Relevant bibliographies by topics / Minimal music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Minimal music'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Minimal music"

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Leitner, Birgit Maria. "Minimal Media Art – Minimal Music (Steve Reich)." Kieler Beiträge zur Filmmusikforschung 3 (July 27, 2023): 69–83. http://dx.doi.org/10.59056/kbzf.2009.3.p69-83.

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Der Text befasst sich mit vier minimalistischen Produktionen aus der aktuellen Medienkunst (Themen: Schwarmbewegungen, Tanz, moderne Kunst u. a.). In ihnen korreliert das phase shifting der Musik von Steve Reich von 1967 mit neuartigen Visualisierungsformen und –technologien. Das Zusammenspiel von digitaler Identität und analoger Differenz mit ihren klanglichen und visuellen Polyrhythmiken und patterns führt zu „entropischen Verschiebungen“, die ungewöhnliche „psycho-physische Effekte“ bewirken. Die mit den prozessualen Systemen einhergehende ästhetische Erfahrung wird in eine „Architektonik des Sinns“ der Moderne des 21. Jahrhunderts eingebettet. The paper deals with four minimalist productions on the field of actual media art (themes: covey movements, dance, modern art etc.). With them the phase shifting of Steve Reich’s music from 1967 correlates with novel visualisations and technologies. The interplay of digital identity and analogue difference with its acoustic and visual polyrhythms and patterns leads to “entropic shiftings”, which cause unusual “psycho-physical effects”. The aesthetical experience of the process-related systems is embedded into an architecture of sense of modernity in the 21st century.
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Swingle, Paul G. "A Minimal Negotiation Situation." Psychological Reports 60, no. 3 (June 1987): 831–34. http://dx.doi.org/10.2466/pr0.1987.60.3.831.

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Pairs of unacquainted male subjects listened to music via headsets controlled by a single loudness control. Post-session measures of first impressions of the other person indicated that interpersonal liking was influenced by minimal communication and curvilinearly related to the magnitude of the difference between the level of individual preference and dyadic loudness. Loudness preference was stable over a one-week period, and the preparation appears useful for studying minimal negotiations.
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Nye, Sean. "Minimal Understandings: The Berlin Decade, The Minimal Continuum, and Debates on the Legacy of German Techno." Journal of Popular Music Studies 25, no. 2 (June 2013): 154–84. http://dx.doi.org/10.1111/jpms.12032.

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Dalmonte, Rossana. "Signification in the minimal units of musical discourse." Contemporary Music Review 17, no. 2 (January 1998): 1–10. http://dx.doi.org/10.1080/07494469800640041.

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Vieru, Anatol. "Generating Modal Sequences (A Remote Approach to Minimal Music)." Perspectives of New Music 30, no. 2 (1992): 178. http://dx.doi.org/10.2307/3090632.

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Putra, Cepri Zulda, Asep Saepul Haris, and Wilma Sriwulan. "The Central Processing Music Of Bacalempong : Komposisi Musik Minimalis dalam Ansambel Campuran." GESTUS JOURNAL : PENCIPTAAN DAN PENGKAJIAN SENI 2, no. 2 (November 26, 2022): 41. http://dx.doi.org/10.24114/gsts.v2i2.40397.

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The Central Processing Music Of Bacalempong merupakan komposisi musik yang berangkat dari peristiwa simulasi pada tahap intrumentasi antara calempong kayu dan calempong perunggu sebagai kesenian tradisi asli masyarakat Sumpur Kudus yang kemudian digarap berdasarkan idiom musik Barat. Konsep garapan karya The Central Processing Music of Bacalempong adalah representasi antara material komposisi musik didalam calempong kayu dan calempong perunggu dijadikan hierarki musikal dengan menggunakan pendekatan sistem musik minimalis yang direalisasikan dalam formasi Ansambel Campuran. Secara keseluruhan, komposisi ini menawarkan gaya musik abad 20 berkenaan dengan pentahapan dalam sebuah proses pelahiran sebuah peristiwa musikal, proses tersebut menekankan pada siklus pusat yang dijadikan konstruksi struktur untuk menggiring analisis pada setiap dimensi musikal yang menunjukkan bagaimana sebuah penciptaan musik dihasilkan sacara sistematis. Metode penciptaan karya terbagi menjadi tiga tahap. Tahap pertama menentukan siklus pusat dalam setiap proses Komposisi. Kedua, penempatan simulasi timbre (intrumen). Ketiga, menentukan deskripsi struktural karya. Terdapat sepuluh proses struktur yang terdiri dari I (restricted pitch and rhythm materials), II (pitch-centrycity), III (use of repetition), IV (steady pulse), V (phasing), VI (drone or ostinatos), VII (static harmony), VIII (pandiatonicism), IX (indeterminacy), dan X (long duration). Kesimpulan yang menghasilkan penggunakan pola-pola minimal kemudian perubahan-perubahan secara sedikit-demi sedikit dan bertahap hingga didapatkan komposisi musik secara utuhKata Kunci: Calempong Kayu, Calempong Perunggu, Musik Minimalis, Ansambel Campuran
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Delaere, Mark. "Karel Goeyvaerts: a Belgian Pioneer of Serial, Electronic and Minimal Music." Tempo, no. 195 (January 1996): 2–5. http://dx.doi.org/10.1017/s0040298200004708.

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‘From now on, I will accept only Karel Goeyvaerts as my teacher in composition’ exclaimed the young Karlheinz Stockhausen during the famous New Music Summer Courses at Darmstadt in 1951. Goeyvaerts had just explained the very principles of serial organization for which Stockhausen had been searching for some time. In the following years Goeyvaerts 1923–1993) developed those basic principles into variety of composition techniques, and into a stylistic diversity not often encountered in serious music. After having applied serialism to tapegenerated music in the early 1950s and to experimental and aleatoric procedures in the 1960s, Goeyvaerts developed the repetitive element, already couched in some of his serial works, during the 70s and 80s. In his last period, the Belgian composer did not eschew a return to tonality, without however foresaking the core of serial thinking of which he had been the founding father. For many of these tendencies Goeyvaerts was the forerunner; to others he added valuable contributions. Therefore, his artistic legacy should be evaluated against the work of other European avantgarde composers such as Stockhausen or Boulez, or put into perspective by comparing it with the work of his American colleagues such as Babbitt, Carter, Riley or Glass.
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Zhang, Shuang. "Feasibility of Music Composition Using Deep Learning-Based Quality Classification Models." Wireless Communications and Mobile Computing 2022 (May 26, 2022): 1–9. http://dx.doi.org/10.1155/2022/8123671.

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Polyphonic music technique is the foundation of students’ understanding of musical works. The mastery of polyphonic music techniques enables students to better understand the meaning of musical works and get in touch with the soul of music. Hence, teaching polyphonic music is a compulsory course for composition theory. In the past, all the concepts taught in the composition theory class included the use of the main key, and the minimal amount of polyphonic music works was covered. Also, even if students encountered polyphonic music, a brief inclusion of the same would be included in teaching, creating difficulties for the students to understand polyphonic music well. Intelligent music composition, however, refers to a formalized process that allows the composer to create music with the help of a computer, ensuring minimal human intervention. With the popularity of the Internet and the rapid development of multimedia technology, the majority of the users now use online music applications. Therefore, the need to automatically organize and manage the huge amount of music data effectively has evolved. Studying intelligent music composition helps to understand and simulate the way of thinking of composers in making compositions. It also helps to assist composers in making music, in addition to entertaining people. Considering the aforementioned, the present paper uses a deep learning-based quality classification model for music composition feasibility. The experimental results show that the algorithm has the advantages of fast detection speed and high quality. It helps composers to compose music, greatly reduces the workload, and also ensures certain promotion value.
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Quinn, Ian. "Minimal Challenges: Process Music and the Uses of Formalist Analysis." Contemporary Music Review 25, no. 3 (June 2006): 283–94. http://dx.doi.org/10.1080/07494460600726537.

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Tambouratzis, Tatiana. "The Digital Music Stand as a Minimal Processing Custom-Made Optical Music Recognition System, Part 1: Key Music Symbol Recognition." International Journal of Intelligent Systems 28, no. 5 (March 8, 2013): 474–504. http://dx.doi.org/10.1002/int.21586.

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Dissertations / Theses on the topic "Minimal music"

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Paterson, Alexis. "Minimal kaleidoscope : exploring minimal music through the lens of postmodernity." Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/54427/.

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Both minimal(ism) and postmodern(ism/ity) are terms that occupy a peculiar space in contemporary discourse: in academic circles their characterisation is contested and debated in everyday life they have become so ubiquitous that everyone associates them with something, but not necessarily with any degree of consensus. Both become widely recognised terms during the latter half of the twentieth century: decades characterised by unprecedented globalisation of culture and communication. This thesis seeks to explore the emergence of these terms, and the events they sought to describe, but it does not attempt to impose a 'correct' definition on either term. Instead, the thesis investigates the discourse that surrounds each concept, assembling a network of ideas that characterise those terms. I will demonstrate that each label acts as a signpost to a flexible collection of theories and characteristics, and argue that minimalism can be seen as a significant cultural response to an emerging postmodernity. The structure of this thesis has been informed by the philosophy of Deleuze and Guattari, particularly their writings on rhizomatic thought. Their thinking is not the subject of this research, but is the inspiration for a particular attitude to ideas that has been used as a structuring device for the text: that is, a structure that hopes to demonstrate the interconnectedness of contemporary experience. The image of the kaleidoscope is used as a metaphor for this rhizomatic approach. While the physical object represents the 'totality that many regard postmodernity to be, the experience of viewing a kaleidoscope the constantly shifting parts and the resultant patterns that we recognise is imagined as an illustration of the way that postmodernity and minimalism can be understood. Three parts magnify these terms in increasing detail. The first explores postmodern discourse and its relationship to culture. The second examines the development of, and critical response to, minimalism. The third takes a single composer, Louis Andriessen, and attempts to show how the postmodern condition frames his creativity, and his particular response to minimalism. All of these parts contain connections within and between, each part. While these connections will often be alluded to, I have tried to avoid solidifying these relationships in a way that might appear too 'linear' so as to invite the reader to participate in the interpretive process, and to retain the openness so characteristic of Deleuzian thought.
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Blom, Diana. "Minimal music roles and approaches of teachers engaging students with a contemporary art music through composing activities /." Connect to full text, 2001. http://hdl.handle.net/2123/802.

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Thesis (Ph. D.)--University of Sydney, 2002.
Title from title screen (viewed Apr. 24, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Music, Faculty of Arts. Degree awarded 2002; thesis submitted 2001. Includes bibliography. Also available in print form.
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Skretta, James Edward. "Perceiving meter in romantic, post-minimal, and electro-pop repertoires." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2013.

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Evans, Tristian. "Towards a theory of multimedia integration in post-minimal music." Thesis, Bangor University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520850.

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Blom, Diana Mary. "Minimal music: roles and approaches of teachers engaging students with a contemporary art music through composing activities." Thesis, The University of Sydney, 2001. http://hdl.handle.net/2123/802.

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Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.
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Blom, Diana Mary. "Minimal music: roles and approaches of teachers engaging students with a contemporary art music through composing activities." University of Sydney. Music, 2001. http://hdl.handle.net/2123/802.

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Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.
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Bougaïeff, Nicolas. "An approach to composition based on a minimal techno case study." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/18067/.

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This dissertation examines key issues relating to minimal techno, a sub-genre of electronic dance music (EDM) that emerged in the early 1990s. These key issues are the aesthetics, composition, performance, and technology of minimal techno, as well as the economics of EDM production. The study aims to answer the following question. What is the musical and social significance of minimal techno production and performance? The study is conducted in two parts. The history of minimal music is traced from Satie in the 1890s to Plastikman in the 1990s, a central contribution to minimal techno. Plastikman is a stage name for the subject of the first part, a case study of minimal techno artist Richie Hawtin. A chapter on Liine, a company I founded with partners including Richie Hawtin, describes the performance software we developed for his 2010-2011 Plastikman Live tour. A chapter on minimal techno performance methods examines the structure of the Ableton Live set created for Plastikman Live. A theory chapter, based on Jacques Attali’s Bruits (2001), studies the relationship between technology, money, power and techno music production on both an individual and collective scale. The second part provides a detailed commentary on music I composed during the project in response to the theoretical issues raised. A final chapter discusses the overall thesis, and draws conclusions. Minimal techno, as it is practiced through Liine software, the Plastikman Live show, or through my own productions, is revealed to be a deeply improvisatory form of music. The relationship between body, mind and sound emerges as one of the major themes. Minimal techno production and performance can be seen as a reflection of the profoundly changing relationship between man and digital technology.
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Schlemmer, Tobias. "Annotating Lattice Orbifolds with Minimal Acting Automorphisms." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-96517.

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Context and lattice orbifolds have been discussed by M. Zickwolff, B. Ganter and D. Borchmann. Preordering the folding automorphisms by set inclusion of their orbits gives rise to further development. The minimal elements of this preorder have a prime group order and any group element can be dissolved into the product of group elements whose group order is a prime power. This contribution describes a way to compress an orbifold annotation to sets of such minimal automorphisms. This way a hierarchical annotation is described together with an interpretation of the annotation. Based on this annotation an example is given that illustrates the construction of an automaton for certain pattern matching problems in music processing.
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Wu, Chia-Ying. "The aesthetics of minimalist music and a Schenkerian-oriented analysis of the first movement "Opening" of Philip Glass' Glassworks." connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-10975.

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Schlemmer, Tobias. "Annotating Lattice Orbifolds with Minimal Acting Automorphisms." Technische Universität Dresden, 2012. https://tud.qucosa.de/id/qucosa%3A26138.

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Context and lattice orbifolds have been discussed by M. Zickwolff, B. Ganter and D. Borchmann. Preordering the folding automorphisms by set inclusion of their orbits gives rise to further development. The minimal elements of this preorder have a prime group order and any group element can be dissolved into the product of group elements whose group order is a prime power. This contribution describes a way to compress an orbifold annotation to sets of such minimal automorphisms. This way a hierarchical annotation is described together with an interpretation of the annotation. Based on this annotation an example is given that illustrates the construction of an automaton for certain pattern matching problems in music processing.
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Books on the topic "Minimal music"

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Barreto, Jorge Lima. Música minimal repetitiva. Lisboa: Litoral Edições, 1991.

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Barreto, Jorge Lima. Música minimal repetitiva. Lisboa: Litoral Edições, 1991.

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Linke, Ulrich. Minimal music: Dimensionen eines Begriffs. Essen: Die blaue Eule, 1997.

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Götte, Ulli. Minimal Music: Geschichte, Ästhetik, Umfeld. Wilhelmshaven: Noetzel, 2000.

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Lovisa, Fabian R. Minimal-music: Entwicklung, Komponisten, Werke. Darmstadt: Wissenschaftliche Buchgesellschaft, 1996.

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Fink, Robert Wallace. Repeating ourselves: American minimal music as cultural practice. Berkeley: University of California Press, 2005.

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Anderson, Bryan. Getting started: Basic information for churches with minimal musical resources. Croydon: Royal School of Church Music, 1995.

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Mark, Wastell, Beaton Damien, and Marley Brian, eds. Blocks of consciousness and the unbroken continuum. London: Sound 323, 2005.

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Krapivina, I. V. Problemy formoobrazovanii︠a︡ v muzykalʹnom minimalizme. Novosibirsk: Novosibirskai︠a︡ gos. oblastnai︠a︡ nauchnai︠a︡ biblioteka, 2003.

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Festival, der Berliner Gesellschaft für Neue Musik (1998 Berlin Germany). Minimalisms, minimalisms: Rezeptionsformen der 90er Jahre : Festival der Berliner Gesellschaft für Neue Musik 1998, Berlin 1998. Ostfildern: Cantz, 1998.

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Book chapters on the topic "Minimal music"

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Winter, Michael. "On Minimal Change Musical Morphologies." In Computational Music Science, 309–27. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47337-6_31.

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Götte, Ulli. "Minimal Music: Wiederholung als Primat." In Wiederholung als zentrales universelles Gestaltungsmittel der Musik, 405–56. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05635-1_8.

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Meredith, David. "Tonal Scales and Minimal Simple Pitch Class Cycles." In Mathematics and Computation in Music, 165–79. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_13.

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de Berrié, Isabel Stoppani. "‘Escape and Build another World’: Relocations in Classical Minimalism and Minimal Techno." In Relocating Popular Music, 104–25. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463388_6.

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Mehl, Margaret. "7. Shikama Totsuji." In Music and the Making of Modern Japan, 181–202. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0374.07.

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Chapter 7, ‘Shikama Totsuji: Music Reform and a Nationwide Network’ introduces one of them, whose importance is equal to Isawa’s. In 1890, just before the debate about the role of the Tokyo Academy of Music took off, Shikama Totsuji founded Japan’s first magazine devoted to music: Ongaku zasshi, with the additional English title, The Musical Magazine. Shikama had completed a short training course for music teachers at the Academy, and his stated purpose was to promote music reform. In addition, Shikama Totsuji engaged in several other music-related activities to further his agenda. They underline the scope of his ambitions and illustrate the way individual actors, often (like Shikama himself) with minimal training in Western music, contributed to transforming musical culture. Shikama and other individual actors continued to pursue music reform after official efforts had ceased.
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Gunawan, Iwan, and Tri Karyono. "Review of the Minimax Concept of Slamet Abdul Sjukur in Music Education Praxis." In Proceedings of the Fifth International Conference on Arts and Design Education (ICADE 2022), 54–63. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-38476-100-5_9.

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Gnecco, Giorgio, Martina Fausto, Gabriele Romano, Gualtiero Volpe, and Antonio Camurri. "Improving Output Visualization of an Algorithm for the Automated Detection of the Perceived Origin of Movement." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 96–106. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-55722-4_8.

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AbstractThe perceived Origin of full-body human Movement (OoM), i.e., the part of the body that is perceived by an external observer as the joint from which movement originates, represents a relevant topic for movement analysis. Indeed, its automated detection is important to contribute to the automated analysis of full-body emotions and of non-verbal social signals, and has potential applications, among others, in dance and music teaching, cognitive and motor rehabilitation, sport, and entertainment. In this work, we further develop a recently proposed algorithm for the automated detection of the perceived OoM, by improving the visualization of its output. Specifically, the core of that algorithm relies on clustering a skeletal representation of the human body based on the values assumed by a movement-related feature on all its vertices, then finding those vertices that are at the boundary between any two resulting clusters. In the work, we improve the visualization of the clusters generated by that algorithm in successive frames, by “colouring” them by means of the resolution of a sequence of minimum cost bipartite matching subproblems. Finally, based on a real-world dataset, we show that the proposed modification of the algorithm provides, indeed, a better visualization of the clusters than its original version.
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"9. Transfiguring Experimental Music: Minimal Music." In We Have Always Been Minimalist, 67–78. University of California Press, 2020. http://dx.doi.org/10.1525/9780520968080-011.

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Randles, Clint. "The Room(s)." In Music Teacher as Music Producer, 25—C2.P61. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197519455.003.0002.

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Abstract Thinking about your room—how it looks and, more importantly, how it feels—is an essential piece of the puzzle of turning your classroom into a center for musical creativities. Creative spaces reflect the intersection between the highly personal and the highly professional. As a place where your students are going to do their best creative work, your classroom should balance functionality and culturally defined inspiration. This chapter discusses how a creative music room should be set up to allow you to go about your day with minimal friction in workflow. It considers how instrument storage, lighting, and furnishing can be used to create the right frame of mind.
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"13. Giving Up Ground; Retaking It: Minimal Music." In We Have Always Been Minimalist, 104–10. University of California Press, 2020. http://dx.doi.org/10.1525/9780520968080-015.

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Conference papers on the topic "Minimal music"

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Bailey, Sam R., Adam D. N. Scott, Harry Bernard Wright, Ian Symonds, and Kia Ng. "Eye.Breathe.Music: creating music through minimal movement." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.37.

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Kajita, Akinori, Yuichi Ito, and Carl Stone. "Composition and Playback for Minimal Music Using Surround Acoustics." In 2018 Nicograph International (NicoInt). IEEE, 2018. http://dx.doi.org/10.1109/nicoint.2018.00039.

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Nayak, Sushobhan, and Ankit Bhutani. "Music Genre Classification Using GA-Induced Minimal Feature-Set." In 2011 Third National Conference on Computer Vision, Pattern Recognition, Image Processing and Graphics (NCVPRIPG). IEEE, 2011. http://dx.doi.org/10.1109/ncvpripg.2011.61.

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Urbano, Julián, and Markus Schedl. "Towards minimal test collections for evaluation of audio music similarity and retrieval." In the 21st international conference companion. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2187980.2188223.

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Mishra, Shveata, and Ina Shastri. "THE ROLE OF MUSIC IN PSYCHOLOGICAL AND EMOTIONAL DEVELOPMENT." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact012.

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"It is widely believed that a truly “whole” person is one whose intellectual and emotional responses are normally developed; yet our patterns in education tend to stress the intellectual and ignore the emotional. Te arts, because of their emotional demands, make for. stronger bond between persons who can share in the art experience. This is especially so of music which has a long been termed the universal tongue. It is a form of communication in which every human being can participate. Many studies have shown that it is not by accident that we find minimal behaviour problems among the students who are involved with music study. It is now believed that the child who becomes involved in expressing himself/herself through the media of music takes on new dimensions in his or her psychological, behavioural and sociological relationships. It is this paper, we shall draw upon the experiences of music educationists from various countries, and as a consequence, it is reaffirmed that for a holistic and balanced development of students personalities music study should be mandatory in school curricula."
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Schimbinschi, Florin, Christian Walder, Sarah M. Erfani, and James Bailey. "SynthNet: Learning to Synthesize Music End-to-End." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/467.

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We consider the problem of learning a mapping directly from annotated music to waveforms, bypassing traditional single note synthesis. We propose a specific architecture based on WaveNet, a convolutional autoregressive generative model designed for text to speech. We investigate the representations learned by these models on music and concludethat mappings between musical notes and the instrument timbre can be learned directly from the raw audio coupled with the musical score, in binary piano roll format.Our model requires minimal training data (9 minutes), is substantially better in quality and converges 6 times faster in comparison to strong baselines in the form of powerful text to speech models.The quality of the generated waveforms (generation accuracy) is sufficiently high,that they are almost identical to the ground truth.Our evaluations are based on both the RMSE of the Constant-Q transform, and mean opinion scores from human subjects.We validate our work using 7 distinct synthetic instrument timbres, real cello music and also provide visualizations and links to all generated audio.
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Bougueng Tchemeube, Renaud, Jeffrey Ens, Cale Plut, Philippe Pasquier, Maryam Safi, Yvan Grabit, and Jean-Baptiste Rolland. "Evaluating Human-AI Interaction via Usability, User Experience and Acceptance Measures for MMM-C: A Creative AI System for Music Composition." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. California: International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/640.

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With the rise of artificial intelligence (AI), there has been increasing interest in human-AI co-creation in a variety of artistic domains including music as AI-driven systems are frequently able to generate human-competitive artifacts. Now, the implications of such systems for the musical practice are being investigated. This paper reports on a thorough evaluation of the user adoption of the Multi-Track Music Machine (MMM) as a minimal co-creative AI tool for music composers. To do this, we integrate MMM into Cubase, a popular Digital Audio Workstation (DAW), by producing a "1-parameter" plugin interface named MMM-Cubase, which enables human-AI co-composition. We conduct a 3-part mixed method study measuring usability, user experience and technology acceptance of the system across two groups of expert-level composers: hobbyists and professionals. Results show positive usability and acceptance scores. Users report experiences of novelty, surprise and ease of use from using the system, and limitations on controllability and predictability of the interface when generating music. Findings indicate no significant difference between the two user groups.
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Waszkiewicz, Elizabeth. "Multidimensional Educational Models Recommended by Innovative Agonology – Examples of Physical Education and Music Education." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003499.

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Almost all types of education are in some sense multidimensional, even if it is difficult to ascribe formal, or passion-driven, experiential, cognitive-behavioral competences closely related to the subject of education to the teaching subject (an individual or a team). From the perspective of the mission of innovative agonology, the most valuable ways, methods, forms and means of educational activities are those whose use (in a session, in a cycle, or as a ‘passion for life’) stimulates as much as possible some aspect of somatic, mental and social health, but also at least one element (component) of survival.From a broader point of view, i.e. the social mission of evidence-based science, the important premise is that although humans are genetically adapted to operate in terrestrial environments, however, they are also active underground, in water, in the air and in space. In each of these environments, one pole of the continuum of survival possibilities accumulates minimal health criteria, while the opposite pole – a long list of factors that mean inevitable death. This diversity of human operating environments and the roles they fulfill within them implies the legitimacy of recommending very complex educational models, some of which require multilevel selection.Apart from individual career paths, swimming and wrestling (even if pursued without the pressure of sports performance) optimally stimulate the somatic dimension of health (hard-respiratory capacity, strength and endurance of the largest muscle groups and flexibility) compared to other sporting activities. The survival dimension is already diverse. For instance, swimming skills increase the chance of survival in an aquatic environment while hand-to-hand combat skills increase the likelihood of effective self-defense in situations of physical aggression. And wrestling is a contact sport (psychophysical activity involving a permanent ‘dialogue of minds and bodies’), so it qualifies as a model that also stimulates the mental dimension of health. Moreover, in general, also the adepts of other martial arts interact in a peculiar way with the centuries-old heritage of the cultures from which these arts originate (social dimension of health). Unfortunately, the effective and attractive status of educational models based on martial arts is depreciated by the pathology of bloody fights of neo-gladiatorship. These spectacles are promoted and camouflaged in the public sphere precisely under the banner of mixed martial arts (the first part of the phrase ‘mixed’ is only 31.25% of the name).Brazilian capoeira is an example of a multifaceted educational model that combines martial art with music. Although innovative agonology is an appropriate science for formulating justifications at the interface between these two arts (martial art and music), the well-established standards of music education are its competition. These standards include respect for centuries-old traditions and multiculturalism, a commitment to routine with an awareness of the unlimited potential for creating beauty and positive emotions. The coordinating perfectionism of the instrumentalists is also admired. However, a hypothesis is justified: ignoring scientific knowledge (including human motor skills) from areas of activity other than music is the cause of, among other things, interpersonal conflicts (for instance teacher-student) and negative effects encompassing all dimensions of health.
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Cai, Yang, and Joshua Paik. "Articulated Spatial Audio for Minimally Invasive Surgery Training." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004990.

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Contemporary spatial sound recording and reconstruction systems enable audiences to experience realistic 3D soundscapes from multiple speakers or binaural headsets. Spatial audio is especially useful in minimally invasive surgery training which represents the sound sources, dynamic patterns, and verbal communications. In our study, we recorded and reconstructed 3D sound from a laparoscopic surgery room with multiple cases. The spatial sound data contains ambient sounds, equipment sounds, and music in the OR environment. We then articulated the ECG sound based on the simulated patient’s conditions. For example, when the patient feels pain, the heart rate increases. Our experiments show that the articulated spatial audio helps to narrow the gap between the abstract training boxes and the actual OR environments. It is one step forward to advance Extended Reality (XR) with physical and physiological variables.
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Celentano, Frank, Nicholas May, Edward Simoneau, Richard DiPasquale, Zahra Shahbazi, and Sina Shahbazmohamadi. "3D Printing for Manufacturing Antique and Modern Musical Instrument Parts." In ASME 2016 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/imece2016-66652.

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Professional musicians today often invest in obtaining antique or vintage instruments. These pieces can be used as collector items or more practically, as performance instruments to give a unique sound of a past music era. Unfortunately, these relics are rare, fragile, and particularly expensive to obtain for a modern day musician. The opportunity to reproduce the sound of an antique instrument through the use of additive manufacturing (3D printing) can make this desired product significantly more affordable. 3D printing allows for duplication of unique parts in a low cost and environmentally friendly method, due to its minimal material waste. Additionally, it allows complex geometries to be created without the limitations of other manufacturing techniques. This study focuses on the primary differences, particularly sound quality and comfort, between saxophone mouthpieces that have been 3D printed and those produced by more traditional methods. Saxophone mouthpieces are commonly derived from a milled blank of either hard rubber, ebonite or brass. Although 3D printers can produce a design with the same or similar materials, they are typically created in a layered pattern. This can potentially affect the porosity and surface of a mouthpiece, ultimately affecting player comfort and sound quality. To evaluate this, acoustic tests will be performed. This will involve both traditionally manufactured mouthpieces and 3D prints of the same geometry created from x-ray scans obtained using a ZEISS Xradia Versa 510. The scans are two dimensional images which go through processes of reconstruction and segmentation, which is the process of assigning material to voxels. The result is a point cloud model, which can be used for 3D printing. High quality audio recordings of each mouthpiece will be obtained and a sound analysis will be performed. The focus of this analysis is to determine what qualities of the sound are changed by the manufacturing method and how true the sound of a 3D printed mouthpiece is to its milled counterpart. Additive manufacturing can lead to more inconsistent products of the original design due to the accuracy, repeatability and resolution of the printer, as well as the layer thickness. In order for additive manufacturing to be a common practice of mouthpiece manufacturing, the printer quality must be tested for its precision to an original model. The quality of a 3D print can also have effects on the comfort of the player. Lower quality 3D prints have an inherent roughness which can cause discomfort and difficulty for the musician. This research will determine the effects of manufacturing method on the sound quality and overall comfort of a mouthpiece. In addition, we will evaluate the validity of additive manufacturing as a method of producing mouthpieces.
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Reports on the topic "Minimal music"

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Raychev, Nikolay. Can human thoughts be encoded, decoded and manipulated to achieve symbiosis of the brain and the machine. Web of Open Science, October 2020. http://dx.doi.org/10.37686/nsrl.v1i2.76.

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This article discusses the current state of neurointerface technologies, not limited to deep electrode approaches. There are new heuristic ideas for creating a fast and broadband channel from the brain to artificial intelligence. One of the ideas is not to decipher the natural codes of nerve cells, but to create conditions for the development of a new language for communication between the human brain and artificial intelligence tools. Theoretically, this is possible if the brain "feels" that by changing the activity of nerve cells that communicate with the computer, it is possible to "achieve" the necessary actions for the body in the external environment, for example, to take a cup of coffee or turn on your favorite music. At the same time, an artificial neural network that analyzes the flow of nerve impulses must also be directed at the brain, trying to guess the body's needs at the moment with a minimum number of movements. The most important obstacle to further progress is the problem of biocompatibility, which has not yet been resolved. This is even more important than the number of electrodes and the power of the processors on the chip. When you insert a foreign object into your brain, it tries to isolate itself from it. This is a multidisciplinary topic not only for doctors and psychophysiologists, but also for engineers, programmers, mathematicians. Of course, the problem is complex and it will be possible to overcome it only with joint efforts.
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