Bibliographies thématiques / Computer and violin music

Littérature scientifique sur le sujet « Computer and violin music »

Auteur : Grafiati
Publié le 25 juillet 2024

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Articles de revues sur le sujet "Computer and violin music"

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Flašar, Martin. « MIDI housle v umění – od hudebního zvuku k multimediálnímu ovladači ». Musicologica Brunensia, no 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 avril 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, no 234 (21 septembre 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, et John T. O'Donnell. « Regular Expressions as Violin Bowing Patterns ». Computer Music Journal 36, no 2 (juin 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, no 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, no 3 (décembre 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, et Mieko Kanno. « Towards Musical Interaction : Sam Hayden's Compositions for E-Violin and Computer ». Contemporary Music Review 32, no 5 (octobre 2013) : 485–98. http://dx.doi.org/10.1080/07494467.2013.849876.

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Lyon, Eric, R. Benjamin Knapp et Gascia Ouzounian. « Compositional and Performance Mapping in Computer Chamber Music : A Case Study ». Computer Music Journal 38, no 3 (septembre 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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Schenker, Boris, Wesley Fuller et Thomas DeLio. « 20th Century American Music for Piano, Violin, Flute, Percussion, and Computer ». Computer Music Journal 21, no 3 (1997) : 104. http://dx.doi.org/10.2307/3681024.

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Hopkins, Michael T. « Eighth-Grade Violinists’ Instrument Tuning Ability ». Journal of Research in Music Education 63, no 3 (1 septembre 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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Thèses sur le sujet "Computer and violin music"

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Lee, Terry Alan. « Grancloud, a real-time granular synthesis application and its implementation in the interactive composition Creo ». Thesis, connect to online resource, 2009. http://digital.library.unt.edu/ark:/67531/metadc12151.

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For flute, violin, French horn, piano, and live electronics. Includes graphic notation for computer. Includes performance notes. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 93-94).
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Bell, Jeffrey C. « Present Absence : A work for string quintet and live electronics ». Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2822/.

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Present Absence is a work that integrates electronic processing and live performance. It is approximately 20 minutes long and is divided into three movements. The movements are distinct from each other, but are related through various elements. Incorporating electronic processing and live performance can be cumbersome. The primary objective of this piece is to use electronic processing in a manner that liberates the performers from any restrictions imposed by the use of electronic processing. The electronic processing in the work is accomplished through the program MAX/Msp, a real-time digital signal processing environment. The patch that was created for this piece is called MOO-V. This paper discusses the both the technical details in the construction of this patch, and the aesthetic it serves.
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Wallace, Frank James. « Graduation recital compositions ». Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.

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Galvan-Herrera, Rafael. « Graduate violin recital ». FIU Digital Commons, 2008. http://digitalcommons.fiu.edu/etd/3443.

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Sonata for Solo Violin Op. 27, No.2 ("Obsession") E. ugene Ysaye (1853-1931) I. Prelude. Poco Vivace IL Malinconia IIL Danse des ombres Concerto for Violin No. 2, Op.63 - Sergei Prokofiev (1891-1953) I. Allegro moderato II. Andante assai Sonata No. 3 for Violin and Piano, Op. 45 - Edvard Grieg (1843-1945) I. Allegro molto ed appassionato II. Allegretto espressivo alla Romanza IIL Allegro animato Estrellita (Mexican song for violin and piano) .M. Manuel M. Ponce (1 882-1948) Jascha Heifetz (1901-1987)
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Chernova, Elena. « Graduate Violin Recital ». FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2168.

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Sonata for Solo Violin in G-minor, J. S. Bach (1685-1750) Adagio Fuga Siciliana Presto Sonata for Violin and Piano in G-major, L. Beethoven (1770-1827) Allegro assai Tempo di Menuetto Allegro vivace Sonata for Violin and Piano in A-major, G. Faure (1845-1924) Allegro molto Andante Allegro vivo Allegro quasi presto Jennifer Snyder, piano
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Kim, Seong Ae. « Sonata for Violin and Piano ». Thesis, State University of New York at Stony Brook, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3589708.

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My dissertation piece is a three-movement work of 20 minute duration for violin and piano that draws significantly from elements of traditional Korean culture, especially folk dance and folk music, and secondarily from Korean folk theater and visual arts using rhythmic patterns and gestures from folk dance and melodies from folk music and extended instrumental techniques that mimic the sounds of Korean traditional music and the music that typically accompanies Korean traditional dances.

The formal shape and material intentions of the piece— the fast-slow-fast tempo profile of the three movements, typical of so much Western music, is anchored conceptually in Korean ideas of "Heung" (communal joy-exploding energy) and "Han" (suffering-repressed energy). Each movement will make reference to a different folk music genre, the first movement alluding to "Sanjo," the second to "Gut," and the third from "Pungmul" (see chart). In addition, each movement will contain gestures from the Korean folk dances "Taepyongmu," "Sal puri," and "Sangmo Dolighi," all of which have different ceremonial functions in traditional Korean society. Each movement will also have its own characteristic folk rhythm pattern. The first movement will be based on an explicit Korean folk tune, while the overarching emphasis thematically in the three movements respectively will be "Garak" (melody), "Puri" (loosening), and "Nori" (fun).

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Billing, Sally. « Bacewicz : the violin concertos ». Thesis, City University London, 2006. http://openaccess.city.ac.uk/8473/.

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This study focuses upon the music of the now-neglected Polish composer Gralyna Bacewicz( 1909-1969). Her success as both a composer and concert violinist is well documented; along list of accolades and prestigious appointments serve as evidence of this. Her posthumous reputation, however, has declined at an alarming rate both inside and outside Poland. The study is introduced by a biography of the composer compiled from both English and Polish sources, providing details of her roles as composer and performer and offering a brief discussion of her music in general. The main body of text is devoted to a contextual analysis of Bacewicz's series of seven violin concertos and the study concludes with a consideration of a number of factors affecting Bacewicz's career and subsequent reception, addressing issues such as Polish cultural policy, the status of women composers, and her juggling of a number of professional and domestic roles. Appendices provide comprehensive listings of both her catalogue of works and recordings. Most importantly, however, the study uncovers the merit and originality of a number of works which exhibit a creative approach to string writing and a highly imaginative use of timbre. Such research should provide the invitation to others for further investigation into a catalogue containing over two hundred works.
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Foale, Maria. « Efficiency of movement in violin bowing ». Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8137.

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Word processed copy.
Includes bibliographical references (leaves 72-75).
This dissertation presents a study and critical analysis of violin bowing technique. The works of some of the great twentieth century violin pedagogues were studied and their ideas on efficiency of movement, posture and balance in violin playing are highlighted. Motion analyses comparing linear and non-linear bowing styles were conducted using digital motion-tracking techniques.
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Ya, ng Semi C. Miss. « Violin Etudes : A Pedagogical Guide ». University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1146083212.

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Ho, Frank Kwantat. « The violin music of Karol Szymanowski (Poland) ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59725.pdf.

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Livres sur le sujet "Computer and violin music"

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Judah L. Magnes Memorial Museum, dir. Through music : A composition and a sound installation by Shahrokh Yadegari. Berkeley, Ca : Judah L. Magnes Museum, 2008.

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Violin. PO Box 10003 Van Nuys, CA 91410 : Alfred Publishing Co., Inc., 1994.

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Harbar, Mary Ann. Cabaret violin treasures : Solo violin edition. Pacific, MO : Mel Bay Publications, 2008.

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Muhly, Nico. Drones & violin : For piano & violin, 2011. New York : St. Rose Music, 2011.

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Kirchner, Leon. For violin solo. New York, NY : Associated Music Publishers, 1986.

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Riley, Dennis. Bagatelles, violin solo. New York : C.F. Peters, 1990.

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Tenney, James. Excerpts from “An Experimental Investigation of Timbre—the Violin”. Sous la direction de Larry Polansky, Lauren Pratt, Robert Wannamaker et Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0005.

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James Tenney presents excerpts from his 1966 essay “An Experimental Investigation of Timbre—the Violin.” The research was carried out at the School of Music and the Computation Center at Yale University. Tenney first provides a description of the experiment as well as the equipment and computer programs he used in his investigation. In particular, he discusses the basic approach to sound analysis and synthesis that employs a digital computer with peripheral equipment for translating a signal from “analog” to digital form (for analysis) and from digital to analog form (for synthesis). The analysis programs used in this study comprise a “pitch-synchronous” system, while the sound-generating program used to synthesize violin tones is Max V. Mathews's “Music IV Compiler.” Tenney then explains the experimental results and concludes with a proposal for further research and a request for continued support by the National Science Foundation, laying special emphasis on spectral parameters and envelope and modulation parameters.
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MetaCage : Essays on and Around Freeman Etudes, Fontana Mix, Aria. Cornell University Press, 2009.

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Staff, Hal Leonard Corp. Violin. Leonard Corporation, Hal, 2018.

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Mary Ann Mary Ann Harbar. Violin Breaks Recording Book : Violin Music. Independently Published, 2021.

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Chapitres de livres sur le sujet "Computer and violin music"

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Colwell, Richard J., Michael P. Hewitt et Mark Fonder. « The Violin ». Dans The Teaching of Instrumental Music, 406–14. Fifth edition. | New York ; London : Routledge, 2017. : Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-28.

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Reich, Steve. « Violin Phase (1967) ». Dans Anthology of Post-Tonal Music, 174–81. 2e éd. Second edition. | New York : Routledge, 2021. : Routledge, 2021. http://dx.doi.org/10.4324/9780429340147-35.

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Visi, Federico, Esther Coorevits, Rodrigo Schramm et Eduardo R. Miranda. « Analysis of Mimed Violin Performance Movements of Neophytes ». Dans Music, Mind, and Embodiment, 88–108. Cham : Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-46282-0_6.

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McIntyre, Joanne. « Music Therapy ». Dans Longer-Term Psychiatric Inpatient Care for Adolescents, 107–14. Singapore : Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-1950-3_12.

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AbstractThe Walker Unit is one of only a few adolescent inpatient units in Australia to include a Registered Music Therapist on the Allied Health team. The Walker Unit has a music room equipped with guitars, ukuleles, a keyboard, a drum kit, African drums, a cello and a violin. Music therapy sessions are conducted with individuals, patient groups and families. Empirical evidence supporting the benefits of Music Therapy in this setting is limited, however we have observed that creating music in a containing environment enhances self-awareness, stimulates verbalization and facilitates relaxation.
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Wrzeciono, Piotr, et Krzysztof Marasek. « Violin Sound Quality : Expert Judgements and Objective Measurements ». Dans Advances in Music Information Retrieval, 237–60. Berlin, Heidelberg : Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11674-2_11.

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Rasamimanana, Nicolas H., Emmanuel Fléty et Frédéric Bevilacqua. « Gesture Analysis of Violin Bow Strokes ». Dans Lecture Notes in Computer Science, 145–55. Berlin, Heidelberg : Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11678816_17.

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Fyk, Janina. « Intonational protention in the performance of melodic octaves on the violin ». Dans Music, Gestalt, and Computing, 421–30. Berlin, Heidelberg : Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/bfb0034130.

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Yu, Lauren Jane, et Andrea Pohoreckyj Danyluk. « Predicting Expressive Bow Controls for Violin and Viola ». Dans Computational Intelligence in Music, Sound, Art and Design, 354–70. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55750-2_24.

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Cook, Perry R. « Computer Music ». Dans Springer Handbook of Acoustics, 747–78. New York, NY : Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4939-0755-7_17.

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Cook, Perry. « Computer Music ». Dans Springer Handbook of Acoustics, 713–42. New York, NY : Springer New York, 2007. http://dx.doi.org/10.1007/978-0-387-30425-0_17.

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Actes de conférences sur le sujet "Computer and violin music"

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Zhao, Guoming. « The Study on the Performance Characteristics of the Violin Tone in the Computer Music ». Dans 2015 International Conference on Education Technology, Management and Humanities Science (ETMHS 2015). Paris, France : Atlantis Press, 2015. http://dx.doi.org/10.2991/etmhs-15.2015.11.

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Silva, Eduardo Santos, Giordano Ribeiro Eulalio Cabral et Rodrigo Mendes de Carvalho Pereira. « A preliminary study of Augmented Musical Instruments for Study (AMIS) using research through design ». Dans Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19438.

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The emergence of Digital Musical Instruments (DMIs) in the computer music field has been providing new means of interaction with music performances. Particularly, with the advancements in the Internet of Things (IoT) area, there has been an increase in augmented musical instruments containing LEDs within their own bodies to support music learning. These instruments can help musicians by having the capabilities to display musical notes, chords and scales. This research uses research through design to present a preliminary study of some of the challenges related to the design of these instruments and attempts to provide some insights associated with their usability and development, particularly related to the development of an augmented acoustic guitar, the VioLED, developed alongside the company Daccord Music. The system provides three modes of operation: song mode, solo/improvising mode and animation mode. The preliminary results present challenges and obstacles pertinent to usability and development of these instruments identified in different iterations of design. These challenges are associated with areas such hardware-software co-design, usability, latency/jitter, energy consumption, etc.
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Jie, Wei, Jonathan Boo, Ye Wang et Alex Loscos. « A Violin Music Transcriber for Personalized Learning ». Dans 2006 IEEE International Conference on Multimedia and Expo. IEEE, 2006. http://dx.doi.org/10.1109/icme.2006.262644.

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Barbancho, Isabel, Cristina de la Bandera, Ana M. Barbancho et Lorenzo J. Tardon. « Transcription and expressiveness detection system for violin music ». Dans ICASSP 2009 - 2009 IEEE International Conference on Acoustics, Speech and Signal Processing. IEEE, 2009. http://dx.doi.org/10.1109/icassp.2009.4959552.

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Yokoyama, Masao, et Yuya Ishigaki. « Identification of violin timbre by neural network using acoustic features ». Dans Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001659.

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Lowery, Seth, et Andrew Piacsek. « A tool for quantifying the uncertainty measurements of violin impact response ». Dans Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001675.

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« Emotion Recognition of Violin Music based on Strings Music Theory for Mascot Robot System ». Dans 9th International Conference on Informatics in Control, Automation and Robotics. SciTePress - Science and and Technology Publications, 2012. http://dx.doi.org/10.5220/0003991500050014.

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Volta, Erica, et Gualtiero Volpe. « Automated Analysis of Postural and Movement Qualities of Violin Players ». Dans 2019 International Workshop on Multilayer Music Representation and Processing (MMRP). IEEE, 2019. http://dx.doi.org/10.1109/mmrp.2019.00018.

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Volta, Erica, et Gualtiero Volpe. « Automated Analysis of Postural and Movement Qualities of Violin Players ». Dans 2019 International Workshop on Multilayer Music Representation and Processing (MMRP). IEEE, 2019. http://dx.doi.org/10.1109/mmrp.2019.8665374.

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« Chinese Reform and Practice of Violin Playing Teaching in Music Colleges ». Dans 2018 1st International Conference on Education, Art, Management and Social Sciences. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/eamss.2018.025.

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Rapports d'organisations sur le sujet "Computer and violin music"

1

Möllenkamp, Andreas. Paradigms of Music Software Development. Staatliches Institut für Musikforschung, décembre 2014. http://dx.doi.org/10.25366/2022.99.

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On the way to a more comprehensive and integrative historiography of music software, this paper proposes a survey of the main paradigms of music software development from the 1950s to the present. Concentrating on applications for music composition, production and performance, the analysis focusses on the concept and design of the human-computer-interaction as well as the implicit user.
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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn et Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], juillet 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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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, octobre 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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