<b>Exploring Timbre Latent Spaces: Motion-Enhanced Sampling for Musical Co-Improvisation</b>

Datasets referring to the experiments in the article: <b>Exploring Timbre Latent Spaces: Motion-Enhanced Sampling for Musical Co-Improvisation</b><b>Abstract:</b>This article investigates sampling strategies in latent space navigation to enhance co-creative music systems, focusing on timbre latent spaces. Adopting Villa-Rojo's ``Lamento'' for tenor saxophone and tape as a case study, we conducted two experiments. The first assessed traditional corpus-based concatenative synthesis sampling within the RAVE model's latent space, finding that sampling strategies gradually deviate from a given target sonority while still relating to the original morphology. The second experiment aims at defining sampling strategies for creating variations of an input signal, namely parallel, contrary, and oblique motions. The findings expose the need to explore individual model layers and the geometric transformation nature of the contrary and oblique motions that tend to dilate the original shape. The findings highlight the potential of motion-aware sampling for more contextually aware and expressive control of music structures via CBCS.In this repository, we provide the audio files for Experiments 1 and 2. For Experiment 2, we also include graphical results and musical scores for each combination of phrase and motion. The "Result Graphics" folders contain illustrations from our second experiment, highlighting key visual excerpts from each phrase. These selected excerpts are designed to enhance visualization, as the patterns they showcase are consistent across different unit ranges. Result Figures display the latent space using t-SNE for all dimensions, as well as for dimensions 0, 5, 10, and 15 for each excerpt. We emphasize the trajectories created by different types of motion—parallel, oblique, and contrary motions—alongside the original phrase and the mimicking phrase found in the audio recordings. Each type of motion is color-coded, and line styles differentiate the variations. The start of each phrase is marked with a filled circle, while an upward-pointing wedge indicates the endpoint.