PARTICLE FILTER OPTIMIZATION TOOLS FOR DYNAMICAL SYSTEMS PROBABILISTIC MODELS

В работе предложены математические инструменты на основе достаточных статистик и декомпозиции выборок в сочетании с алгоритмами распределенных вычислений, позволяющие существенно повысить эффективность процедуры фильтрации. Filtering algorithms are used to assess the state of dynamic systems when solving various practical problems, such as voice synthesis and determining the geo-position and monitoring the movement of objects. In the case of complex hierarchical dynamic systems with a large number of time slices, the process of calculating probabilistic characteristics becomes very time-consuming due to the need to generate a large number of samples. The essence of optimization is to reduce the number of samples generated by the filter, increase their consistency and speed up computational operations. The paper offers mathematical tools based on sufficient statistics and sample decomposition in combination with distributed computing algorithms that can significantly improve the efficiency of the filtering procedure.

Encoding Post-Spectral Sound

This article examines computer-based music (ca. 1982–87) created by Finnish composer Kaija Saariaho at the Institut de Recherche et Coordination Acoustique/Musique (IRCAM) in Paris. A detailed account of archival materials for an early étude in voice synthesis, Vers le blanc (1982), demonstrates the music-theoretical import of software to Saariaho’s development of a robust compositional method that resonated with the emergent aesthetics of a post-spectral milieu. Subsequent analyses of two additional works from this period—Jardin secret II (1984–86) for harpsichord and tape, and IO (1987) for large ensemble and electronics—serve to illustrate Saariaho’s extension of this method into instrumental settings. Specific techniques highlighted include the use of interpolation systems to create continuous processes of transformation, the organization of individual musical parameters into multidimensional formal networks, and the exploration of harmonic structures based on the analysis of timbral phenomena. Relating these techniques to the affordances of contemporaneous IRCAM technologies, including CHANT, FORMES, and Saariaho’s own customized program, “transkaija,” this article adopts a transductive approach to archival research that is responsive to the diverse media artifacts associated with computer-based composition.