This paper presents a technique of disambiguation for chord recognition based on a-priori knowledge of probabilities of chord voicings in the specific musical medium. The main motivating example is guitar chord recognition, where the physical layout and structure of the instrument, along with human

This article proposes a new software system for automatic representation and printing of computer-generated scores using traditional, proportional, and graphic notation. The software system includes a composition module (CMOD) and sound synthesis library (LASS)—both part of DISSCO— and an open source C++ vector-graphics library Belle, Bonne, Sage for music engraving. Various challenges to the process of music notation are noted, and a detailed description of the interface between DISSCO and Belle, Bonne, Sage is given. 1. BACKGROUND AND REQUIREMENTS Traditional Western notation reflects the changes Western music went through during the last seven or eight centuries. Among these changes is an increase in the complexity of its notation, culminating in the appearance in the second half

This paper presents a technique of disambiguation for chord recognition based on a-priori knowledge of probabilities of chord voicings in the specific musical medium. The main motivating example is guitar chord recognition, where the physical layout and structure of the instrument, along with human

The influence of voicing the string instruments is well known among performers, musicians and violinmakers. Voicing provokes changes in mechanical and acoustical behavior of the sound chest. As a consequence of these changes, the propagation way of mechanical and acoustical propagation

One hundred seventy-nine undergraduate Ss took part in a study of the effects of instrumental and noninstrumental participation on distributive and procedural fairness judgments. In a goal-setting procedure, Ss were allowed voice before the goal was set, after the goal was set, or not at all. Ss

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In this paper we present and discuss the findings of a study that investigated how people manage their collections of digital photographs. The six-month, 13-participant study included interviews, questionnaires, and analysis of usage statistics gathered from an instrumented digital photograph

. Introduction Physical models consisting of an instantaneous nonlinearity and a linear feedback loop are relatively easy to understand and control [Rodet 93a]. But in the case of the trumpet or of the voice, the assumption of a massless reed, hence of an instantaneous nonlinearity, cannot be maintained

This paper describes research and experiments concerning digital musical instruments based on gestural control of singing voice synthesis. The purpose is to choose and use a two-handed control, a synthesis model and an adequate mapping strategy to allow an expressive pitch control