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Journal articles on the topic 'MIDI'

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Published: 4 June 2021
Last updated: 28 January 2023

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1

Swensen, Cole. "midi." Vacarme 25, no. 4 (2003): 88. http://dx.doi.org/10.3917/vaca.025.0088.

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2

Guérin, Michel. "Midi." La pensée de midi N° 1, no. 1 (April 1, 2000): 183–88. http://dx.doi.org/10.3917/lpm.001.0183.

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3

Cavalcanti, Maria Cláudia Reis, Marcelo Trannin Machado, Alessandro de Almeida Castro Cerqueira, Nelson Sampaio Araujo Júnior, and Geraldo Xexéo. "MIDIZ: content based indexing and retrieving MIDI files." Journal of the Brazilian Computer Society 6, no. 2 (1999): 00. http://dx.doi.org/10.1590/s0104-65001999000300002.

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4

Bernardini, Nicola, and Gareth Loy. "Whither MIDI?" Computer Music Journal 11, no. 1 (1987): 9. http://dx.doi.org/10.2307/3680167.

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5

Czeiszperger, Michael, and Stanley Jungleib. "General MIDI." Computer Music Journal 20, no. 3 (1996): 81. http://dx.doi.org/10.2307/3680828.

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6

de Laubier, Serge. "MIDI Formers." Computer Music Journal 21, no. 1 (1997): 39. http://dx.doi.org/10.2307/3681215.

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7

Guillon, Jean-Marie. "Le Midi." Les Cahiers de l'Institut d'Histoire du Temps Présent 27, no. 1 (1994): 103–12. http://dx.doi.org/10.3406/ihtp.1994.2285.

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8

Broecker, Régine, and Robert Lequément. "Midi-Pyrénées." Archéologie du Midi médiéval 3, no. 1 (1985): 159–62. http://dx.doi.org/10.3406/amime.1985.1108.

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9

Barrere, Michel. "Midi-Pyrénées." Archéologie du Midi médiéval 4, no. 1 (1986): 180–84. http://dx.doi.org/10.3406/amime.1986.1514.

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10

Roumain, Jacques. "Midi/Noon." Callaloo 23, no. 4 (2000): 1385. http://dx.doi.org/10.1353/cal.2000.0222.

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11

Lui, S., A. Horner, and L. Ayers. "MIDI to SP-MIDI Transcoding Using Phrase Stealing." IEEE Multimedia 13, no. 2 (April 2006): 52–59. http://dx.doi.org/10.1109/mmul.2006.35.

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12

Owens, Robert J., and Ed Pollard. "MIDI Magic MIDI-to-Tape Interface for IBM PCs." Computer Music Journal 14, no. 3 (1990): 96. http://dx.doi.org/10.2307/3679974.

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13

Jiang, Zhe, Shuyu Li, and Yunsick Sung. "Enhanced Evaluation Method of Musical Instrument Digital Interface Data based on Random Masking and Seq2Seq Model." Mathematics 10, no. 15 (August 3, 2022): 2747. http://dx.doi.org/10.3390/math10152747.

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With developments in artificial intelligence (AI), it is possible for novel applications to utilize deep learning to compose music by the format of musical instrument digital interface (MIDI) even without any knowledge of musical theory. The composed music is generally evaluated by human-based Turing test, which is a subjective approach and does not provide any quantitative criteria. Therefore, objective evaluation approaches with many general descriptive parameters are applied to the evaluation of MIDI data while considering MIDI features such as pitch distances, chord rates, tone spans, drum patterns, etc. However, setting several general descriptive parameters manually on large datasets is difficult and has considerable generalization limitations. In this paper, an enhanced evaluation method based on random masking and sequence-to-sequence (Seq2Seq) model is proposed to evaluate MIDI data. An experiment was conducted on real MIDI data, generated MIDI data, and random MIDI data. The bilingual evaluation understudy (BLEU) is a common MIDI data evaluation approach and is used here to evaluate the performance of the proposed method in a comparative study. In the proposed method, the ratio of the average evaluation score of the generated MIDI data to that of the real MIDI data was 31%, while that of BLEU was 79%. The lesser the ratio, the greater the difference between the real MIDI data and generated MIDI data. This implies that the proposed method quantified the gap while accurately identifying real and generated MIDI data.
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14

Fitriani, Tri Sat, and Asep Saepudin. "MIDI SEBAGAI INOVASI DAN ALTERNATIF MUSIK IRINGAN TARI DI MASA PANDEMI." Melayu Arts and Performance Journal 5, no. 1 (April 29, 2022): 85. http://dx.doi.org/10.26887/mapj.v5i1.2518.

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This paper discusses MIDI innovation for dance accompaniment needs. MIDI or Musical Instrument (with) Digital Interface, is a revolution in the development of music. Presentation of dance accompaniment using MIDI has several advantages in a technological update. MIDI innovations in this study are discussed using descriptive analysis methods. The dance accompaniment in question is a dance accompaniment that usually uses gamelan devices can be denoted in software in a system called MIDI. This topic is taken from the phenomenon that occurs in the Yogyakarta ISI Dance Department. With MIDI, a composer can relatively simple listen to his work that has been written using music notation software on his computer. The large number of choreographers who need accompaniment during the Final Project (TA), allows the availability of insufficient human resources. Therefore, MIDI can be an alternative innovation to fill or correct these deficiencies.AbstrakTulisan ini membahas tentang inovasi MIDI untuk kebutuhan iringan tari. MIDI atau Musical Instrument (with) Digital Interface, merupakan revolusi dalam perkembangan musik. Penyajian iringan tari menggunakan MIDI memiliki beberapa kelebihan dalam sebuah pembaharuan teknologi. Inovasi MIDI dalam kajian ini dibahas menggunakan metode deskriptif analisis. Iringan tari yang dimaksud adalah iringan tari yang biasanya menggunakan perangkat gamelan dapat dinotasikan pada software dalam sebuah sistem yang disebut MIDI. Topik ini diambil dari fenomena yang terjadi di Jurusan Tari ISI Yogyakarta. Dengan MIDI, seorang komposer bisa secara relatif sederhana mendengarkan hasil karyanya yang sudah ditulis memakai software music notation di komputernya. Banyaknya koreografer yang membutuhkan pengiring saat Tugas Akhir (TA), memungkinkan ketersediaan sumber daya manusia yang tidak mencukupi. Oleh karena itu, MIDI dapat menjadi sebuah inovasi alternatif untuk mengisi atau memperbaiki kekurangan tersebut.Kata Kunci: MIDI; gamelan, software music notation; musik iringan; seni tari.
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15

Saez, Agatha C., Monika M. Manser, Nick Andrews, and Peter L. Chiodini. "Comparison between the Midi Parasep and Midi Parasep Solvent Free (SF) faecal parasite concentrators." Journal of Clinical Pathology 64, no. 10 (June 16, 2011): 901–4. http://dx.doi.org/10.1136/jcp.2011.090639.

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AimTo compare the recovery of parasites in faecal samples using the Midi Parasep with ethyl acetate and Midi Parasep Solvent Free (SF) faecal parasite concentrators.Methods23 preserved and 11 fresh faecal samples were microscopically examined for the presence of parasites using the Midi Parasep concentrator with ethyl acetate centrifuged for 1 and 3 min and the Midi Parasep SF concentrator.ResultsThe Midi Parasep SF faecal parasite system recovered significantly fewer ova and cysts and resulted in a notably larger deposit than the Midi Parasep concentrator with ethyl acetate.ConclusionsParasites present in small numbers that would be detected using the Midi Parasep concentrator with ethyl acetate could be missed using the SF faecal parasite system.
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16

Roads, Curtis, and Craig Anderton. "MIDI for Musicians." Computer Music Journal 11, no. 3 (1987): 52. http://dx.doi.org/10.2307/3679740.

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17

Rona, Jeff. "Proposed MIDI Extension." Computer Music Journal 15, no. 3 (1991): 15. http://dx.doi.org/10.2307/3680761.

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18

Assoun, Paul-Laurent. "Le midi passionné." Champ psy 57, no. 1 (2010): 29. http://dx.doi.org/10.3917/cpsy.057.0029.

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19

Blackman, Jaimie M. "The Midi Potential." Music Educators Journal 73, no. 4 (December 1986): 29. http://dx.doi.org/10.2307/3397900.

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20

Futamase, Tsuyoshi. "MIDI Development Story." Journal of the Institute of Image Information and Television Engineers 52, no. 12 (1998): 1791–93. http://dx.doi.org/10.3169/itej.52.1791.

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21

Fernández, Roberto G. "Dans L'Apres‐Midi." Review: Literature and Arts of the Americas 25, no. 45 (January 1991): 14–16. http://dx.doi.org/10.1080/08905769108594319.

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22

COLE, BRUCE. "MIDI and communality." Organised Sound 1, no. 1 (April 1996): 51–54. http://dx.doi.org/10.1017/s1355771896000179.

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It is rare to see music and technology being used in combination in therapy and special education. This article is an account of work in a special school as part of a festival of popular music. The style of the music was dance/rave. This was made accessible using a specialised range of MIDI devices to enable students with physical and learning disabilities to participate. There are many benefits to be derived from studying popular music. In special education this can help with physical coordination and social skills. Most important, young people with special needs are given access to youth cultures from which, traditionally, they have tended to be excluded.
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23

Groff, Warren R. "MIDI controller pedalboard." Journal of the Acoustical Society of America 120, no. 3 (2006): 1177. http://dx.doi.org/10.1121/1.2356005.

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24

Järpe, Eric, and Mattias Weckstén. "Velody 2—Resilient High-Capacity MIDI Steganography for Organ and Harpsichord Music." Applied Sciences 11, no. 1 (December 23, 2020): 39. http://dx.doi.org/10.3390/app11010039.

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A new method for musical steganography for the MIDI format is presented. The MIDI standard is a user-friendly music technology protocol that is frequently deployed by composers of different levels of ambition. There is to the author’s knowledge no fully implemented and rigorously specified, publicly available method for MIDI steganography. The goal of this study, however, is to investigate how a novel MIDI steganography algorithm can be implemented by manipulation of the velocity attribute subject to restrictions of capacity and security. Many of today’s MIDI steganography methods—less rigorously described in the literature—fail to be resilient to steganalysis. Traces (such as artefacts in the MIDI code which would not occur by the mere generation of MIDI music: MIDI file size inflation, radical changes in mean absolute error or peak signal-to-noise ratio of certain kinds of MIDI events or even audible effects in the stego MIDI file) that could catch the eye of a scrutinizing steganalyst are side-effects of many current methods described in the literature. This steganalysis resilience is an imperative property of the steganography method. However, by restricting the carrier MIDI files to classical organ and harpsichord pieces, the problem of velocities following the mood of the music can be avoided. The proposed method, called Velody 2, is found to be on par with or better than the cutting edge alternative methods regarding capacity and inflation while still possessing a better resilience against steganalysis. An audibility test was conducted to check that there are no signs of audible traces in the stego MIDI files.
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25

Airy, Samuel, and Judy M. Parr. "MIDI, Music and Me: Students' Perspectives on Composing with MIDI." Music Education Research 3, no. 1 (March 2001): 41–49. http://dx.doi.org/10.1080/14613800020029941.

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26

West, John D., Graham Fisher, John F. Loutit, Michael J. Marshall, Norman W. Nisbet, and V. Hugh Perry. "A new allele of microphthalmia induced in the mouse: microphthalmia - defective iris (midi)." Genetical Research 46, no. 3 (December 1985): 309–24. http://dx.doi.org/10.1017/s0016672300022801.

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SUMMARYA new allele of microphthalmia (mi) in the mouse was discovered among the progeny of a male that had been treated with the potent mutagen ethylnitrosourea. Homozygotes have white coats, mildly defective bone resorption and small eyes (about 60% of the normal size) with very little pigmentation. The iris and retina are abnormal, there is no vitreous body and iris pigmentation is restricted to a rim around the pupil. No haematopoietic defect was detected. Genetic studies showed that the mutation is linked to lurcher (Lc) on chromosome 6 and crosses with Miwh/ + and mi/ + mice indicate that the mutation is allelic with these two alleles of the microphthalmia (mi) locus. We designate the new allele microphthalmia-defective iris (midi). Some midi/+ heterozygotes (including the original mutant animal showed a bright ‘red-reflex’ when light was shone directly into the eye and this may have been caused by reduced choroidal pigmentation. Otherwise midi/ + mice appeared normal. The midi/mi compound heterozygotes had white coats, small eyes, and small teeth; bone resorption was more severely defective than in midi/mi homozygotes. The osteopetrosis was corrected by treatment of midi/mi mice with parental mi/ + bone marrow which suggests that the defect is intrinsic to midi/mi marrow cells. The coats of midi/Miwh compound heterozygotes were white; the irises were more symmetrical and iris pigmentation was less severely reduced than in midi/midi homozygotes but pupil dilation appeared to be restricted. Partial complementation occurred in the midi/Miwh compound heterozygotes with respect to eye size, which was usually near normal.
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27

Shen, Hung-Che. "Building a Japanese MIDI-to-Singing song synthesis using an English male voice." MATEC Web of Conferences 201 (2018): 02006. http://dx.doi.org/10.1051/matecconf/201820102006.

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This work reports development of a MIDI-to-Singing song synthesis that will produce audio files from MIDI data and arbitrary Romaji lyrics in Japanese. The MIDI-to-Singing system relies on the Flinger (Festival singer) for singing voice synthesis. Originally, this MIDI-to-Singing system was developed by English. Based on some Japanese pronunciation rules, a Japanese MIDI-to-Sing synthesis system was developed and derived. For a language transfer like Festival synthesized singing, two major tasks are the modifications of a phoneset and a lexicon. Originally, MIDI-to-Sing song synthesis can create singing voices in many languages, but there is no existing Japanese festival diphone voice available right now. We therefore used a voice transformation model in festival to develop Japanese MIDI-to-Singing synthesis. An evaluation of a song listening experiment was conducted and the result of this voice conversion showed that the synthesized singing voice successfully migrate from English to Japanese with high voice quality.
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28

Yang, Kai. "Midi-Lab, A Powerful Visual Basic Program for Creating Midi Music." International Journal of Software Engineering & Applications 3, no. 4 (July 31, 2012): 1–12. http://dx.doi.org/10.5121/ijsea.2012.3401.

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29

Xia, Dan. "Analysis of MIDI Audio Files Based on Method of Information Quantity Estimation." Applied Mechanics and Materials 733 (February 2015): 838–41. http://dx.doi.org/10.4028/www.scientific.net/amm.733.838.

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In order to protect the security of information networks, a dedicated MIDI audio steganalysis algorithm is proposed. The least significant bit embedding scheme in MIDI audio is discussed, and the parameter of music velocity is picked up, and the steganalysis in MIDI audio based on entropy estimation is analyzed. Experiments show that when embedded rate is high, FPR and FPR are all slow, and the entropy estimation could be taken as a dedicated MIDI audio steganalysis algorithm.
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30

Moore, F. Richard. "The Dysfunctions of MIDI." Computer Music Journal 12, no. 1 (1988): 19. http://dx.doi.org/10.2307/3679834.

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31

Czeiszperger, Michael, and Joseph Rothstein. "MIDI: A Comprehensive Introduction." Computer Music Journal 17, no. 4 (1993): 75. http://dx.doi.org/10.2307/3680547.

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32

Toiviainen, Petri. "An Interactive MIDI Accompanist." Computer Music Journal 22, no. 4 (1998): 63. http://dx.doi.org/10.2307/3680894.

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33

Blount, Gilbert L., Charlotte G. Crockett, Joseph Rothstein, and Francis Rumsey. "MIDI: A Comprehensive Introduction." Notes 49, no. 4 (June 1993): 1410. http://dx.doi.org/10.2307/899365.

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34

Bousseyroux, Michel. "Après-midi Samuel Beckett." Champ lacanien N° 26, no. 1 (September 29, 2022): 179–80. http://dx.doi.org/10.3917/chla.026.0179.

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35

Poumarède, Jacques. "Préhistoire de Midi-Pyrénées." Revue géographique des Pyrénées et du Sud-Ouest 62, no. 3 (1991): 245–64. http://dx.doi.org/10.3406/rgpso.1991.3254.

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36

Lemaitre, Jean-Loup. "Les cathédrales du Midi." Revue d'histoire de l'Église de France 81, no. 206 (1995): 301–11. http://dx.doi.org/10.3406/rhef.1995.1190.

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37

Ego, Renaud, Thierry Fabre, and Michel Guérin. "La bibliothèque de midi." La pensée de midi N° 5-6, no. 2 (September 1, 2001): 206–22. http://dx.doi.org/10.3917/lpm.005.0206.

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38

Ego, Renaud, Thierry Fabre, and Michel Guérin. "La bibliothèque de midi." La pensée de midi N° 4, no. 1 (March 1, 2001): 176–90. http://dx.doi.org/10.3917/lpm.004.0176.

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39

Fabre, Thierry. "La bibliothèque de midi." La pensée de midi N° 26, no. 4 (November 1, 2008): 148–98. http://dx.doi.org/10.3917/lpm.026.0148.

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40

Fabre, Thierry, and Michel Guérin. "La bibliothèque de midi." La pensée de midi N° 3, no. 3 (November 1, 2000): 144–64. http://dx.doi.org/10.3917/lpm.003.0144.

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41

Klompkes, Geoffroy. "La pause de midi." La Revue Nouvelle N° 4, no. 4 (June 1, 2020): 73–75. http://dx.doi.org/10.3917/rn.204.0073.

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42

Hall, W. Vann. "Conquering the Midi Muddle." Music Educators Journal 73, no. 4 (December 1986): 26–29. http://dx.doi.org/10.2307/3397899.

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43

Mulder, Axel, and J. Rothstein. "MIDI: A Comprehensive Introduction." Leonardo 26, no. 3 (1993): 266. http://dx.doi.org/10.2307/1575835.

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44

MAYNE, J. "Interview with Midi Onodera." Quarterly Review of Film and Video 20, no. 1 (January 2003): 53–62. http://dx.doi.org/10.1080/10509208.2003.10555040.

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45

Glatt, Raoul. "MIDI-compatible hearing device." Journal of the Acoustical Society of America 128, no. 6 (2010): 3829. http://dx.doi.org/10.1121/1.3544456.

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46

Fazio, Alfio. "The PRIE MIDI Environment." Computer Music Journal 24, no. 3 (September 2000): 30–33. http://dx.doi.org/10.1162/014892600559416.

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47

Chang, Hsing Ching, and Chuan Kai Yang. "Automatic MIDI Genre Conversion." Applied Mechanics and Materials 284-287 (January 2013): 3040–43. http://dx.doi.org/10.4028/www.scientific.net/amm.284-287.3040.

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It is generally believed that the same piece of music, after a change of melody or associated instrument, could often elicit a different emotion, thus resulting in a change of music style. However, so far there have been rarely systematic studies on the relationships among the tunes, instruments, and aroused feelings. This paper proposes a framework to perform an automatic style conversion for the music represented in a MIDI format. Compared with most existing tools for music compositions where a professional background is usually assumed, we aim to provide a user-friendly system such that, with simply a mouse click, a desired music style transformation could be achieved by automatically adjusting the associated tempo and instruments of the music. Numerous music styles have been tested and results are quite satisfactory. We believe such a framework could be standardized and adopted in nowadays portable devices, such as laptops, tablet PCs, PDA, or smart phones.
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48

Piette, A. M., F. Lanternier, E. Tancrede, P. Graveleau, J. P. Decroi, and O. Blétry. "L'après-midi d'un faune." La Revue de Médecine Interne 24 (June 2003): 241s—242s. http://dx.doi.org/10.1016/s0248-8663(03)80665-3.

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49

Evans, Jane E. "Midi by Cloé Korman." French Review 93, no. 1 (2019): 236. http://dx.doi.org/10.1353/tfr.2019.0144.

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50

Glatt, Raoul. "MIDI-compatible hearing device." Journal of the Acoustical Society of America 128, no. 4 (2010): 2258. http://dx.doi.org/10.1121/1.3500780.

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