Artículos de revistas: "Computer and violin music"

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Flašar, Martin. "MIDI housle v umění – od hudebního zvuku k multimediálnímu ovladači". Musicologica Brunensia, n.º 2 (2022): 177–86. http://dx.doi.org/10.5817/mb2022-2-9.

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The following study critically examines the development of the violin in the 20th and 21st centuries from two perspectives: technological and artistic. It deals with the phenomenon of MIDI violins, which follow the specifics of the traditional chordophone. They represent both an analogue-digital interface and a human-computer interface (HCI). It mentions the limits of this approach and shows selected artistic strategies accompanying the development of MIDI violins since the 1970s.

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Zhang, Xuanhe. "Violin Etude Composing based on LSTM Model". Highlights in Science, Engineering and Technology 39 (1 de abril de 2023): 54–60. http://dx.doi.org/10.54097/hset.v39i.6493.

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After the development of deep learning and computer music, there is more and more electronic music composed by computers and algorithms. However, there are very few projects for violin etudes created based on artificial intelligence. In 2020, The Shanghai Symphony Orchestra Concert Hall hosted a special concert of Mozart's 80-year-old works, the last three symphonic pieces were generated by the AI based on learning a large amount of Mozart's past music, which inspire me. In this paper, classical violin etude (i.e., Rudolphe Kreutzer 42 Studies) is used for the data. Based on several studies, the LSTM model is the framework of this study. In the multiple times of changing seeds and temperature, the creation demo has creativity and similarity, but with less education. The educational meaning is also the future research to focus on. This study makes a step in making violin etudes from the classical violin etudes, which can create new etudes for future violin players. Moreover, the new etudes shed light on Inheriting and innovating the predecessors' composing style and thinking.

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Rickards, Guy. "Music by women composers". Tempo 59, n.º 234 (21 de septiembre de 2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.

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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.

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Hall, Cordelia y John T. O'Donnell. "Regular Expressions as Violin Bowing Patterns". Computer Music Journal 36, n.º 2 (junio de 2012): 74–84. http://dx.doi.org/10.1162/comj_a_00120.

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String players spend a significant amount of practice time creating and learning bowings. These may be indicated in the music using up-bow and down-bow symbols, but those traditional notations do not capture the complex bowing patterns that are latent within the music. Regular expressions, a mathematical notation for a simple class of formal languages, can describe precisely the bowing patterns that commonly arise in string music. A software tool based on regular expressions enables performers to search for passages that can be handled with similar bowings, and to edit them consistently. A computer-based music editor incorporating bowing patterns has been implemented, using Lilypond to typeset the music. Our approach has been evaluated by using the editor to study ten movements from six violin sonatas by W. A. Mozart. Our experience shows that the editor is successful at finding passages and inserting bowings; that relatively complex patterns occur a number of times; and that the bowings can be inserted automatically and consistently.

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Kendall, Roger A. "The Role of Acoustic Signal Partitions in Listener Categorization of Musical Phrases". Music Perception 4, n.º 2 (1986): 185–213. http://dx.doi.org/10.2307/40285360.

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An experiment was designed to assess the relative contribution to listener categorization strategies of various temporal partitions of the acoustic signal for trumpet, clarinet, and violin. The role of context, whole phrase versus single note, was also evaluated. Analog recordings of three folk-song phrases performed on two clarinets, violins, and trumpets were digitized. A computer program was developed for digital signal editing. Signal edit conditions included normal, time-variant steady-state alone, transients alone, and static steady state with and without transients. Musicians and nonmusicians responded to a matching procedure in which unedited signals of one phrase were choice stimuli and edited signals for two different phrases served as models. Two replications of all possible combinations of instrument, phrase, and edit conditions were presented for a total of 72 items. Two additional groups of musicians and nonmusicians participated in an identical procedure in which the stimuli were single notes extracted from two phrases. Analyses revealed that, for the whole-phrase signals, there was no case in which the means obtained with the "normal" signal and the "time variant steady state alone" signal were statistically different; these means were always statistically higher than the "transients alone" mean. It was concluded that transients were neither sufficient nor necessary for the categorization of trumpet, clarinet, and violin in whole-phrase contexts. The time- variant quasi-steady state was sufficient and necessary for the categorization of trumpet and violin phrases, and it was sufficient but not necessary for the categorization of clarinet phrases. For the single- note stimuli, "transients alone" yielded means statistically equivalent to the "normal" and "time variant steady state alone" means. It was concluded that transients were sufficient, but not necessary, for instrument categorization in single-note contexts. The whole-phrase context yielded significantly higher means than the single-note context; music majors performed the task with greater accuracy than nonmusic majors.

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KIMURA, MARI. "Creative process and performance practice of interactive computer music: a performer's tale". Organised Sound 8, n.º 3 (diciembre de 2003): 289–96. http://dx.doi.org/10.1017/s1355771803000268.

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I have had a major interest in the performance practice issues in electronic and interactive systems over the years (see, for example, Kimura 1996). As a performer/composer often presenting pieces from the classical and other contemporary acoustic violin literature in traditional settings along with electronic works, and also as a teacher of interactive computer music performance at a conservatory where my students include highly trained performers, performance practice issues in computer music come up very frequently in association with the creative process. I tend to focus on creating MaxMSP patches that address a particular musical context or situation, rather than creating an elaborate versatile and reusable MaxMSP patch and then using that patch in a particular way to make music. This paper describes a few examples of my interest in this area: (i) System Aspects: Performance Practice Issues and Room Acoustics; (ii) ‘Pragmatic’ Programming and Performance of Interactive Music; and (iii) Creative Process and Interactive Computer Music.

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Hayden, Sam y Mieko Kanno. "Towards Musical Interaction: Sam Hayden's Compositions for E-Violin and Computer". Contemporary Music Review 32, n.º 5 (octubre de 2013): 485–98. http://dx.doi.org/10.1080/07494467.2013.849876.

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Lyon, Eric, R. Benjamin Knapp y Gascia Ouzounian. "Compositional and Performance Mapping in Computer Chamber Music: A Case Study". Computer Music Journal 38, n.º 3 (septiembre de 2014): 64–75. http://dx.doi.org/10.1162/comj_a_00257.

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The mapping problem is inherent to digital musical instruments (DMIs), which require, at the very least, an association between physical gestures and digital synthesis algorithms to transform human bodily performance into sound. This article considers the DMI mapping problem in the context of the creation and performance of a heterogeneous computer chamber music piece, a trio for violin, biosensors, and computer. Our discussion situates the DMI mapping problem within the broader set of interdependent musical interaction issues that surfaced during the composition and rehearsal of the trio. Through descriptions of the development of the piece, development of the hardware and software interfaces, lessons learned through rehearsal, and self-reporting by the participants, the rich musical possibilities and technical challenges of the integration of digital musical instruments into computer chamber music are demonstrated.

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9

Schenker, Boris, Wesley Fuller y Thomas DeLio. "20th Century American Music for Piano, Violin, Flute, Percussion, and Computer". Computer Music Journal 21, n.º 3 (1997): 104. http://dx.doi.org/10.2307/3681024.

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10

Hopkins, Michael T. "Eighth-Grade Violinists’ Instrument Tuning Ability". Journal of Research in Music Education 63, n.º 3 (1 de septiembre de 2015): 349–68. http://dx.doi.org/10.1177/0022429415597884.

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The purpose of this study was to explore the relationship between eighth-grade violinists’ pitch perception and instrument tuning skill. The perceptual task was a researcher-developed computer-based Violin Tuning Perception Test. The instrument tuning task involved tuning two violins, one mistuned flat and the other mistuned sharp. Participants ( N = 46) were enrolled at three middle schools in the midwestern United States. A moderate relationship was found between participants’ perceptual accuracy and instrument tuning accuracy, with pitch perception scores significantly more accurate than instrument tuning scores. Participants tuned the flat instrument more accurately than the sharp instrument. An overall tendency toward flat tuning was evident on both the perception and instrument tuning tests, with responses to items representing the G string, the least accurate on both the perception and the instrument tuning tests. No relationships were found between participants’ rating of their tuning ability and their perceptual or instrument tuning accuracy; however, those who rated themselves as “excellent or good” required significantly less time to complete the instrument tuning test than those who rated themselves as “fair or poor.”

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Maezawa, Akira, Katsutoshi Itoyama, Kazunori Komatani, Tetsuya Ogata y Hiroshi G. Okuno. "Automated Violin Fingering Transcription Through Analysis of an Audio Recording". Computer Music Journal 36, n.º 3 (septiembre de 2012): 57–72. http://dx.doi.org/10.1162/comj_a_00129.

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We present a method to recuperate fingerings for a given piece of violin music in order to recreate the timbre of a given audio recording of the piece. This is achieved by first analyzing an audio signal to determine the most likely sequence of two-dimensional fingerboard locations (string number and location along the string), which recovers elements of violin fingering relevant to timbre. This sequence is then used as a constraint for finding an ergonomic sequence of finger placements that satisfies both the sequence of notated pitch and the given fingerboard-location sequence. Fingerboard-location-sequence estimation is based on estimation of a hidden Markov model, each state of which represents a particular fingerboard location and emits a Gaussian mixture model of the relative strengths of harmonics. The relative strengths of harmonics are estimated from a polyphonic mixture using score-informed source segregation, and compensates for discrepancies between observed data and training data through mean normalization. Fingering estimation is based on the modeling of a cost function for a sequence of finger placements. We tailor our model to incorporate the playing practices of the violin. We evaluate the performance of the fingerboard-location estimator with a polyphonic mixture, and with recordings of a violin whose timbral characteristics differ significantly from that of the training data. We subjectively evaluate the fingering estimator and validate the effectiveness of tailoring the fingering model towards the violin.

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Nichols, Charles. "The vBow: a virtual violin bow controller for mapping gesture to synthesis with haptic feedback". Organised Sound 7, n.º 2 (agosto de 2002): 215–20. http://dx.doi.org/10.1017/s135577180200211x.

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The vBow, a virtual violin bow musical controller, has been designed to provide the computer musician with most of the gestural freedom of a bow on a violin string. Four cable and servomotor systems allow for four degrees of freedom, including the lateral motion of a bow stroke across a string, the rotational motion of a bow crossing strings, the vertical motion of a bow approaching and pushing into a string, and the longitudinal motion of a bow travelling along the length of a string. Encoders, attached to the shaft of the servomotors, sense the gesture of the performer, through the rotation of the servomotor shafts, turned by the motion of the cables. The data from each encoder is mapped to a parameter in synthesis software of a bowed-string physical model. The software also sends control voltages to the servomotors, engaging them and the cables attached to them with a haptic feedback simulation of friction, vibration, detents and elasticity.

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Ko, Chantelle y Lora Oehlberg. "Construction and Performance Applications of an Augmented Violin: TRAVIS II". Computer Music Journal 44, n.º 2-3 (2020): 55–68. http://dx.doi.org/10.1162/comj_a_00563.

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Abstract We present the second iteration of a Touch-Responsive Augmented Violin Interface System, called TRAVIS II, and two compositions that demonstrate its expressivity. TRAVIS II is an augmented acoustic violin with touch sensors integrated into its 3-D printed fingerboard that track left-hand finger gestures in real time. The fingerboard has four strips of conductive PLA filament that produce an electric signal when fingers press down on each string. Although these sensors are physically robust, they are mechanically assembled and thus easy to replace if damaged. The performer can also trigger presets via four sensors attached to the body of the violin. The instrument is completely wireless, giving the performer the freedom to move throughout the performance space. Although the sensing fingerboard is installed in place of the traditional fingerboard, all other electronics can be removed from the augmented instrument, maintaining the aesthetics of a traditional violin. Our design allows violinists to naturally create music for interactive performance and improvisation without requiring new instrumental techniques. The first author composed two compositions to highlight TRAVIS II: “Dream State” and “Kindred Dichotomy.” Both of these compositions involve improvisation in their creative process and include interactive visuals. In this article we describe the design of the instrument, experiments leading to the sensing fingerboard, performative applications of the instrument, and compositional considerations for the resultant pieces.

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14

Aksoy, Yakup. "Seeing Sounds: The Effect of Computer-Based Visual Feedback on Intonation in Violin Education". International Journal of Education and Literacy Studies 11, n.º 2 (25 de abril de 2023): 2–12. http://dx.doi.org/10.7575/aiac.ijels.v.11n.2p.2.

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The fact that the violin is a fretless instrument brings along intonation problems both in its performance and in its education. The introduction of technology into educational environments day by day, has led to the need to try different methods besides the traditional methods for solving intonation problems. The aim of this study is to examine the effect of computer-based visual feedback on the student’s intonation on the violin. For this purpose, an 8-week experimental process was carried out with 8 violin students studying in the 2nd, 3rd and 4th grades of the music teaching undergraduate program in the 2021-2022 academic year. In the quantitative dimension of the research, which was designed with mixed method design, a pretest – post-test single-group experimental design was used. The quantitative data were collected with the intonation evaluation form and the qualitative data were collected with diaries and a semi-structured interview form. The dependent samples t-test was used in the analysis of the quantitative data, and descriptive analysis technique was used in the analysis of the qualitative data. In the implementation process of the study, students were given visual feedback only with Cubase VariAudio software. At the end of the study, it was seen that computer-based visual feedback contributed positively to the intonation skills of the students. The students stated that the study made an abstract situation concrete, offered an opportunity to make self-evaluation, contributed positively to the motivation and limited class hours, and that they wanted to use it while practicing on their own.

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Thorn, Seth Dominicus. "Flows of Inhomogeneous Matter: Improvising an augmented violin". Organised Sound 26, n.º 1 (abril de 2021): 65–77. http://dx.doi.org/10.1017/s1355771821000066.

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This article reflects on how personal digital musical instruments evolve and presents an augmented violin developed and performed by the author in improvised performance as an example. Informed by the materialism of Gilles Deleuze and Felix Guattari, an image of ‘flows of inhomogeneous matter’ provokes reflection on a mode of production common to artisanal craftmanship and digital lutherie alike, namely the pre-reflective skilfulness negotiating the singularities of inhomogeneous matter with the demands of the production – a process which itself may be thought of as im-pro-visation (‘un-fore-seen’). According to Gilbert Simondon, all technical objects develop in this way: functional interdependency emerges when abstractly ideated elements begin to enter into unanticipated synergistic relationships, suggesting a material logic dependent on unforeseen potentialities. The historical development of the acoustic violin exemplifies such an evolution, with, like all technical objects, additional latent potential. Digital artists can work like artisanal craftsmen in tinkering with technical elements, teasing out their synergies through abductive, trial-and-error experimentation. In the context of developing digital musical instruments, model-free design of real-time digital signal processing symmetrising action and perception yields highly refined results. Like musical improvisation – constrained by time – improvised development of these instruments turns the material obstacles into their very means of realisation.

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Rose, Jon. "Bow Wow: The Interactive Violin Bow and Improvised Music, A Personal Perspective". Leonardo Music Journal 20 (diciembre de 2010): 57–66. http://dx.doi.org/10.1162/lmj_a_00013.

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Bowed string music has always existed as an aural culture with improvisation considered as a prime focus of expression. It is the author's strong belief that experimentation is the natural state of all string music. This paper concentrates on recent history: bows that have incorporated interactive sensor technology. The central narrative deals with the author's own experiments and experience at STEIM since 1987. How reliable and practical is this technology? Are the results worth the trouble? Are there new modes of improvising only possible with an interactive bow?

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Refsum Jensenius, Alexander y Victoria Johnson. "Performing the Electric Violin in a Sonic Space". Computer Music Journal 36, n.º 4 (diciembre de 2012): 28–39. http://dx.doi.org/10.1162/comj_a_00148.

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This article presents the development of the improvisation piece Transformation for electric violin and live electronics. The aim of the project was to develop an “invisible” technological setup that would allow the performer to move freely on stage while still being in full control of the electronics. The developed system consists of a video-based motion-tracking system, with a camera hanging in the ceiling above the stage. The performer's motion and position on stage is used to control the playback of sonic fragments from a database of violin sounds, using concatenative synthesis as the sound engine. The setup allows the performer to improvise freely together with the electronic sounds being played back as she moves around the “sonic space.” The system has been stable in rehearsal and performance, and the simplicity of the approach has been inspiring to both the performer and the audience.

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Fiocco, Giacomo, Tommaso Rovetta, Claudia Invernizzi, Michela Albano, Marco Malagodi, Maurizio Licchelli, Alessandro Re et al. "A Micro-Tomographic Insight into the Coating Systems of Historical Bowed String Instruments". Coatings 9, n.º 2 (29 de enero de 2019): 81. http://dx.doi.org/10.3390/coatings9020081.

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Musical instruments are tools for playing music, but for some of them—made by the most important historical violin makers—the myths hide the physical artwork. Ancient violin-making Masters developed peculiar construction methods and defined aesthetic canons that are still recognizable in their musical instruments. Recently, the focus of scientific investigations has been set on the characterization of materials and methods used by the ancient violin makers by means of several scientific approaches. In this work, the merits of synchrotron radiation micro-computed tomography and optical coherence tomography (OCT) for the investigation of complex coatings systems on historical bowed string musical instruments are discussed. Five large fragments removed during past restorations from instruments produced by Jacobus Stainer, Gasparo da Salò, Giovanni Paolo Maggini, and Lorenzo Guadagnini have been considered for a non-invasive insight by tomographic techniques and the results are discussed considering previous micro-invasive investigations. The tomographic approach allows to highlight the micro-morphology of the coating systems and offers preliminary information on the methods that were employed by the ancient Masters to treat the wood and finish the musical instrument.

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Clarke, Eric, Mark Doffman y Renee Timmers. "Creativity, Collaboration and Development in Jeremy Thurlow's Ouija for Peter Sheppard Skærved". Journal of the Royal Musical Association 141, n.º 1 (2016): 113–65. http://dx.doi.org/10.1080/02690403.2016.1151240.

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ABSTRACTThis article documents and analyses a creative collaboration between the composer Jeremy Thurlow and the violinist Peter Sheppard Skærved in the production of Ouija, a work for solo violin and laptop computer. The article situates the account of this creative process within recent literature on distributed and collaborative creativity, and focuses on three aspects of the project: verbal interaction between the two musicians, analysed in terms of ‘creative-talk’ and ‘face-talk’, and the relationship between immediate and more contextual concerns (‘inside/outside the room’); a quantitative analysis of changes in the musical material, focusing on timing; and a qualitative analysis of the role of the violinist's embodied and instrumental engagement with the music. The article discusses the findings in relation to forwards-orientated (process) and backwards-orientated (product) conceptions of creativity, the operation of different social components in creative collaboration and the relationship between craft, history and embodiment.

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Tejada, Jesús y María Ángeles Fernández-Villar. "Design and Validation of Software for the Training and Automatic Evaluation of Music Intonation on Non-Fixed Pitch Instruments for Novice Students". Education Sciences 13, n.º 9 (23 de agosto de 2023): 860. http://dx.doi.org/10.3390/educsci13090860.

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Music education, whether professional or amateur, includes learning musical instruments. Intonation is a critical factor in their training. The main objective of this research work is the design and validation of online educational software for the real-time training and evaluation of intonation in non-fixed pitch musical instruments, such as fretted string instruments (violin, viola, and cello) and brass instruments (trumpet, horn, and trombone). This software is intended to create a practice artefact for novice music students. A design sciences research methodology is adopted to achieve a product tested for functionality and usability. Novice students carry out the validation phase through a study consisting of previous practice with the software and the administration of a questionnaire with open-ended items grouped in technical-didactic, emotional, and overall dimensions, plus two additional questions. The results show evidence that the software was well received, confirming previous studies on the design and validation of educational music education software.

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Gonzalez, Yubiry y Ronaldo C. Prati. "Comparative Study of Musical Timbral Variations: Crescendo and Vibrato Using FFT-Acoustic Descriptor". Eng 4, n.º 3 (21 de septiembre de 2023): 2468–82. http://dx.doi.org/10.3390/eng4030140.

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A quantitative evaluation of the musical timbre and its variations is important for the analysis of audio recordings and computer-aided music composition. Using the FFT acoustic descriptors and their representation in an abstract timbral space, variations in a sample of monophonic sounds of chordophones (violin, cello) and aerophones (trumpet, transverse flute, and clarinet) sounds are analyzed. It is concluded that the FFT acoustic descriptors allow us to distinguish the timbral variations in the musical dynamics, including crescendo and vibrato. Furthermore, using the Random Forest algorithm, it is shown that the FFT-Acoustic provides a statistically significant classification to distinguish musical instruments, families of instruments, and dynamics. We observed an improvement in the FFT-Acoustic descriptors when classifying pitch compared to some timbral features of Librosa.

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Zhang, Vincent. "Synthesizing Human Characteristics based on String Instruments". Highlights in Science, Engineering and Technology 39 (1 de abril de 2023): 286–91. http://dx.doi.org/10.54097/hset.v39i.6541.

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As music technology continues to evolve, new software enables us to digitally produce audio. Although plenty of progresses have been made in music genres (e.g., EDM or hip hop), many string instruments have yet to be thoroughly synthesized. Instruments, such as the cello, require incorporating human characteristics to evoke emotion. On this basis, Nyquist and Audacity are utilized in this paper to analyze and create the synthesized pitch of the cello. Some may argue that computers are incapable of human characteristics in music, but the results of this study clarify the feasibilities at some extent. Based on both visualizing and listening, the output creates a similar sound hardly indistinguishable from a human. It presents the possibility of expanding onto other string instruments including the violin, viola, etc. Instead of the necessity for an entire orchestra, anyone can have their own symphony at their fingertips. From movies, video games, or any form of entertainment, the advancements in this field of research could revolutionize the music industry. These results shed light on guiding further exploration of synthesizing human characteristics in context of string instruments.

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Thorn, Seth Dominicus. "A Computational System for Violin: Synthesis and Dissolution in Windowless". Leonardo Music Journal 29 (diciembre de 2019): 42–44. http://dx.doi.org/10.1162/lmj_a_01062.

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This article provides an overview of a real-time, hybrid computational system for the violin, Windowless. The system uses a custom sensor glove, the alto.glove, to track the violinist’s movements and drive a panoply of unique digital sound processing effects. The author describes the operations of the system in terms of a broad notion of synthesis, consis-tency, microintervallic motions and molecular operations. A threefold approach combining dense sonic physics, “loose” computational procedures and high system responsiveness creates a rich and thick performative medium with a vapor-like, particulate level of textural and bitwise computational detail.

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Goto, Suguru. "The Aesthetics and Technological Aspects of Virtual Musical Instruments: The Case of the SuperPolm MIDI Violin". Leonardo Music Journal 9 (diciembre de 1999): 115–20. http://dx.doi.org/10.1162/096112199750316901.

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The author discusses how his critical stance against conformity in computer-based interactive art eventually led him to create his own instrument as a way towards individual artistic sensitivity and thought. He first outlines the development and creation of a virtual musical instrument, the SuperPolm, as well as its technical points. He then addresses the relationship between gesture and music and the variety of human perceptual experiences that may occur during a performance on a virtual musical instrument. Finally the author presents the background of the SuperPolm's development and discusses cultural and technological aspects of interactivity.

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Messina, Marcello y Leonardo Vieira Feichas. "Comu arvulu scippatu: A Cycle of Pieces for Solo Violin". Leonardo 51, n.º 3 (junio de 2018): 304–5. http://dx.doi.org/10.1162/leon_a_01532.

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At Balance-Unbalance 2016 in Manizales, the authors presented a cycle of four musical pieces for solo violin, Comu arvulu scippatu. This commentary illustrates the theoretical premises and the technical circumstances of their work, highlighting the noncoercive, horizontal quality of their collaboration and the historico-critical background of the composition.

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Carterette, Edward C., Kathryn Vaughn y Nazir A. Jairazbhoy. "Perceptual, Acoustical, and Musical Aspects of the Tambūrā Drone". Music Perception 7, n.º 2 (1989): 75–108. http://dx.doi.org/10.2307/40285453.

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The basso continuo principle, as embodied in Rameau's theory of functional harmony, was paralleled by the introduction of drone instruments in the classical music of India. In order to understand how these two systems are tied together in human music perception, we studied the role of tambūrā interactions with North Indian rags played on the sitār. Raman (1914-1922) had applied his theory of discontinuous wave motion to mechanical and musical properties of the strings of the violin. He noted the remarkable, powerful harmonic series that arose from the nonlinear interaction of the tambürã string and grazing contact with its curved bridge. We analyzed the waveforms of the most common drone tunings. Each of the four strings was played with and without juari ("life-giving" threads). The upward transfer and spread of energy into higher partials imparts richness to tambūrā tones and underlies the use of different drone tunings for different rags. Specific notes of rāg scales are selectively and dynamically enhanced by different drone tunings. Based on coincident features of spectral and musical scale degrees, we computed an index of spectral complexity of the interactions of tambūrā tunings with rãg scales. We speculate that the use of juari contributes to stable pitch centers, implied scale modulation, and an improvisational flexibility.

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Keller, Damián y Leonardo Feichas. "Ecocompositional and Performative Strategies for Creative Usage of Everyday Sounds: Creative Semantic Anchoring". Leonardo 51, n.º 2 (abril de 2018): 195–96. http://dx.doi.org/10.1162/leon_a_01526.

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The authors cover recent advances in ecologically grounded creative practice, highlighting performative strategies in instrumental writing. They address techniques adopted in ecocomposition and propose an expansion of the available resources by introducing a new method: creative semantic anchoring. The underlying concepts are presented and a case study—targeting the performative practice of Flausino Valle’s 26 Characteristic and Concert Preludes for Solo Violin—is described.

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28

D’Amato, Vincenzo, Erica Volta, Luca Oneto, Gualtiero Volpe, Antonio Camurri y Davide Anguita. "Understanding Violin Players’ Skill Level Based on Motion Capture: a Data-Driven Perspective". Cognitive Computation 12, n.º 6 (24 de septiembre de 2020): 1356–69. http://dx.doi.org/10.1007/s12559-020-09768-8.

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AbstractLearning to play and perform a music instrument is a complex cognitive task, requiring high conscious control and coordination of an impressive number of cognitive and sensorimotor skills. For professional violinists, there exists a physical connection with the instrument allowing the player to continuously manage the sound through sophisticated bowing techniques and fine hand movements. Hence, it is not surprising that great importance in violin training is given to right hand techniques, responsible for most of the sound produced. In this paper, our aim is to understand which motion features can be used to efficiently and effectively distinguish a professional performance from that of a student without exploiting sound-based features. We collected and made freely available a dataset consisting of motion capture recordings of different violinists with different skills performing different exercises covering different pedagogical and technical aspects. We then engineered peculiar features and trained a data-driven classifier to distinguish among two different levels of violinist experience, namely beginners and experts. In accordance with the hierarchy present in the dataset, we study two different scenarios: extrapolation with respect to different exercises and violinists. Furthermore, we study which features are the most predictive ones of the quality of a violinist to corroborate the significance of the results. The results, both in terms of accuracy and insight on the cognitive problem, support the proposal and support the use of the proposed technique as a support tool for students to monitor and enhance their home study and practice.

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29

Kirke, Alexis, Eduardo Miranda, Antonino Chiaramonte, Anna R. Troisi, John Matthias, Nicholas Fry, Catherine McCabe, Jeff Radtke y Martyn Bull. "Cloud Chamber: A Performance with Real Time Two-Way Interaction between Subatomic Particles and Violinist". Leonardo 46, n.º 1 (febrero de 2013): 84–85. http://dx.doi.org/10.1162/leon_a_00493.

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‘Cloud Chamber’ - a composition by Alexis Kirke, Antonino Chiaramonte, and Anna Troisi - is a live performance in which the invisible quantum world becomes visible as a violinist and subatomic particle tracks interact together. An electronic instrument was developed which can be “played” live by radioactive atomic particles. Electronic circuitry was developed enabling a violin to create a physical force field that directly affects the ions generated by cosmic radiation particles. This enabled the violinist and the ions to influence each other musically in real time. A glass cloud chamber was used onstage to make radioactivity visible in bright white tracks moving within, with the tracks projected onto a large screen.

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30

Xu, Yurui. "Music Generator Applying Markov Chain and Lagrange Interpolation". Highlights in Science, Engineering and Technology 39 (1 de abril de 2023): 266–73. http://dx.doi.org/10.54097/hset.v39i.6538.

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Algorithmic composition is the process that composes music based on algorithms by formulating specific rules that incorporate relevant music arranging theory and assigning these rules to a suitable computer algorithm. One common approach is to use Markov models to generate note sequences. However, the generated notes do not consider the overall chord progression and the rhythmic pattern of the section, which is not effective when dealing with long multi-track music, especially for more structured works, e.g., classical and pop music. Therefore, this paper introduces an improved approach that uses Markov chains for chord generation, and then uses Lagrange Interpolation to generate melodies and accompaniments for multitrack customized instruments using chord progression notes as anchor points. In this study, only 30 common chord progressions and 30 rhythmic progressions were used as the input data to generate a sample music with cat sounds as the main melody, violins as the sub-melody, and pianos as the accompaniment. It eliminates the mentioned problems associated with the adoption of Markov chains for melodic composition. In this case, it allows for the creation of tonal music with an overall structural, multi-track approach, by using chord progressions as a guide to the melody and even the accompaniment, and by controlling the structural characteristics of the music through rhythmic patterns.

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31

Shields, Allan y Boris Schwarz. "Great Masters of the Violin: From Corelli and Vivaldi to Stern, Zukerman and Perlman". Leonardo 20, n.º 2 (1987): 193. http://dx.doi.org/10.2307/1578338.

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32

Huberth, Madeline, Stacey Davis y Takako Fujioka. "Expressing melodic grouping discontinuities: Evidence from violinists’ rubato and motion". Musicae Scientiae 24, n.º 4 (21 de marzo de 2019): 494–514. http://dx.doi.org/10.1177/1029864919833127.

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Within phrases, melodies can be perceived as continuous or discontinuous. Large pitch intervals tend to promote the perception of melodic discontinuity, though surrounding pitch contexts can promote or diminish this percept. The present study investigated if performers express discontinuities in rubato and motion. In Experiment 1, audio and motion capture recordings were made of six violinists performing a piece with pairs of segments containing strong and weak discontinuities. Violinists’ rubato computed from audio onsets differentiated between discontinuity types. A principal component analysis of the motion data revealed that nontechnical whole-body motions explained a significant amount of variance corresponding to the discontinuity types, although the strength of the effect varied across analyzed segments. In Experiment 2, the motion and audio data were used to create audiovisual stimuli to examine whether these components influenced judgments of discontinuity in third-party audiences. Participants saw, heard, or both saw and heard the performed segments with either natural motion or altered motion after nontechnical principal components were removed, then judged whether violinists expressed either one or two groups of notes. Similar to Experiment 1, variation between segments in differentiation between discontinuity types was observed only when participants saw the violinists’ natural motion. Together, these data suggest that violinists can express melodic continuity through timing and motion, though expression through motion is relatively subtle and variable across individuals. Our results extend previous findings of the relationship between performer interpretation and motion to local musical structures, demonstrating observations across multiple performers with a previously less-studied instrument, namely, the violin.

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33

Drakeford, Richard, Niels Gade, Othmar Schoeck, Montsalvage, Robert Schumann, Charles Camilleri, Antonin Tucapsky, Leos Janacek y Krzysztof Penderecki. "Violin Music". Musical Times 134, n.º 1799 (enero de 1993): 31. http://dx.doi.org/10.2307/1002627.

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34

Bangert, D. "Baroque violin music". Early Music 42, n.º 2 (29 de abril de 2014): 309–12. http://dx.doi.org/10.1093/em/cau050.

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35

Stowell, Robin. "Violin". Musical Times 129, n.º 1739 (enero de 1988): 27. http://dx.doi.org/10.2307/964983.

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36

Clements, James. "Violin music from Kromeríz". Early Music XXVI, n.º 2 (mayo de 1998): 345–47. http://dx.doi.org/10.1093/earlyj/xxvi.2.345.

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37

Smith, Richard Langham, Biber, Romanesca, Matteis y The Arcadian Academy. "Violin Sonatas". Musical Times 136, n.º 1825 (marzo de 1995): 162. http://dx.doi.org/10.2307/1004013.

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38

Monosoff, Sonya. "Violin Fingering". Early Music 13, n.º 1 (febrero de 1985): 76–80. http://dx.doi.org/10.1093/earlyj/13.1.76.

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39

Jensen, Byron, William Schuman, Philip Quint, Charles Ives, Jose Serebrier y Bournemouth Symphony Orchestra. "Violin Concerto". American Music 21, n.º 4 (2003): 530. http://dx.doi.org/10.2307/3250580.

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40

UTARI, TRI y Tulus Handra Kadir. "PELAKSANAAN KURSUS BIOLA DI YAMAHA MUSIC SCHOOL PADANG". Jurnal Sendratasik 10, n.º 2 (5 de diciembre de 2020): 82. http://dx.doi.org/10.24036/jsu.v9i2.110669.

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This study aims to determine the implementation of violin courses at Yamaha Music School Padang. The data were obtained during the learning process. Interviews were conducted to violin instructors at Yamaha Music School Padang. In addition, photos during the violin learning process at Yamaha Music School Padang were documented. Based on the research results, the implementation of music courses at Yamaha Music School Padang, especially the violin course, "seems not guided" by the concepts and principles of the Yamaha method. In fact, the materials contained in the Yamaha Music Examination Syllabus as an evaluation of learning outcomes based on YMES clearly describes the achievement of students’ learning outcomes based on YMES. The materials contained in the Yamaha Music Examination Syllabus also evaluate the “readiness” of students towards creative abilities. Likewise, the principle of Emphasis on creativity is increasingly not being noticed in music courses at Yamaha Music School Padang if it is viewed from the 'minimal' 'activity' carried out by Yamaha Music School Padang.Keywords: Implementation, Violin Course, Yamaha Music School Padang

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41

Ma, Sihan y Ruohua Zhou. "Violin Music Emotion Recognition with Fusion of CNN–BiGRU and Attention Mechanism". Information 15, n.º 4 (16 de abril de 2024): 224. http://dx.doi.org/10.3390/info15040224.

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Music emotion recognition has garnered significant interest in recent years, as the emotions expressed through music can profoundly enhance our understanding of its deeper meanings. The violin, with its distinctive emotional expressiveness, has become a focal point in this field of research. To address the scarcity of specialized data, we developed a dataset specifically for violin music emotion recognition named VioMusic. This dataset offers a precise and comprehensive platform for the analysis of emotional expressions in violin music, featuring specialized samples and evaluations. Moreover, we implemented the CNN–BiGRU–Attention (CBA) model to establish a baseline system for music emotion recognition. Our experimental findings show that the CBA model effectively captures the emotional nuances in violin music, achieving mean absolute errors (MAE) of 0.124 and 0.129. The VioMusic dataset proves to be highly practical for advancing the study of emotion recognition in violin music, providing valuable insights and a robust framework for future research.

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42

Stowell, Robin y Dominic Gill. "Around the Violin". Musical Times 126, n.º 1709 (julio de 1985): 407. http://dx.doi.org/10.2307/964351.

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43

Stowell, Robin. "Italian Baroque Violin". Musical Times 128, n.º 1730 (abril de 1987): 214. http://dx.doi.org/10.2307/965436.

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44

Palmer, Peter. "Holliger's Violin Concerto". Tempo 59, n.º 231 (enero de 2005): 70. http://dx.doi.org/10.1017/s0040298205220077.

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45

Whittall, Arnold. "Carter’s Violin Concerto". Tempo 60, n.º 236 (23 de marzo de 2006): 75. http://dx.doi.org/10.1017/s0040298206220151.

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46

Morgan, Robert P. y Anthony Pople. "Berg: Violin Concerto". Music Analysis 12, n.º 3 (octubre de 1993): 400. http://dx.doi.org/10.2307/854152.

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47

Hofmeyr, Hendrik. "Luameravafor solo violin". Journal of Musical Arts in Africa 4, n.º 1 (agosto de 2007): 47–54. http://dx.doi.org/10.2989/jmaa.2007.4.1.3.400.

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48

Wallace, Helen, Roger Sessions, Curtis Macomber, Joel Krosnick y Barry David Salwen. "Duo for Violin and Cello; Six Pieces for Cello; Duo for Violin and Piano; Sonata for Violin". Musical Times 136, n.º 1824 (febrero de 1995): 107. http://dx.doi.org/10.2307/1193644.

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49

Thilakan, Jithin, Balamurali BT, Jer-Ming Chen y Malte Kob. "Classification of the perceptual impression of source-level blending between violins in a joint performance". Acta Acustica 7 (2023): 62. http://dx.doi.org/10.1051/aacus/2023050.

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Quantifying auditory perception of blending between sound sources is a relevant topic in music perception, but remains poorly explored due to its complex and multidimensional nature. Previous studies were able to explain the source-level blending in musically constrained sound samples, but comprehensive modelling of blending perception that involves musically realistic samples was beyond their scope. Combining the methods of Music Information Retrieval (MIR) and Machine Learning (ML), this investigation attempts to classify sound samples from real musical scenarios having different musical excerpts according to their overall source-level blending impression. Monophonically rendered samples of 2 violins in unison, extracted from in-situ close-mic recordings of ensemble performance, were perceptually evaluated and labeled into blended and non-blended classes by a group of expert listeners. Mel Frequency Cepstral Coefficients (MFCCs) were extracted, and a classification model was developed using linear and non-linear feature transformation techniques adapted from the dimensionality reduction strategies such as Principal Component Analysis (PCA), Linear Discriminant Analysis (LDA), and t-Stochastic Neighbourhood Embedding (t-SNE), paired with Euclidean distance measure as a metric to evaluate the similarity of transformed feature clusters. Results showed that LDA transformed raw MFCCs trained and validated using a separate train-test data set and Leave-One-Out Cross-Validation (LOOCV) resulted in an accuracy of 87.5%, and 87.1% respectively in correctly classifying the samples into blended and non-blended classes. In this regard, the proposed classification model which incorporates “ecological” score-independent sound samples without requiring access to individual source recordings advances the holistic modeling of blending.

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50

Jing. "ITALIAN VIOLIN MUSIC IN CHINA". Revista de Musicología 16, n.º 4 (1993): 1912. http://dx.doi.org/10.2307/20796055.

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