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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.
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This study will prove the fact that computers provide unprecedented opportunities to create music. Several distinct levels of computer participation can exist in the creative process. The lowest level, involving record-keeping functions, results in programs that serve as compositional aids. The intermediate level incorporates stochastic (literally "random") processes on a limited basis, and represents the midpoint between computer-assisted and computercomposed works. The highest level focuses on the design of algorithms that result in compositions determined in most of their details by stochastic processes and computer decision making. Although there is no clear dividing line between levels of computer/composer interaction, it is possible to characterize the degree to which the computer has provided outcomes for a given work, from low-level random generation of pitches to high-level Markovian chain distributions.Department of Computer Science
2
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.
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This submission explores the development of collaborative computer music creation and the role of the Musical Assistant, or Computer Music Designer, or Live Electronics Designer, or RIM (Réalisateur en informatique musicale) and does so primarily through the consideration of a series of collaborations with composers over the last 18 years. The submission documents and evaluates a number of projects which exemplify my practice within collaborative computer music creation, whether in the form of live electronics, tape-based or fixed media work, as a live electronics performer, or working with composers and others to create original tools and music for artistic creations. A selection of works is presented to exemplify archetypes found within the relational structures of collaborative work. The relatively recent development of this activity as an independent metier is located within its historical context, a context in which my work has played a significant role. The submission evidences the innovative aspects of that work and, more generally, of the role of the Computer Music Designer through consideration of a number of Max patches and program examples especially created for the works under discussion. Finally, the validation of the role of the Computer Music Designer as a new entity within the world of music creation is explored in a range of contexts, demonstrating the ways in which Computer Music Designers not only collaborate in the creation of new work but also generate new resources for computer-based music and new creative paradigms.
3
Yu, ChÅ ng. "Computer generated music composition". Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/10901.
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Frisk, 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.
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Phelps, James D. (James Dee). "Computer Simulacra". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331100/.
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Computer Simulacra is a musical work composed for amplified instrumental ensemble and computer instruments on tape. It is a computer-assisted work, composed with the help of a stochastic compositional algorithm, called PTERIO, designed by the composer.
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Stubenvoll, 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.
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Britton, Sam. "Towards hypertextual music : digital audio, deconstruction and computer music creation". Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14949.
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This is a study of the way in which digital audio and a number of key associated technologies that rely on it as a framework have changed the creation, production and dissemination of music, as witnessed by my own creative practice. The study is built on my own work as an electronic musician and composer and draws from numerous collaborations with not only other musicians but also researchers and artists, as documented through commissions, performances, academic papers and commercial releases over an 9 year period from 2007 to 2016. I begin by contextualising my own musical practice and outlining some prominent themes associated with the democratisation of computing that the work of this thesis interrogates as a critical framework for the production of musical works. I go on to assess how works using various techniques afforded by digital audio may be interpreted as progressively instantiating a digital ontology of music. In the context of this digital ontology of music I propose a method of analysis and criticism of works explicitly concerned with audio analysis and algorithmic processes based on my interpretation of the concept of `hypertext', wherein the ability for computers to analyse, index and create multi-dimensional, non-linear links between segments of digital audio is best described as hypertextual. In light of this, I contextualise the merits of this reading of music created using these affordances of digital audio through a reading of several key works of 20th century music from a hypertextual perspective, emphasising the role information theory and semiotics have to play in analyses of these works. I proffer this as the beginnings of a useful model for musical composition in the domain of digital audio which I seek to explore through my own practice. I then describe and analyse, both individually and in parallel numerous works I have undertaken that seek to interrogate the intricacies of what it means to work in the domain of digital audio with audio analysis, machine listening, algorithmic and generative computational processes and consider the ways in which aspects of this work might be seen as contributing useful and novel insights into music creation by harnessing properties intrinsic to digital audio as a medium. Finally, I emphasise, based on the music and research presented in the thesis, the extent to which digital audio and the harnessing of increasingly complex computational systems for the production and dissemination of music has changed the ontology of music production, a situation which I interpret as creating both substantial challenges, but also great possibilities for the future of music.
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Page, Stephen Dowland. "Computer tools for music information retrieval". Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293399.
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Albright, Larry E. (Larry Eugene). "Computer Realization of Human Music Cognition". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330819/.
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This study models the human process of music cognition on the digital computer. The definition of music cognition is derived from the work in music cognition done by the researchers Carol Krumhansl and Edward Kessler, and by Mari Jones, as well as from the music theories of Heinrich Schenker.
The computer implementation functions in three stages. First, it translates a musical "performance" in the form of MIDI (Musical Instrument Digital Interface) messages into LISP structures.
Second, the various parameters of the performance are examined separately a la Jones's joint accent structure, quantified according to psychological findings, and adjusted to a common scale. The findings of Krumhansl and Kessler are used to evaluate the consonance of each note with respect to the key of the piece and with respect to the immediately sounding harmony.
This process yields a multidimensional set of points, each of which is a cognitive evaluation of a single musical event within the context of the piece of music within which it occurred. This set of points forms a metric space in multi-dimensional Euclidean space. The third phase of the analysis maps the set of points into a topology-preserving data structure for a Schenkerian-like middleground structural analysis.
This process yields a hierarchical stratification of all the musical events (notes) in a piece of music. It has been applied to several pieces of music with surprising results. In each case, the analysis obtained very closely resembles a structural analysis which would be supplied by a human theorist.
The results obtained invite us to take another look at the representation of knowledge and perception from another perspective, that of a set of points in a topological space, and to ask if such a representation might not be useful in other domains. It also leads us to ask if such a representation might not be useful in combination with the more traditional rule-based representations by helping to eliminate unwanted levels of detail in a cognitive-perceptual system.
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Prechtl, Anthony. "Adaptive music generation for computer games". Thesis, Open University, 2016. http://oro.open.ac.uk/45340/.
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This dissertation explores a novel approach to game music that addresses the limitations of conventional game music systems in supporting a dynamically changing narrative. In the proposed approach, the music is generated automatically based on a set of variable input parameters corresponding to emotional musical features. These are then tied to narrative parameters in the game, so that the features and emotions of the music are perceived to continuously adapt to the game's changing narrative. To investigate this approach, an algorithmic music generator was developed which outputs a stream of chords based on several input parameters. The parameters control different aspects of the music, including the transition matrix of a Markov model used to stochastically generate the chords, and can be adjusted continuously in real time. A tense first-person game was then configured to control the generator's input parameters to reflect the changing tension of its narrative---for example, as the narrative tension of the game increases, the generated music becomes more dissonant and the tempo increases. The approach was empirically evaluated primarily by having participants play the game under a variety of conditions, comparing them along several subjective dimensions. The participants' skin conductance was also recorded. The results indicate that the condition with the dynamically varied music described above was both rated and felt as the most tense and exciting, and, for participants who said they enjoy horror games and films, also rated as the most preferable and fun. Another study with music experts then demonstrated that the proposed approach produced smoother musical transitions than crossfades, the approach conventionally used in computer games. Overall, the findings suggest that dynamic music can have a significant positive impact on game experiences, and that generating it algorithmically based on emotional musical features is a viable and effective approach.
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Ghisi, Daniele. "Music across music : towards a corpus-based, interactive computer-aided composition". Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066561/document.
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Le traitement de musique existante pour en construire de nouvelle est une caractéristique fondamentale de la tradition musicale occidentale. Cette thèse propose et discute mon approche personnelle au sujet : l'emprunt de fragments de musique à partir de grands corpus (contenant des échantillons audio ainsi que des partitions symboliques) afin de créer une palette de grains organisée par descripteurs de bas niveau. Les paramètres sont gérés par des partitions numériques hybrides. Cette thèse présente également la bibliothèque "dada", qui fournit au logiciel Max la possibilité d'organiser, de sélectionner et de générer du contenu musical grâce à un ensemble d'interfaces graphiques manifestant une approche exploratoire à la composition. Ses modules abordent, entre autre, la visualisation de bases de données, la segmentation et l'analyse des partitions, la synthèse concaténative, la génération musicale à travers la modélisation physique ou géométrique, la synthèse "wave-terrain", l'exploration de graphes, les automates cellulaires, l'intelligence distribuée et les jeux vidéo. Pour terminer, cette thèse traite de la question de savoir si la représentation classique de la musique, démêlée dans l'ensemble standard des paramètres traditionnels, est optimale. Deux alternatives possibles aux décompositions orthogonales sont présentées : des représentations de partitions fondées sur les "grains", qui héritent les techniques de la composition basée sur corpus, et des modèles d'apprentissage automatique non supervisés, fournissant représentations de la musique "agnostiques". La thèse détaille aussi ma première expérience d'écriture collaborative au sein du collectif /nu/thingThe 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
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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.
Texto completo da fonteResumo:
Le traitement de musique existante pour en construire de nouvelle est une caractéristique fondamentale de la tradition musicale occidentale. Cette thèse propose et discute mon approche personnelle au sujet : l'emprunt de fragments de musique à partir de grands corpus (contenant des échantillons audio ainsi que des partitions symboliques) afin de créer une palette de grains organisée par descripteurs de bas niveau. Les paramètres sont gérés par des partitions numériques hybrides. Cette thèse présente également la bibliothèque "dada", qui fournit au logiciel Max la possibilité d'organiser, de sélectionner et de générer du contenu musical grâce à un ensemble d'interfaces graphiques manifestant une approche exploratoire à la composition. Ses modules abordent, entre autre, la visualisation de bases de données, la segmentation et l'analyse des partitions, la synthèse concaténative, la génération musicale à travers la modélisation physique ou géométrique, la synthèse "wave-terrain", l'exploration de graphes, les automates cellulaires, l'intelligence distribuée et les jeux vidéo. Pour terminer, cette thèse traite de la question de savoir si la représentation classique de la musique, démêlée dans l'ensemble standard des paramètres traditionnels, est optimale. Deux alternatives possibles aux décompositions orthogonales sont présentées : des représentations de partitions fondées sur les "grains", qui héritent les techniques de la composition basée sur corpus, et des modèles d'apprentissage automatique non supervisés, fournissant représentations de la musique "agnostiques". La thèse détaille aussi ma première expérience d'écriture collaborative au sein du collectif /nu/thingThe 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
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Mendes, Barbosa Álvaro Manuel. "Computer-suported cooperative work for music applications". Doctoral thesis, Universitat Pompeu Fabra, 2006. http://hdl.handle.net/10803/7536.
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Aquesta tesi recull la recerca al voltant de les pràctiques musicals mitjançant xarxes d'ordinadors realitzada al Grup de Tecnologia Musical de la Universitat Pompeu Fabra a Barcelona entre l'any 2001 i el 2005. Parteix del treball dut a terme durant la última dècada dins del camp del Treball Cooperatiu amb Ordinadors (Computer-Supported Cooperative Work, CSCW) el qual aporta els mecanismes de col·laboració els quals, des de un punt de vista musical, poden ser estudiats en diversos escenaris: composició, interpretació, improvisació i educació.La 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.
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Nash, Chris. "Supporting virtuosity and flow in computer music". Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/244047.
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As we begin to realise the sonic and expressive potential of the computer, HCI researchers face the challenge of designing rewarding and accessible user experiences that enable individuals to explore complex creative domains such as music. In performance-based music systems such as sequencers, a disjunction exists between the musician’s specialist skill with performance hardware and the generic usability techniques applied in the design of the software. The creative process is not only fragmented across multiple physical (and virtual) devices, but divided across creativity and productivity phases separated by the act of recording. Integrating psychologies of expertise and intrinsic motivation, this thesis proposes a design shift from usability to virtuosity, using theories of “flow” (Csikszentmihalyi, 1996) and feedback “liveness” (Tanimoto, 1990) to identify factors that facilitate learning and creativity in digital notations and interfaces, leading to a set of design heuristics to support virtuosity in notation use. Using the cognitive dimensions of notations framework (Green, 1996), models of the creative user experience are developed, working towards a theoretical framework for HCI in music systems, and specifically computer-aided composition. Extensive analytical methods are used to look at corollaries of virtuosity and flow in real-world computer music interaction, notably in soundtracking, a software-based composing environment offering a rapid edit-audition feedback cycle, enabled by the user’s skill in manipulating the text-based notation (and program) through the computer keyboard. The interaction and development of more than 1,000 sequencer and tracker users was recorded over a period of 2 years, to investigate the nature and development of skill and technique, look for evidence of flow experiences, and establish the use and role of both visual and musical feedback in music software. Quantitative analyses of interaction data are supplemented with a detailed video study of a professional tracker composer, and a user survey that draws on psychometric methods to evaluate flow experiences in the use of digital music notations, such as sequencers and trackers. Empirical findings broadly support the proposed design heuristics, and enable the development of further models of liveness and flow in notation use. Implications for UI design are discussed in the context of existing music systems, and supporting digitally-mediated creativity in other domains based on notation use.
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Chatham, Rick 1962. "Constellations: For Wind Ensemble and Computer Music". Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc1038771/.
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Constellations is a single movement work that explores the color between acoustic instruments and computer generated sounds. It is scored for four flutes (two doubling on piccolos), two oboes, two bassoons, eight B-flat clarinets, two bass B-flat clarinets; two alto saxophones, tenor saxophone, baritone saxophone; four trumpets in B-flat, four horns in F; three trombones, bass trombone; two tubas;piano; six percussionists; and contrabass. The duration of the work is nine minutes and twenty-eight seconds. Mapping of stellar constellations provide the primary material for all pitch and harmonic progressions throughout the work. Software synthesis and digital sampling techniques coalesce to produce the computer music on tape.
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Lindqvist, 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.
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We investigate the modelling of polyphonic “tracker music” using deep neural networks. Tracker music is a music storage format invented in the late 1980s for use on that time’s home computers and is often used for storing synthesized electronic music. Tracker music differs significantly from other music formats and has properties that makes it both harder and easier to use for training neural networks than other formats. This makes it interesting to explore what methods are most suitable for extracting musical information from the format. As far as we know, we are the first to explore how to use tracker music for music generation. We design a method for turning tracker music into sequential data usable for training neural networks. The sequential nature of the data means that musically unaware sequence models can be used for training. The method is general and can be applied to other kinds of symbolic music. We then compile a dataset of about 20 000 freely available instrumental songs in the tracker format MOD, downloaded from the website The Mod Archive. We use the dataset to train several different sequence models, including a Long Short-Term Memory (LSTM) network and a Transformer model. We evaluate the models using a sequence completion task and we investigate the statistical properties of the output. We also conduct a listener study involving some 100 participants to determine how often music generated by the models is preferred over human-composed music. The listener study’s result indicates that music generated by the models trained on the dataset is sometimes competitive with music composed by humans. We conclude that neural networks for music generation can be trained using tracker music using our proposed conversion method, but that it is cumbersone. Due to how the tracker music format is constructed it is significantly more difficult to get musical information out of it than we initially thought.Vi 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.
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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.
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Verity, 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.
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McCormack, 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.
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Pearce, 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.
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Keup, Jessica Faith. "Computer Music Composition using Crowdsourcing and Genetic Algorithms". NSUWorks, 2011. http://nsuworks.nova.edu/gscis_etd/197.
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When genetic algorithms (GA) are used to produce music, the results are limited by a fitness bottleneck problem. To create effective music, the GA needs to be thoroughly trained by humans, but this takes extensive time and effort. Applying online collective intelligence or "crowdsourcing" to train a musical GA is one approach to solve the fitness bottleneck problem. The hypothesis was that when music was created by a GA trained by a crowdsourced group and music was created by a GA trained by a small group, the crowdsourced music would be more effective and musically sound. When a group of reviewers and composers evaluated the music, the crowdsourced songs scored slightly higher overall than the songs from the small-group songs, but with the small number of evaluators, the difference was not statistically significant.
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Fick, Jason. "Transfantasies for Flauto Traverso, Computer Music, and Dance". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271813/.
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TransFantasies is an interdisciplinary composition for Baroque flute (flauto traverso), computer music, and dance. A crucial component of the work is an interactive hardware and software environment that provides the opportunity for the players to shape aspects of the work during the performance. This essay discusses the influences that inspired the work and presents an in-depth analysis of notable elements of the composition. Primary issues include compositional models for gesture-based composition, historical performance practices, interactivity, and relationships between music and dance. The final component of the essay details the software component designed to create the composition. It also discusses music technology in current practice and its role in this particular work. At its core, TransFantasies is concerned with those moments where computer-influenced decisions and human behaviors collide.
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Chen, Daniel. "Computer improvisation of jazz solos /". Online version of thesis, 1992. http://hdl.handle.net/1850/11088.
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Collins, 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.
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This thesis will describe a set of interactive systems developed for a range of musical styles and instruments, all of which attempt to participate in a concert by means of audio signal analysis alone. Machine listening, being the simulation of human peripheral auditory abilities, and the hypothetical modelling of central auditory and cognitive processes, is utilised in these systems to track musical activity. Whereas much of this modelling is inspired by a bid to emulate human abilities, strategies diverging from plausible human physiological mechanisms are often employed, leading to matching capabilities which exceed or differ from the human counterparts. Technology is described which detects events from an audio stream, further analysing the discovered events (typically notes) for perceptual features of loudness, pitch, attack time and timbre. In order to exploit processes that underlie common musical practice, beat tracking is investigated, allowing the inference of metrical structure which can act as a co-ordinative framework for interaction. Psychological experiments into human judgement of perceptual attack time and beat tracking to ecologically valid stimuli clarify the parameters and constructs that should most appropriately be instantiated in the computational systems. All the technology produced is intended for the demanding environment of realtime concert use. In particular, an algorithmic audio splicing and analysis library called BBCut2 is described, designed with appropriate processing and scheduling facilities for realtime operation. Proceeding to outlines of compositional applications, novel interactive music systems are introduced which have been tested in real concerts. These are evaluated by interviews with the musicians who performed with them, and an assessment of their claims to agency in the sense of ‘autonomous agents’. The thesis closes by considering all that has been built, and the possibilities for future advances allied to artificial intelligence and signal processing technology.
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Fredericks, Pamela R. "Music & the creative imagination /". Online version of thesis, 1993. http://hdl.handle.net/1850/12145.
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Elezovic, 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.
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Echoes is an interactive composition for amplified chamber ensemble and computer. The entire research that led to this piece was based on the exploration of the evolution of the sound produced initially by the acoustic instruments and then interpreted by the computer. Why "Echoes"?As 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.
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Price, Lee Scott. "Ocean of Forms: for Soprano and Computer". Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115141/.
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Ocean of Forms is a cycle of five songs for solo soprano voice and electronic/computer music accompaniment on poems by noted Bengali poet, musician, philosopher, and author Rabindranath Tagore. This work approaches the song cycle as a vehicle for expressing and highlighting the poet's words. Word and syllabic stress, text painting, melodic development, and formal structure all function in relation to the text and its meaning. the replacement of the traditional piano accompaniment with electronic accompaniment provides further possibilities for new timbral structures and transformations, expressive microtonal intonation, algorithmic and aleatoric formal structures, acousmatic and spatialized sound, and a broad sonic palette. This work strives to provide a more fully developed expression of the text as afforded by these expanded musical means. the critical essay primarily explores the interaction between text and music in the work. the first chapter explores the historical precedents for the genre of the song cycle and other texted music as well as specific influences on the work. the following chapters explore the connections between the text and the vocal line and electronic/computer music, respectively. the final chapter deals with the formal structure of the work, especially the justly-tuned harmonic scheme and its relation to the text.
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Malouf, Frederick Leroy. "A system for interactive music composition through computer graphics". Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/424876.
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Software development for both compositional systems and computer graphics has been extensive in the computer music field. Compositional systems employ different techniques in supporting the global strategies of composers, and they require alphanumeric input. Programs in computer graphics have been concerned primarily with the representation of common music notation. A System for Interactive Music Composition Through Computer Graphics was developed to provide a composer with an interactive, compositional, graphics environment.Musical constructs are not depicted in the system through common music notation, but through line-segment graphs. Since music is a temporal art, any musical parameter can be represented as a function of time. The process of visually/aurally perceiving structure is enhanced by using graphs instead of strings or tables of numbers as traditionally used in computer music. There are also no notational restrictions on frequency and rhythm like those encountered with common music notation. The system provides a way for the composer to organize the large amount of data needed in computer music composition.There are visual transformations in computer graphics which correlate to aural transformations in music. Algorithms for translation, scaling, and rotation support the musical transformations of transposition, augmentation, diminution, inversion, retrograde, and retrograde-inversion. The windowing algorithm is used throughout the system for inserting and extracting structures. This algorithm is also used in editing a portion of a structure in which that section is displayed on the graph for a finer level of detail. Structures can be created through entering points interactively, generating transformations of an existing structure, realizing a statistical distribution, or extracting a section from an existing structure. Editing possibilities include inserting or deleting points, lines, and curves, inserting one structure within another, or generating transformations of one structure within each line segment of another. These options help make the system both efficient and flexible.When the composer becomes familiar with the system, a large amount of data can be generated in a short time. It is a very powerful tool for organizing and manipulating musical constructs. The system can be used with relative ease by beginning as well as advanced composers.
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Tseng, 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/.
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Inspired by Chinese poems, the overall characteristics of the work reflect the assimilation of several non-Western musical and philosophical influences such as the use of pentatonic scale patterns, the principle of embellishing a single note, and the application of the I-Ching in dealing with active instrumental passages over a long-sustained computer music drone. Traditional Western compositional techniques such as aleatory counterpoint, serialism, and moment form are also employed in the treatment of thematic material, developmental processes and formal design.
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Sum, 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.
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Comajuncosas, Josep M. "Assessing creativity in computer music ensembles: a computational approach". Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/359392.
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Over the last decade Laptop Orchestras and Mobile Ensembles have proliferated.
As a result, a large body of research has arisen on infrastructure, evaluation, design
principles and compositional methodologies for Computer Music Ensembles
(CME).
However, little has been addressed and very little is known about the challenges
and opportunities provided by CMEs for creativity in musical performance.
Therefore, one of the most common issues CMEs have to deal with is the lack of
a systematic approach to handle the implications of the performative paradigms
they seek to explore, in terms of their creative constraints and affordances.
This is the challenging goal this thesis addresses, and for attaining so it first
seeks to find a common ground in the strategies developed for assessing creativity
in different performative setups, for later proposing an informed pathway for
performative engagement in CMEs.
Our research combines an exploratory stage and an experimental stage. The
exploratory stage was informed by out artistic praxis with our own CME, the
Barcelona Laptop Orchestra. Through the study of the multi-user instruments developed
over the past years, we identified the creative constraints and affordances
provided by different performative paradigms. Informed by the findings provided
by our artistic research, the experimental stage addressed the study of musical
creativity through the performance analysis on specifically designed multi-user
instruments. For such purpose we proposed a novel computational methodology
to evaluate the creative content of a musical performance.
Two experiments were conducted to incorporate our computational methodology
into ecologically valid scenarios, aimed at a better understanding of the
relationship between topologies of interdependence and creative outcome. For
both experiments, we captured performance data from ensemble improvisations,
from where the creativity metrics were then computed. As a preliminary step,
we investigated the performative engagement and sharing of musical ideations in
an ensemble scenario. In a further step, we computed the creativity attributes to
comparatively evaluate performances under different scenarios.
The findings provided quantitative evidence of the differences between musical
creativity in individual, ensemble and interdependent scenarios. Additionally,
the findings point out what strategies performers adopt to best keep their own musical
voice in interdependence scenarios, and what novel creative behaviors may
be promoted through new topologies of interdependence. Our findings shed light
on the nature of performers’ creative behavior with interdependent multi-user instruments,
and show that the introduced methodology can have applications in the
broader context of analysis of creativity in musical performance.Durant 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.
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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.
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Farbood, Morwaread Mary. "Hyperscore : a new approach to interactive, computer-generated music". Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/61122.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.Includes 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.
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Schüler, Nico. "On Methods and Methodology of (Computer-Assisted) Music Analysis". Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36660.
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Lockhart, Adam. "A Pattern Oriented Data Structure for Interactive Computer Music". Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68002/.
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This essay describes a pattern oriented data structure, or PODS, as a system for storing computer music data. It organizes input by sequences or patterns that recur, while extensively interlinking the data. The interlinking process emulates cognitive models, while the pattern processing draws specifically from music cognition. The project aims at creating open source external objects for the Max/MSP software environment. The computer code for this project is in the C and Objective-C computer programming languages.
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Barbosa, Alvaro. "Displaced soundscapes computer supported cooperative work for music applications". Saarbrücken VDM Verlag Dr. Müller, 2006. http://d-nb.info/991339223/04.
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Zaccagnino, Gianluca. "Computer Music Algorithms. Bio-inspired and Artificial Intelligence Applications". Doctoral thesis, Universita degli studi di Salerno, 2017. http://hdl.handle.net/10556/2564.
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2014 - 2015Music 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.
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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/.
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Streeter, 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/.
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This thesis describes the investigation and testing of a prototype music therapy practice evaluation system: Music Therapy Logbook, Prototype 1. Such a system is intended to be used by music therapists as an aid to their existing evaluation techniques. The investigation of user needs, the multi-disciplinary team work, the pre-field and field recording tests, and the computational music analysis tests are each presented in turn, preceded by an in depth literature review on historical and existing music therapy evaluation methods. A final chapter presents investigative design work for proposed user interface software pages for the Music Therapy Logbook system. Four surveys are presented (n = 6, n = 10, n = 44, n =125). These gathered information on current music therapy evaluation methods, therapists‘ suggested functions for the system, and therapists‘ attitudes towards using the proposed automatic and semi-automatic music therapy evaluation functions, some of which were tested during the research period. The results indicate enthusiasm for using the system to; record individual music therapy sessions, create written notes linked to recordings and undertake automatic and/or semi-automatic computer aided music therapy analysis; the main purpose of which is to quantify changes in a therapist‘s and patient‘s use of music over time, (Streeter, 2010). Simulated music therapy improvisations were recorded and analysed. The system was then used by a music therapist working in a neuro-disability unit, to record individual therapy sessions with patients with acquired brain injuries. These recordings constitute the first music therapy audio recordings employing multi-track audio recording techniques, using existing radio microphone technology. The computational music analysis tests applied to the recordings are the first such tests to be applied to recordings of music therapy sessions in which an individual patient played acoustic, rather than MIDI, instruments. The findings prove it is possible to gather objective evidence of changes in a patient‘s and therapist‘s use of music over time, using the Music Therapy Logbook Prototype 1 system.
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Sun, 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.
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Welch, 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/.
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Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics in Rameaux and Nature Morte and an acoustic quintet (flute, viola, percussion, piano and harp) in Moiré. These additions reframe the original works by introducing new harmonic, timbral, and formal connections and possibilities. The compositional process of Three Pieces relies on the notion of Germinal Elements, which are defined as the set of limited, distinct, and indivisible materials used in the creation of the work. Though Germinal Elements are indivisible, they undergo a type of developmental process through expansion and contraction, which is an increase or a decrease in the range or scope of any musical parameter (time, pitch, density, dynamic, duration, etc.) or set of parameters. Analysis of this cycle of works reveals a variety of recombinations of four GE's as well as processes of expansion and contraction applied to multiple parameters of each GE to generate formal relationships within and between works. Two electronics systems, the delay/harmonizer instrument and the live performance system are described both in technical and musical terms with specific examples given to show how the electronics influence and expand both the surface material and the formal structure of the work.
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Morgan, 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/.
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Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation.
The present research details the development of a compact spatialization system using a MAX patch controlling a Kurzweil K2500 sampler. This system supports real-time diffusion of up to six simultaneous sound files over eight loudspeakers while incorporating intensity panning, Doppler shifts, delays and filtering. The MAX patch allows composers to choose from several automatic sound spatialization trajectories or to use the mouse to draw and store their own trajectories for later playback. The piece,
Circumfusion, is an eighteen-minute composition of electroacoustic music utilizing this spatialization system.
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Yang, Fan M. Eng Massachusetts Institute of Technology. "Adaptive music recommendation system". Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/61584.
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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.Cataloged 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.
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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/.
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Cenotaph is a work of fifteen minutes duration for solo tape realized on the Synclavier Digital Music System at the Center for Experimental Music and Intermedia. All of the sound materials in the work consist of resynthesized timbres derived from the analysis of digital recordings of seven different human voices, each speaking the last name of one of the Challenger astronauts. The work's harmonic resources are derived in a unique way involving partitioning of the octave by powers of the Golden Section. The work is in a single movement divided into three sections which function as prologue, action, and epilogue, respectively. This formal structure is reinforced by differentiation of harmonicmaterials and texture. Although Cenotaph cannot be performed "live" and exists only as a recording, a graphic score is included to assist analysis and study.
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Mott, 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.
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Villani, 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.
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Thesis (D.M.A.)--Boston UniversityThe 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.
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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.
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My thesis aims to critically examine three methods in the current state of Computer Music Analysis. I will concentrate on Music Information Retrieval, Optimization, and Machine Learning. My goal is to describe and critically analyze each method, then examine the intersection of all three. I will start by looking at David Temperley’s The Cognition of Basic Musical Structures (2001) which offers an outline of major accomplishments before the turn of the 21st century. This outline will provide a method of organization for a large portion of the thesis. I will conclude by explaining the most recent developments in terms of the three methods cited. Following trends in these developments, I can hypothesize the direction of the field.
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del, 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.
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The purpose of this project is to create a game audio engine based on procedural audio. I designed an audio engine in the visual programming language Max/MSP that I call High Score. High Score receives data from a game that I designed in the game development program Unity3D. The data that it receives controls an algorithmic composition that serves as the musical score of the game as well as several processes that synthesize various sound effects in the game. This approach to game audio proves to be very flexible and offers new aesthetic possibilities for game music and sound design.
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McNutt, 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.
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Thesis (D.M.A.--Music)--University of California, San Diego, 2000.Vita. 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).
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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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First part for bass flute with b-foot, and computer; 2nd part for metal percussion (vibraphone, glockenspiel, crotales) and computer; 3rd part for clarinet (in A and B-flat) and computer. Includes specifications for computer. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).