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Tibbetts, Tracey D. "Computer generated music : a methodology for computer music composition". Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1125059.
Pełny tekst źródłaDepartment of Computer Science
Faia-Harrison, Carl. "Collaborative computer music composition and the emergence of the computer music designer". Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/11917.
Pełny tekst źródłaYu, ChÅ ng. "Computer generated music composition". Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/10901.
Pełny tekst źródłaFrisk, Henrik. "Improvisation, computers and interaction : rethinking human-computer interaction through music /". Malmö : Malmö Academy of Music, Lund University, 2008. http://www.lu.se/o.o.i.s?id=12588&postid=1239899.
Pełny tekst źródłaPhelps, James D. (James Dee). "Computer Simulacra". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331100/.
Pełny tekst źródłaStubenvoll, Matthias. "Musiklernen am Computer : zur Qualität von Musik-Lernsoftware und ihrer empirischen Überprüfung /". Essen : Verl. Die Blaue Eule, 2008. http://d-nb.info/990141454/04.
Pełny tekst źródłaBritton, Sam. "Towards hypertextual music : digital audio, deconstruction and computer music creation". Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14949.
Pełny tekst źródłaPage, Stephen Dowland. "Computer tools for music information retrieval". Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293399.
Pełny tekst źródłaAlbright, Larry E. (Larry Eugene). "Computer Realization of Human Music Cognition". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330819/.
Pełny tekst źródłaPrechtl, Anthony. "Adaptive music generation for computer games". Thesis, Open University, 2016. http://oro.open.ac.uk/45340/.
Pełny tekst źródłaGhisi, Daniele. "Music across music : towards a corpus-based, interactive computer-aided composition". Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066561/document.
Pełny tekst źródłaThe reworking of existing music in order to build new one is a quintessential characteristic of the Western musical tradition. This thesis proposes and discusses my personal approach to the subject: the borrowing of music fragments from large-scale corpora (containing audio samples as well as symbolic scores) in order to build a low-level, descriptor-based palette of grains. Parameters are handled via digital hybrid scores, in order to equip corpus-based composition with the control of notational practices. This thesis also introduces the dada library, providing Max with the ability to organize, select and generate musical content via a set of graphical interfaces manifesting an exploratory approach towards music composition. Its modules address a range of scenarios, including, but not limited to, database visualization, score segmentation and analysis, concatenative synthesis, music generation via physical or geometrical modelling, wave terrain synthesis, graph exploration, cellular automata, swarm intelligence, and videogames. The library is open-source and it fosters a performative approach to computer-aided composition. Finally, this thesis addresses the issue of whether classical representation of music, disentangled in the standard set of traditional parameters, is optimal. Two possible alternatives to orthogonal decompositions are presented: grain-based score representations, inheriting techniques from corpus-based composition, and unsupervised machine learning models, providing entangled, `agnostic' representations of music. The thesis also details my first experience of collaborative writing within the /nu/thing collective
Ghisi, Daniele. "Music across music : towards a corpus-based, interactive computer-aided composition". Electronic Thesis or Diss., Paris 6, 2017. http://www.theses.fr/2017PA066561.
Pełny tekst źródłaThe reworking of existing music in order to build new one is a quintessential characteristic of the Western musical tradition. This thesis proposes and discusses my personal approach to the subject: the borrowing of music fragments from large-scale corpora (containing audio samples as well as symbolic scores) in order to build a low-level, descriptor-based palette of grains. Parameters are handled via digital hybrid scores, in order to equip corpus-based composition with the control of notational practices. This thesis also introduces the dada library, providing Max with the ability to organize, select and generate musical content via a set of graphical interfaces manifesting an exploratory approach towards music composition. Its modules address a range of scenarios, including, but not limited to, database visualization, score segmentation and analysis, concatenative synthesis, music generation via physical or geometrical modelling, wave terrain synthesis, graph exploration, cellular automata, swarm intelligence, and videogames. The library is open-source and it fosters a performative approach to computer-aided composition. Finally, this thesis addresses the issue of whether classical representation of music, disentangled in the standard set of traditional parameters, is optimal. Two possible alternatives to orthogonal decompositions are presented: grain-based score representations, inheriting techniques from corpus-based composition, and unsupervised machine learning models, providing entangled, `agnostic' representations of music. The thesis also details my first experience of collaborative writing within the /nu/thing collective
Mendes, Barbosa Álvaro Manuel. "Computer-suported cooperative work for music applications". Doctoral thesis, Universitat Pompeu Fabra, 2006. http://hdl.handle.net/10803/7536.
Pełny tekst źródłaLa primera contribució d'aquest treball és un anàlisi exhaustiu i una classificació sistemàtica del Treball Cooperatiu amb Ordinadors per Aplicacions Musicals. Aquest anàlisi es va centrar en la identificació de propostes innovadores, models i aplicacions, amb un especial èmfasi en la natura compartida de la comunicació mitjançant internet. El concepte d'Entorns Sonors Compartits va ser presentat i implementat en una aplicació prototip anomenada Public Sound Objects (PSOs).
La segona gran contribució d'aquesta tesi consisteix en l'estudi del possibles mètodes per reduir les interrupcions degudes als retards inherents en la comunicació musical entre xarxes molt allunyades. A partir de l'experimentació i avaluació al laboratori les tècniques Network Latency Adaptive Tempo i Individual Delayed Feed-Back van ser definides i implementades dins del prototip PSOs.
Al llarg del desenvolupament del PSOs es van haver de resoldre altres problemes, com per exemple, el disseny d'interfícies en funció del comportament per a aplicacions amb interfícies desacoblades, la superació dels diversos sistemes de seguretat de les xarxes informàtiques i les possibilitats d'escalabilitat de diverses aplicacions d'àudio per a web.
Durant l'elaboració d'aquesta tesi es van discutir diferents perspectives per resoldre problemes relacionats amb la pràctica musical mitjançant ordinadors, aplicant diferents punts de vista provinents de l'estudi psicosocial dels processos de col·laboració musical al món de la informàtica i de la tecnologia musical.
This dissertation derives from research on musical practices mediated by computer networks conducted from 2001 to 2005 in the Music Technology Group of the Pompeu Fabra University in Barcelona, Spain. It departs from work carried out over the last decades in the field of Computer-Supported Cooperative Work (CSCW), which provides us with collaborative communication mechanisms that can be regarded from a music perspective in diverse scenarios: Composition, Performance, Improvisation or Education.
The first contribution originated from this research work is an extensive survey and systematic classification of Computer-Supported Cooperative Work for Music Applications. This survey led to the identification of innovative approaches, models and applications, with special emphasis on the shared nature of geographically displaced communication over the Internet. The notion of a Shared Sonic Environments was introduced and implemented in a proof-of-concept application entitled Public Sound Objects (PSOs).
A second major contribution of this dissertation concerns methods that reduce the disrupting effect of network latency in musical communication over long distance networks. From laboratorial experimentation and evaluation, the techniques of Network Latency Adaptive Tempo and Individual Delayed Feed-Back were proposed and implemented in the PSOs prototype.
Over the course of the PSOs development other relevant and inspirational issues were addressed, such as, behavioral-driven interface design applied to interface decoupled applications, the overcome of network technology security features and system scalability for various applications in audio web services.
Throughout this dissertation conceptual perspectives of related issues to computer-mediated musical practices dissertation were widely discussed, conveying different standpoints ranging from a Psycho-Social study of collaborative music processes to the Computer Science and Music Technology point of view.
Nash, Chris. "Supporting virtuosity and flow in computer music". Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/244047.
Pełny tekst źródłaChatham, Rick 1962. "Constellations: For Wind Ensemble and Computer Music". Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc1038771/.
Pełny tekst źródłaLindqvist, Björn. "Music generation using tracker music and machine learning". Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-302573.
Pełny tekst źródłaVi undersöker hur man bäst använder sig av trackermusik för att träna neurala nätverk till att generera polyfonisk musik. Trackermusik kan sägas både vara en speciell instrumental musikgenre och ett speciellt musikformat. Formatet som skiljer sig markant från exempelvis MIDI och MP3 har en del egenskaper som gör det svårare och andra som gör det lättare att träna neurala nätverk med det än med jämförbara musikformat. Därför är det intressant att utforska vilka metoder som är bäst att använda för att utvinna musikinformation ur formatet. Så vitt vi vet har ämnet inte utforskats tidigare och vårt utforskande av det är vår uppsats centrala bidrag till forskningen kring musikgenerering med neurala nätverk. I uppsatsen föreslår vi en metod som konverterar trackermusik till ett sekventiellt format som är lämpligt att använda för att träna neurala nätverk. Vi demonstrerar också att metoden fungerar i praktiken genom att träna ett antal neurala nätverk med en samling på cirka 20 000 instrumentala sånger i trackermusiklagringsformatet MOD som vi sedan utvärderar. Utvärderingen består bland annat i en lyssnarstudie. Resultatet av den visar att den musik som genereras av tre neurala nätverk som vi tränar med trackermusiksamlingen ibland föredras av lyssnare över musik skapad av människor. Vi drar slutsatsen att musikgenererande neurala nätverk kan tränas med hjälp av trackermusik med vår föreslagna konverteringsmetod, men att det är bökigt. På grund av hur trackermusik är uppbyggt och organiserat är det betydligt svårare än vad vi inledningsvis trodde att utvinna musikinformation ur det.
Fang, Meng-Tieh Saint-Saëns Camille Saint-Saëns Camille Saint-Saëns Camille. "Colors of the music /". Online version of thesis, 2009. http://hdl.handle.net/1850/10840.
Pełny tekst źródłaVerity, Adrian. "A computer aided music therapy analysis system : CAMTAS". Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425732.
Pełny tekst źródłaMcCormack, Michelle Mary. "The design and evaluation of computer music interfaces". Thesis, City University London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339694.
Pełny tekst źródłaPearce, Alastair T. P. "MAP : a computer program for music information retrieval". Thesis, King's College London (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264938.
Pełny tekst źródłaKeup, Jessica Faith. "Computer Music Composition using Crowdsourcing and Genetic Algorithms". NSUWorks, 2011. http://nsuworks.nova.edu/gscis_etd/197.
Pełny tekst źródłaFick, Jason. "Transfantasies for Flauto Traverso, Computer Music, and Dance". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271813/.
Pełny tekst źródłaChen, Daniel. "Computer improvisation of jazz solos /". Online version of thesis, 1992. http://hdl.handle.net/1850/11088.
Pełny tekst źródłaCollins, N. M. "Towards autonomous agents for live computer music : realtime machine listening and interactive music systems". Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597873.
Pełny tekst źródłaFredericks, Pamela R. "Music & the creative imagination /". Online version of thesis, 1993. http://hdl.handle.net/1850/12145.
Pełny tekst źródłaElezovic, Ivan. "Echoes : [for] tenor, chamber ensemble & computer". Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33369.
Pełny tekst źródłaAs a sonic phenomenon the echo has several fairly distinct dimensions. These are commonly understood to include the following: the repetition of a sound by reflection of sound waves from a surface; any repetition or imitation of words, style or ideas; the sympathetic sound response; and, in music, a soft repetition of a phrase. Note that these standard definitions include the figurative dimensions, as in the 'imitation of style or ideas.' This is no coincidence, since I am very much intrigued by the idea of a computer first imitating the actual instrument and then expanding that instrument's possibilities far beyond its timbre.
Price, Lee Scott. "Ocean of Forms: for Soprano and Computer". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115141/.
Pełny tekst źródłaMalouf, Frederick Leroy. "A system for interactive music composition through computer graphics". Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/424876.
Pełny tekst źródłaTseng, Yu-Chung 1960. "Five Soundscapes for Acoustic Instruments and Taped Computer Music". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935784/.
Pełny tekst źródłaSum, Ka Yi Kelly. "Musical compositions exploring real-time human-computer interaction with acoustic instruments". HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/887.
Pełny tekst źródłaComajuncosas, Josep M. "Assessing creativity in computer music ensembles: a computational approach". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/359392.
Pełny tekst źródłaDurant la darrera d`ecada les Laptop Orchestras i els Mobile Ensembles han proliferat arreu. Com a conseq¨u`encia d’aix`o, ha aparegut un volum considerable de recerca al voltant de la infraestructura, l’avaluaci´o, els principis de disseny i les metodologies composicionals per ensembles de computadors (CMEs). Tanmateix, poc coneixem dels reptes i oportunitats que els CMEs ens ofereixen respecte de la creativitat en la pr`actica musical. En conseq¨u`encia, un dels reptes que la majoria de CMEs han d’encarar ´es la manca d’una estrat`egia sistem` atica per preveure i abordar les implicacions dels paradigmes performatius a explorar, respecte de les seves limitacions i possibilitats creatives. Aquest ´es el repte que adrecem en aquesta tesi, i per assolir-lo primer tractem d’establir un denominador com´u en les estrat`egies desenvolupades per avaluar la creativitat en diversos entorns performatius, per despr´es proposar un itinerari que permeti assolir una adequada involucraci´o creativa en els CMEs. La nostra recerca ha combinat una fase explorat`oria i una d’experimental. La fase explorat`oria s’ha fonamentat en la praxi art´ıstica duta a terme en el nostre propi CME, la Barcelona Laptop Orchestra. A trav´es de l’estudi dels instruments multi-usuari desenvolupats durant els darrers anys, hem identificat les potencialitats i restriccions presents en diversos paradigmes performatius. Basats en els resultats de la nostra recerca art´ıstica, la fase experimental s’ha centrat en l’estudi de la creativitat musical a trav´es de l’an`alisi interpretatiu en instruments multiusuari desenvolupats a tal efecte. A tal fi, hem proposat una nova metodologia computacional per avaluar el contingut creatiu d’una execuci´o musical. Hem dut a terme dos experiments incorporant la nostra m`etrica en escenaris realistes, a fi de comprendre millor la relaci´o entre topologies d’interdepend`encia i resultat creatiu. Per ambd´os experiments, hem recollit informaci´o d’improvisacions en grup, d’on hem calculat les m`etriques de creativitat. Com a pas previ, hem investigat en grau d’involucraci´o i la compartici´o d’ideacions musicals en escenaris col lectius. Tot seguit, hem calculat els atributs de creativitat per comparar execucions musicals en diferents escenaris. Els resultats proporcionen una evid`encia quantitativa de la difer`encia entre la creativitat musical en escenaris d’execuci´o musical individual, en grup i interdependent. Addicionalment, ens il lustren quines estrat`egies adopten els m´usics per mantenir la seva pr`opia individualitat musical en escenaris d’interdepend`encia, i quins nous comportaments creatius podem promoure a trav´es de noves topologies d’interdepend`encia. Els resultats obtinguts aporten nova llum en la natura del comportament creatiu dels m´usics amb instruments multi-usuari interdependents, i mostren que la metodologia presentada pot tenir aplicacions en el context m´es ampli de l’an`alisi de la creativitat musical en l’execuci´o musical.
Tuffen, John Anthony. "Load distribution within a heterogeneous multiprocessor computer music system". Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242117.
Pełny tekst źródłaFarbood, Morwaread Mary. "Hyperscore : a new approach to interactive, computer-generated music". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/61122.
Pełny tekst źródłaIncludes bibliographical references (leaves 78-81).
This thesis discusses the design and implementation of Hyperscore, a computer-assisted composition system intended for users of all musical backgrounds. Hyperscore presents a unique graphical interface which takes input in the form of freehand drawing. The strokes in the drawing are mapped to structural and gestural elements in the music, allowing the user to describe the large scale-structure of a piece visually. Hyperscore's graphical notation also enables the depiction of musical ideas on a detailed level. Additional annotations around a main curve indicate the placement and emphasis of selected motives. These motives are short melodic fragments that are either composed by the user or selected from a set of pre-composed material. Changing qualitative aspects of the annotations such as texture and shape let the user alter different musical parameters. The ultimate goal of Hyperscore is to provide an intuitive, interactive graphical environment for creating and editing compositions.
by Mary Farbood.
S.M.
Schüler, Nico. "On Methods and Methodology of (Computer-Assisted) Music Analysis". Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36660.
Pełny tekst źródłaLockhart, Adam. "A Pattern Oriented Data Structure for Interactive Computer Music". Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68002/.
Pełny tekst źródłaBarbosa, Alvaro. "Displaced soundscapes computer supported cooperative work for music applications". Saarbrücken VDM Verlag Dr. Müller, 2006. http://d-nb.info/991339223/04.
Pełny tekst źródłaZaccagnino, Gianluca. "Computer Music Algorithms. Bio-inspired and Artificial Intelligence Applications". Doctoral thesis, Universita degli studi di Salerno, 2017. http://hdl.handle.net/10556/2564.
Pełny tekst źródłaMusic is one of the arts that have most benefited from the invention of computers. Originally, the term Computer Music was used in the scientific community to identify the application of information technology in music composition. It began over time to include the theory and application of new or existing technologies in music, such as sound synthesis, sound design, acoustic, psychoacoustic. Thanks to its interdisciplinary nature, Computer Music can be seen as the encounter of different disciplines. In the last years technology has redefined the way individuals can work, communicate, share experiences, constructively debate, and actively participate to any aspect of the daily life, ranging from business to education, from political and intellectual to social, and also in music activity, such as play music, compose music and so on. In this new context, Computer Music has become an emerging research area for the application of Computational Intelligence techniques, such as machine learning, pattern recognition, bio-inspired algorithms and so on. My research activity is concerned with the Bio-inspired and Artificial Intelligence Applications in the Computer Music. Some of the problems I addressed are summarized in the following. Automatic composition of background music for games, films and other human activities: EvoBackMusic. Systems for real-time composition of background music respond to changes of the environment by generating music that matches the current state of the environment and/or of the user. We propose one such a system that we call EvoBackMusic. It is a multiagent system that exploits a feed-forward neural network and a multi-objective genetic algorithm to produce background music. The neural network is trained to learn the preferences of the user and such preferences are exploited by the genetic algorithm to compose the music. The composition process takes into account a set of controllers that describe several aspects of the environment, like the dynamism of both the user and the 2 context, other physical characteristics, and the emotional state of the user. Previous system mainly focus on the emotional aspect. Publications: • Roberto De Prisco, Delfina Malandrino, Gianluca Zaccagnino, Rocco Zaccagnino: ‘‘An Evolutionary Composer for Real-Time Background Music’’. EvoMUSART 2016: 135-151. Interaction modalities for music performances: MarcoSmiles. In this field we considered new interaction modalities during music performances by using hands without the support of a real musical instrument. Exploiting natural user interfaces (NUI), initially conceived for the game market, it is possible to enhance the traditional modalities of interaction when accessing to technology, build new forms of interactions by transporting users in a virtual dimension, but that fully reflects the reality, and finally, improve the overall perceived experience. The increasing popularity of these innovative interfaces involved their adoption in other fields, including Computer Music. We propose a system, named MarcoSmiles, specifically designed to allow individuals to perform music in an easy, innovative, and personalized way. The idea is to design new interaction modalities during music performances by using hands without the support of a real musical instrument. We exploited Artificial Neural Networks to customize the virtual musical instrument, to provide the information for the mapping of the hands configurations into musical notes and, finally, to train and test these configurations. We performed several tests to study the behavior of the system and its efficacy in terms of learning capabilities. Publications: • Roberto De Prisco, Delfina Malandrino, Gianluca Zaccagnino, Rocco Zaccagnino: ‘‘Natural Users Interfaces to support and enhance Real-Time Music Performance’’. AVI 2016. 3 Bio-inspired approach for automatic music composition Here we describe a new bio-inspired approach for automatic music composition in a specific style: Music Splicing System. Splicing systems were introduced by Tom Head (1987) as a formal model of a recombination process between DNA molecules. The existing literature on splicing systems mainly focuses on the computational power of these systems and on the properties of the generated languages; very few applications based on splicing systems have been introduced. We show a novel application of splicing systems to build an automatic music composer. As a result of a performance study we proved that our composer outperforms other meta-heuristics by producing better music according to a specific measure of quality evaluation, and this proved that the proposed system can be seen also as a new valid bio-inspired strategy for automatic music composition. Publications: ▪ Clelia De Felice, Roberto De Prisco, Delfina Malandrino, Gianluca Zaccagnino, Rocco Zaccagnino, Rosalba Zizza: ‘‘Splicing Music Composition’’. Information Sciences Journal, 385: 196 – 215 (2017). ▪ Clelia De Felice, Roberto De Prisco, Delfina Malandrino, Gianluca Zaccagnino, Rocco Zaccagnino, Rosalba Zizza: ‘‘Chorale Music Splicing System: An Algorithmic Music Composer Inspired by Molecular Splicing’’. EvoMusart 2015: 50 – 61. Music and Visualization Here we describe new approaches for learning of harmonic and melodic rules of classic music, by using visualization techniques: VisualMelody and VisualHarmony. Experienced musicians have the ability to understand the structural elements of music compositions. Such an ability is built over time through the study of music theory, the understanding of rules that guide the composition of music, and through countless hours of practice. The learning process is hard, especially for classical music, where the rigidity of the music structures and styles requires great effort to understand, assimilate, and then master the learned notions. In particular, we focused our attention on a specific type of music compositions, namely, music in chorale style (4-voice music). Composing such type of music 4 is often perceived as a difficult task, because of the rules the composer has to adhere to. In this paper we propose a visualization technique that can help people lacking a strong knowledge of music theory. The technique exploits graphic elements to draw the attention on the possible errors in the composition. We then developed two interactive systems, named VisualMelody and VisualHarmony, that employ the proposed visualization techniques to facilitate the understanding of the structure of music compositions. The aim is to allow people to make 4-voice music composition in a quick and effective way, i.e., avoiding errors, as dictated by classical music theory rules. Publications: ▪ Roberto De Prisco, Delfina Malandrino, Donato Pirozzi, Gianluca Zaccagnino, Rocco Zaccagnino: ‘‘Understanding the structure of music compositions: is visualization an effective approach?’’ Information Visualization Journal, 2016. (DOI): 10.1177/1473871616655468 • Delfina Malandrino, Donato Pirozzi, Gianluca Zaccagnino, Rocco Zaccagnino: ‘‘A Color-Based Visualization Approach to Understand Harmonic Structures of Musical Compositions’’. IV 2015: 56-61. • Delfina Malandrino, Donato Pirozzi, Gianluca Zaccagnino, Rocco Zaccagnino: ‘‘Visual Approaches for Harmonic Analysis of 4-part Music: Implementation and Evaluation’’. Major revision – Journal of Visual Languages and Computing, 2016. [edited by Author]
XIV n.s.
Pearson, Mark. "Synthesis of organic sounds for electroacoustic music : cellular models and the TAO computer music program". Thesis, University of York, 1996. http://etheses.whiterose.ac.uk/10899/.
Pełny tekst źródłaStreeter, Elaine. "Computer-aided music therapy evaluation : investigating and testing the music therapy logbook prototype 1 system". Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1201/.
Pełny tekst źródłaSun, Derjen Jeney. "Teaching young children compositional concepts to enhance music learning in a computer learning environment". Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244216827.
Pełny tekst źródłaWelch, Chapman. "Three Pieces for Musicians and Computer: Rameaux, Nature Morte, Moiré". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9723/.
Pełny tekst źródłaMorgan, Christopher R. (Christopher Robert). "Circumfusion: a Composition for Real-Time Computer Music Spatialization System". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277632/.
Pełny tekst źródłaYang, Fan M. Eng Massachusetts Institute of Technology. "Adaptive music recommendation system". Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/61584.
Pełny tekst źródłaCataloged from PDF version of thesis.
Includes bibliographical references (p. 61-63).
While sources of digital music are getting more abundant and music players are becoming increasingly feature-rich, we still struggle to find new music that we may like. This thesis explores the design and implementation of the MusicPlanner - a music recommendation application that utilizes a goal-oriented framework to recommend and play music. Goal-oriented programming approaches problems by modeling them using Goals, Techniques, and a Planner. The Goals are representations of a user's intent, while the Techniques are the methods that can be used to satisfy the Goals. The Planner connects the Goals and Techniques in a user-defined way to find solutions to user's requests. In the MusicPlanner, the Planner defines the top level Goal of recommending music, which can be satisfied by a set of recommendation Techniques. Each of the recommendation Techniques then declares the sub-Goal of playing music, which can be satisfied by a set of play Techniques. The Planner evaluates each of the Techniques and iterates through the results to choose the best set of Techniques to satisfy the top-level goal of music recommendation. The MusicPlanner allows the user to create personal music stations and for each station, constructs a model of user's music taste based on queries and feedback to the songs played. The extensible design of the architecture and the ease of implementing the MusicPlanner show how goal-oriented framework can simplify the work for programmers. In evaluating the performance of the MusicPlanner, we demonstrate that the Planner in the goal-oriented framework outperforms each individual recommendation Technique.
by Fan Yang.
M.Eng.
Rogers, Rowell S. (Rowell Seldon). "Cenotaph: A Composition for Computer-Generated Sound". Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331070/.
Pełny tekst źródłaMott, Ryan. "Music in motion : the synthesis of album design and motion graphics for downloadable music /". Online version of thesis, 2009. http://hdl.handle.net/1850/10942.
Pełny tekst źródłaVillani, A. David Jr. "An appraisal of the use of computer music notation software among selected high school music teachers". Thesis, Boston University, 2014. https://hdl.handle.net/2144/11076.
Pełny tekst źródłaThe use and availability of computer software in support of music composition developed dramatically during the latter part ofthe twentieth century. As technology advanced, so did the ability to compose, notate, and edit music using computer software. The use of notation software has impacted music education. Many high school music educators have implemented music notation software into their music courses. The purpose of the present study was to gain a greater understanding of the practice of high school music teachers who use music notation software in their music classrooms. The specific research questions guiding this project were: (a) How do the high school music teachers in this study describe their experiences with music notation software in the music curriculum? (b) What do the high school music teachers in this study believe students learn through the use of music notation software? (c) How does using music notation software influence the teaching practices of the high school music teachers in this study? This was a collective (multiple) case study investigating how three high school music teachers at three different schools used music notation software in their curricula. I (a) observed and audio recorded music technology classroom instruction, (b) took field notes, and (c) conducted personal interviews over the course of one nine-week high school marking period. Each participant was observed and interviewed three times. The interviews were audio recorded and field notes were taken during each observation. A system of coding was employed to organize the data into categories for analysis. Member checking, triangulation of data sources, bias clarification, peer briefing, and an external audit were used as measures of trustworthiness. Findings ofthe study indicated that music teachers used notation software primarily for teaching students music composition, theory, and ear training. The findings also revealed that music teachers observed in the study preferred the use of music notation software over traditional means ofteaching and noted an increase in its pedagogical value in the classroom. Additionally, the results of the study showed that music teachers observed an increase in student classroom engagement and adaptability when using music notation software.
Persaud, Felicia Nafeeza. "In Search of Computer Music Analysis: Music Information Retrieval, Optimization, and Machine Learning from 2000-2016". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38007.
Pełny tekst źródładel, Toro Brian. "Using Procedural Audio to Control an Algorithmic Composition that is Controlled by a Computer Game". FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/894.
Pełny tekst źródłaMcNutt, Elizabeth. "Pipe wrench : a recording of music for flute and computer /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p3001271.
Pełny tekst źródłaVita. Thesis consists of a document exploring "the issues of performing and recording music that uses technology" and a recording project. Five pieces of music for flute and computer technology were involved in the recording project: The twittering machine by Andrew May; Music for Flute and Computer by Cort Lippe; The Blistering Price of Power by Eric Lyon; Interact I by Barry Moon; and Jupiter by Philippe Manoury. Duration of acc. tapes: 58:05. "Selective discography" of works for flute and interactive electronics, and of works for flute and electronics on tape (leaves 54-55). Includes bibliographical references (leaves 58-61).
Welch, Chapman. "Three pieces for musicians and computer Rameaux, Nature morte, Moiré /". connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9723.
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