands). He also counts with several solo performances with orchestras, such as Gulbenkian Orchestra, Portuguese Symphonic Band, and Coruña Symphonic Band. 

Bernardes is a founding member of the Oporto Saxophone Quartet (sponsored by Yamaha), duo Blank Page, and Unisex Quartet, and a member of the contemporary music ensemble Oficina Musical. He is an Assistant Professor at Superior School of Music and Performing Arts (Polytechnic Institute of Porto) and pursues research as a post-doctoral researcher at INESC TEC (Porto, Portugal) on generative music.

Interest
Topics
Details

Details

002
Publications

2020

Objective Evaluation of Tonal Fitness for Chord Progressions Using the Tonal Interval Space

Authors
Cáceres, MN; Caetano, MF; Bernardes, G;

Publication
Artificial Intelligence in Music, Sound, Art and Design - 9th International Conference, EvoMUSART 2020, Held as Part of EvoStar 2020, Seville, Spain, April 15-17, 2020, Proceedings

Abstract
Chord progressions are core elements of Western tonal harmony regulated by multiple theoretical and perceptual principles. Ideally, objective measures to evaluate chord progressions should reflect their tonal fitness. In this work, we propose an objective measure of the fitness of a chord progression within the Western tonal context computed in the Tonal Interval Space, where distances capture tonal music principles. The measure considers four parameters, namely tonal pitch distance, consonance, hierarchical tension and voice leading between the chords in the progression. We performed a listening test to perceptually assess the proposed tonal fitness measure across different chord progressions, and compared the results with existing related models. The perceptual rating results show that our objective measure improves the estimation of a chord progression’s tonal fitness in comparison with existing models. © Springer Nature Switzerland AG 2020.

2019

A new classification of wind instruments: Orofacial considerations

Authors
Clemente, M; Mendes, J; Moreira, A; Bernardes, G; Van Twillert, H; Ferreira, A; Amarante, JM;

Publication
Journal of Oral Biology and Craniofacial Research

Abstract
Background/objective: Playing a wind instrument implies rhythmic jaw movements where the embouchure applies forces with different directions and intensities towards the orofacial structures. These features are relevant when comparing the differences between a clarinettist and a saxophone player embouchure, independently to the fact that both belong to the single-reed instrument group, making therefore necessary to update the actual classification. Methods: Lateral cephalograms were taken to single-reed, double-reed and brass instrumentalists with the purpose of analyzing the relationship of the mouthpiece and the orofacial structures. Results: The comparison of the different wind instruments showed substantial differences. Therefore the authors purpose a new classification of wind instruments: Class 1 single-reed mouthpiece, division 1– clarinet, division 2 –saxophone; Class 2 double-reed instruments, division 1– oboe, division 2– bassoon; Class 3 cup-shaped mouthpiece, division 1– trumpet and French horn, division 2- trombone and tuba; Class 4 aperture mouthpieces, division 1– flute, division 2 – transversal flute and piccolo. Conclusions: Elements such as dental arches, teeth and lips, assume vital importance at a new nomenclature and classification of woodwind instruments that were in the past mainly classified by the type of mouthpiece and not taking into consideration its relationship with their neighboring structures. © 2019 Craniofacial Research Foundation

2019

ChordAIS: An assistive system for the generation of chord progressions with an artificial immune system

Authors
Navarro Caceres, M; Caetano, M; Bernardes, G; de Castro, LN;

Publication
Swarm and Evolutionary Computation

Abstract
Chord progressions play an important role in Western tonal music. For a novice composer, the creation of chord progressions can be challenging because it involves many subjective factors, such as the musical context, personal preference and aesthetic choices. This work proposes ChordAIS, an interactive system that assists the user in generating chord progressions by iteratively adding new chords. At each iteration a search for the next candidate chord is performed in the Tonal Interval Space (TIS), where distances capture perceptual features of pitch configurations on different levels, such as musical notes, chords, and scales. We use an artificial immune system (AIS) called opt-aiNet to search for candidate chords by optimizing an objective function that encodes desirable musical properties of chord progressions as distances in the TIS. Opt-aiNet is capable of finding multiple optima of multi-modal functions simultaneously, resulting in multiple good-quality candidate chords which can be added to the progression by the user. To validate ChordAIS, we performed different experiments and a listening test to evaluate the perceptual quality of the candidate chords proposed by ChordAIS. Most listeners rated the chords proposed by ChordAIS as better candidates for progressions than the chords discarded by ChordAIS. Then, we compared ChordAIS with two similar systems, ConChord and ChordGA, which uses a standard GA instead of opt-aiNet. A user test showed that ChordAIS was preferred over ChordGA and Conchord. According to the results, ChordAIS was deemed capable of assisting the users in the generation of tonal chord progressions by proposing good-quality candidates in all the keys tested. © 2019 Elsevier B.V.

2019

MixMash

Authors
Maçãs, C; Rodrigues, A; Bernardes, G; Machado, P;

Publication
International Journal of Art, Culture and Design Technologies

Abstract
This article presents MixMash, an interactive tool which streamlines the process of music mashup creation by assisting users in the process of finding compatible music from a large collection of audio tracks. It extends the harmonic mixing method by Bernardes, Davies and Guedes with novel degrees of harmonic, rhythmic, spectral, and timbral similarity metrics. Furthermore, it revises and improves some interface design limitations identified in the former model software implementation. A new user interface design based on cross-modal associations between musical content analysis and information visualisation is presented. In this graphic model, all tracks are represented as nodes where distances and edge connections display their harmonic compatibility as a result of a force-directed graph. Besides, a visual language is defined to enhance the tool's usability and foster creative endeavour in the search of meaningful music mashups.

2019

ChordAIS: An assistive system for the generation of chord progressions with an artificial immune system

Authors
Cáceres, MN; Caetano, MF; Bernardes, G; de Castro, LN;

Publication
Swarm Evol. Comput.

Abstract

Supervised
thesis

2017

Performative sound design

Author
Luís Alberto Teixeira Aly

Institution
UP-FEUP

2017

Musically-Informed Adaptive Audio Reverberation

Author
João Paulo Caetano Pereira Carvalheira Neves

Institution
UP-FEUP

2017

Computer Sound Transformations Guided by Perceptually Motivated Features

Author
Nuno Figueiredo Pires

Institution
UP-FEUP

2017

Compor para Aprender

Author
Isabela Corintha de Almeida

Institution
UP-FEUP

2017

Moto-Var: towards new paths in interactive-assisted composition

Author
Alonso Torres-Matarrita

Institution
UP-FEUP