Loy, G.: 1989, `Musicians make a standard: the MIDI phenomenon'. Computer Music Journal 9(4).  Home/Search   Document Not in Database   Summary   Related Articles   Check

....By using the audio stream we also avoid the use of MIDI. 4.2 Latency One problem with realtime sensor acquisition systems i s latency, and latency jitter, in the data from the sensor interface. By using the audio stream we are able to eliminate the jitter present in both MIDI based systems [2] and some serial systemsbecause thesignals are digitized at audio sampling rates. This also reduces the latency vastly. Additionally, because all of the data is carried together on the same signal, and digitized by a common system, the gestural data is very tightly synchronized with the audio data ....

Loy, Gareth. Musicians Make A Standard: The MIDI Phenomenon. Computer Music Journal Vol. 9 no. 4 (Fall 1985). Cambridge, MA: The MIT Press.

....from moment to moment, while there is always a viewable, printable document. In creating music with computers, we use systems that transact in melodies, timbres, rhythms, scores, and waveforms to define sounds, with a common underlying data representation and interchange format MIDI (Loy, [22]) In creating software, we employ a variety of representations, both textual and graphical, at various levels of abstraction (Martin and McClure, 25] Price, Baecker, and Small, 34] and use these representations to support software development as a cooperative process. As with word outline ....

Loy, G., 1985. Musicians Make a Standard: The MIDI Phenomenon. Computer Music Journal 9(4), 8-26.

....case, the model parameters are not obtained automatically but by a human designer authoring them to create the desired content or from a generative algorithm implementing a world model. A. MIDI and Other Event Formats MIDI is a combined hardware and software specification for musical content [57], 69] It allows for the realtime transmission of musical instrument performance data, 924 PROCEEDINGS OF THE IEEE, VOL. 86, NO. 5, MAY 1998 Table 1 Properties of Various Structured Representations of Sound. See Referenced Sections for Details. Encodable Representations Are Those That Can Be ....

D. G. Loy, "Musicians make a standard: the MIDI phenomenon, " Comput. Music J., pp. 181--198, Winter 1989.

....considers the amount of development resources that will be directed toward SAOL implementation as a result of its inclusion in MPEG 4. The MIDI Standard A widely used existing standard for the representation of sound control parameters is the MIDI protocol (MIDI Manufacturers Association 1996; Loy 1985). In some ways, representation of music as a set of MIDI bytes is similar to the Structured Audio concept, as compression is achieved in similar ways. However, MPEG 4 Structured Audio is a standard for the representation of sound, not just musical control. In MIDI based music exchange, musicians ....

Loy, D. G. 1985. "Musicians Make a Standard: The MIDI Phenomenon." Computer Music Journal 9(4):8--25.

....MIDI drum pads [63] can transduce the time of a drum strike 4 and a measure of intensity of the strike. 5 This MIDI data is available for analysis before the synthesis hardware generates the audible sounds (sampled drum or synthetic sounds) 4 The temporal resolution of MIDI is at best 1 msec [89, 117], however most MIDI synthesis devices are not able to respond within those time constraints [120] and a time resolution of reception is approximately 16 msec. Currently, the temporal resolution of the Roland PAD 8 drum controller generating MIDI data hasn t been tested but is confidently assumed ....

D. G. Loy. Musicians make a standard: The MIDI phenomenon. Computer Music Journal, 9(4):8--26, 1985.

....Languages for real time musical event processing have become tremendously popular in the computer music community. This popularity parallels the development of the Musical Instrument Digital Interface (MIDI) a protocol for encoding and transmitting musical events over a serial communication line[32]. MIDI devices send and receive real time messages specifying the beginning and ending of musical notes. These languages provide reuse of their facilities for realtime scheduling and MIDI interfaces, facilities each composer would otherwise have to construct for himself or herself. Max, a popular ....

Loy, G., Musicians make a Standard: The MIDI Phenomenon. Computer Music Journal, 1985. 9(4).

....can make a good approximation using the MIDI standard. 2.2. 1 The MIDI Standard The MIDI (Musical Instrument Digital Interface) standard is a hardware specification and communications protocol that allows computers, controllers, and synthesis gear to pass information amongst themselves, see Loy [13]. MIDI uses representations based on the concept of notes by defining a pitch and a velocity (volume) that go on and off. MIDI is mostly controlled by keyboard instruments which can be represented by a series of switches. Each separate key is treated as a switch. When a key is depressed, a Note On ....

G. Loy, "Musicians make a standard: the MIDI phenomenon", Computer Music Journal, Vol. 9(4), reprinted in The Music Machine, ed. C. Roads, Cambridge, The MIT Press, 1989.

....duration is 150, then the note will be turned on for .75 seconds (50 percent of 150 hundredths) rather than the full duration of 1.5 seconds. The remaining .75 seconds will consist of the release of the note followed by silence. Velocity and channel refer to the corresponding MIDI parameters (Loy 1985). Any operands not specified take on default values. The default note is a middle C lasting 1 second with 100 duty, a velocity of 100, and channel 1. The rest operator has only one operand that specifies duration. For example, rest 200) specifies a rest (silence) of two seconds (again, the unit ....

Loy, G., 1985. "Musicians Make a Standard: The MIDI Phenomenon." Computer Music Journal 9(4):8-26.

....data rates in the order of 128kbps. These problems can be avoided by using alternative data representations rather than dealing with the digitized wave form. The most commonly known alternative representation is the MIDI format that stores information about musical notes rather than sound waves [Loy, 1985]. The MIDI standard produces very low data rates typically in the order of 0.1 to 5kbps. The codi ed notes are received by the MIDI player which produces the output sound wave. This can be done either by manipulating wave tables or by synthesizing the wave forms from mathematical models. This ....

Loy, C. (1985). Musicians Make a Standard: The MIDI Phenomenon. Computer Music Journal, 9(4):9-26.

....but they are easy to 8 program, e.g. midi note(ch,pitch,100 vel offset[ch] Another approach to this problem is to use an interpreted language or one that provides incremental compilation. Lisp, Smalltalk, and Forth fall into this category and have been used for effective music systems. Loy 85, Pope 91, Anderson 90] Our choice of C is based on the desire for greater execution speed on small portable computer music systems. Higher level systems such as Play [Chadabe 78] Mabel [Bartlett 85] and Max [Puckette 88] achieve efficiency through pre compiled modules that are interactively ....

Loy, G. Musicians Make a Standard: The MIDI Phenomenon. Computer Music Journal 9(4):8-26, Winter, 1985.

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Loy, G.: 1989, `Musicians make a standard: the MIDI phenomenon'. Computer Music Journal 9(4).

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G. Loy. Musicians make a standard: the MIDI phenomenon. Computer Music Journal, 9(4), 1989.

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Loy, G.: 1989, `Musicians make a standard: the MIDI phenomenon'. Computer Music Journal 9(4).

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