Results 1 - 10
of
19
Grammars as representations for music
- Computer Music Journal
, 1979
"... Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at. ..."
Abstract
-
Cited by 27 (0 self)
- Add to MetaCart
(Show Context)
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at.
The Music Encoding Initiative (MEI
- Proceedings of the First International Conference on Musical Applications Using XML
, 2002
"... This paper draws parallels between the Text Encoding Initiative (TEI) and the proposed Music Encoding Initiative (MEI), reviews existing design principles for music representations, and describes an eXtensible Markup Language (XML) document type definition (DTD) for modeling music notation which att ..."
Abstract
-
Cited by 20 (0 self)
- Add to MetaCart
(Show Context)
This paper draws parallels between the Text Encoding Initiative (TEI) and the proposed Music Encoding Initiative (MEI), reviews existing design principles for music representations, and describes an eXtensible Markup Language (XML) document type definition (DTD) for modeling music notation which attempts to incorporate those principles.
music21: A Toolkit for Computer-Aided Musicology and Symbolic Music Data
"... Music21 is an object-oriented toolkit for analyzing, searching, and transforming music in symbolic (scorebased) forms. The modular approach of the project allows musicians and researchers to write simple scripts rapidly and reuse them in other projects. The toolkit aims to provide powerful software ..."
Abstract
-
Cited by 17 (1 self)
- Add to MetaCart
(Show Context)
Music21 is an object-oriented toolkit for analyzing, searching, and transforming music in symbolic (scorebased) forms. The modular approach of the project allows musicians and researchers to write simple scripts rapidly and reuse them in other projects. The toolkit aims to provide powerful software tools integrated with sophisticated musical knowledge to both musicians with little programming experience (especially musicologists) and to programmers with only modest music theory skills. This paper introduces the music21 system, demonstrating how to use it and the types of problems it is wellsuited toward advancing. We include numerous examples of its power and flexibility, including demonstrations of graphing data and generating annotated musical scores. 1. INTRODUCTION: WHY
Abstract Time Warping of Compound Events and Signals
"... Functions of time are often used to represent continuous parameters and the passage of musical time or tempo. The work described in this article generalizes previous work in three ways. First, common temporal operations of stretching and shifting are shown to be special cases of a new general time-w ..."
Abstract
-
Cited by 10 (2 self)
- Add to MetaCart
Functions of time are often used to represent continuous parameters and the passage of musical time or tempo. The work described in this article generalizes previous work in three ways. First, common temporal operations of stretching and shifting are shown to be special cases of a new general time-warping operation. Second, it shows a language in which these operations are “abstract.” behaviors that interpret warping at an appropriate structural level. Third, we show how time warping can be applied to both discrete events and continuous signals. These new generalizations are implemented in Nyquist, and we describe the implementation.
Grammar Based Music Composition
"... L-Systems have traditionally been used as a popular method for the modelling of spacefilling curves, biological systems and morphogenesis. In this paper, we adapt string rewriting grammars based on L-Systems into a system for music composition. ..."
Abstract
-
Cited by 9 (0 self)
- Add to MetaCart
(Show Context)
L-Systems have traditionally been used as a popular method for the modelling of spacefilling curves, biological systems and morphogenesis. In this paper, we adapt string rewriting grammars based on L-Systems into a system for music composition.
A Brief Survey of Music Representation Issues, Techniques, and Systems
"... ly, there is a mathematical function that maps beat numbers to time and an inverse function that maps time to beats. (Some special mathematical care must be taken to allow for music that momentarily stops, instantaneously skips ahead, or is allowed to jump backwards, but we will ignore these details ..."
Abstract
-
Cited by 6 (0 self)
- Add to MetaCart
ly, there is a mathematical function that maps beat numbers to time and an inverse function that maps time to beats. (Some special mathematical care must be taken to allow for music that momentarily stops, instantaneously skips ahead, or is allowed to jump backwards, but we will ignore these details.) One practical representation of the beat-to-time function is the set of times of individual beats. For example, a performer can tap beats in real time and a computer can record the time of each tap. This produces a finitely sampled representation of the continuous mapping from beats to time, which can be interpolated to obtain intermediate values. MIDI Clocks, which are transmitted at 24 clocks per quarter note, are an example of this approach. The Mockingbird score editor [Maxwell 84] interface also supported this idea. The composer would play a score, producing a piano-roll notation. Then, downbeats were indicated by clicking with a mouse at the proper locations in the piano roll score....
PaperTonnetz: Music Composition with Interactive Paper Tonnetz
- In Proc. SMC ’12
"... Tonnetze are space-based musical representations that lay out individual pitches in a regular structure. They are pri-marily used for analysis with visualization tools or on pa-per and for performance with button-based tablet or tangi-ble interfaces. This paper first investigates how properties of T ..."
Abstract
-
Cited by 2 (2 self)
- Add to MetaCart
(Show Context)
Tonnetze are space-based musical representations that lay out individual pitches in a regular structure. They are pri-marily used for analysis with visualization tools or on pa-per and for performance with button-based tablet or tangi-ble interfaces. This paper first investigates how properties of Tonnetze can be applied in the composition process, in-cluding the two-dimensional organization of pitches, based on a chord or on a scale. We then describe PaperTon-netz, a tool that lets musicians explore and compose mu-sic with Tonnetz representations by making gestures on in-teractive paper. Unlike screen-based interactive Tonnetz systems that treat the notes as playable buttons, PaperTon-netz allows composers to interact with gestures, creating replayable patterns that represent pitch sequences and/or chords. We describe the results of an initial test of the sys-tem in a public setting, and how we revised PaperTonnetz to better support three activities: discovering, improvising and assembling musical sequences in a Tonnetz. We con-clude with a discussion of directions for future research with respect to creating novel paper-based interactive mu-sic representations to support musical composition. 1.
MOTIVATED MUSIC: AUTOMATIC SOUNDTRACK GENERATION FOR FILM
, 2007
"... Automatic music composition is a fast-moving field which, from roots in serialism, has developed techniques spanning subjects as diverse as biology, chaos theory and linguistic grammars. These algorithms have been applied to specific aspects of music creation, as well as live performances. However, ..."
Abstract
-
Cited by 1 (0 self)
- Add to MetaCart
Automatic music composition is a fast-moving field which, from roots in serialism, has developed techniques spanning subjects as diverse as biology, chaos theory and linguistic grammars. These algorithms have been applied to specific aspects of music creation, as well as live performances. However, these traditional approaches to generation are dedicated to the creation of music which is independent from any other driving medium, whereas human-composed music is most often written with a purpose or situation in mind. Furthermore, the process of composition is naturally hierarchical, whereas the use of a single algorithm renders it a monolithic task. In order to address these issues, a model should be able to encapsulate a sense of com-poser motivation whilst not relying on a single algorithm for the composition process. As such, this work describes a new framework with the ability to provide a means to gen-erate music from film in a media-driven, distributed, manner. This includes the initial annotation of the media using our new OntoMedia ontology; the mapping of annotated information into parameters suitable for compositional algorithms; the design and im-plementation of an agent framework suitable for the distribution of multiple composing algorithms; and finally the creation of agents capable of handling the composition of mu-sical elements such as rhythm and melody. In addition, a case study is included which demonstrates the stages of the composition process from media annotation to automatic music generation.
THE MUSIC21 STREAM: A NEW OBJECT MODEL FOR REPRESENTING, FILTERING, AND TRANSFORMING SYMBOLIC MUSICAL STRUCTURES
"... The Stream is a new object model of symbolic musical structures deployed as part of the music21 toolkit for computational musicology. Streams are containers that allow for multiple hierarchical and flat representations of a musical work. This flexibility avoids the pitfalls of existing tree-based an ..."
Abstract
-
Cited by 1 (0 self)
- Add to MetaCart
(Show Context)
The Stream is a new object model of symbolic musical structures deployed as part of the music21 toolkit for computational musicology. Streams are containers that allow for multiple hierarchical and flat representations of a musical work. This flexibility avoids the pitfalls of existing tree-based and event-list-based models and al-lows for easy searching, discovery of the context of an object (such as a note’s current clef), and transformation (such as transposition or duration stretching). This paper describes the music21 Stream, and offers several exam-ples to show how this multivalent representation is nec-essary for researchers working on problems in com-puter-aided musical analysis. 1.
MOTIVATED MUSIC: AUTOMATIC SOUNDTRACK GENERATION FOR FILM
"... Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permi ..."
Abstract
- Add to MetaCart
Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g.
