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Статті в журналах з теми "Computer tool for generating musical compositions"
1
Spiegel, Laurie. "Graphical GROOVE: memorial for the VAMPIRE, a visual music system." Organised Sound 3, no. 3 (December 1998): 187–91. http://dx.doi.org/10.1017/s1355771898003021.
Повний текст джерелаАнотація:
Once upon a time there was a computer music system called GROOVE (Generating Realtime Operations On Voltage-controlled Equipment, Bell Telephone Laboratories, Murray Hill, New Jersey) which outputted in the realm of sound, and was a wonderful and still-unique tool for the composition thereof. At that time a then-young composer who was using GROOVE for music got the harebrained idea that if she made a few minor changes here and there she could use it to compose images as well. This she did in 1974-6, and though the untimely demise of the system prevented creation of much documentation in the form of aesthetic works of its output, the system did function sufficiently to make some description worthwhile. While it is true that the mid-1960s DDP-224 computer on which GROOVE became a VAMPIRE (Video And Music Program for Interactive Realtime Exploration/Experimentation) was a massive room-sized computer, it has by now long been eclipsed in power by the constantly improving home computer. It is worth describing the concepts involved in part because there are by now many small computers capable of emulating its musical methods. Besides, I had a deep personal relationship with that computer, and wish to commemorate it. Here then follows the tale of Graphical GROOVE, aka the VAMPIRE.
2
Neuman, Israel. "Generative Tools for Interactive Composition: Real-Time Musical Structures Based on Schaeffer's TARTYP and on Klumpenhouwer Networks." Computer Music Journal 38, no. 2 (June 2014): 63–77. http://dx.doi.org/10.1162/comj_a_00240.
Повний текст джерелаАнотація:
Interactive computer music is comparable to improvisation because it includes elements of real-time composition performed by the computer. This process of real-time composition often incorporates stochastic techniques that remap a predetermined fundamental structure to a surface of sound processing. The hierarchical structure is used to pose restrictions on the stochastic processes, but, in most cases, the hierarchical structure in itself is not created in real time. This article describes how existing musical analysis methods can be converted into generative compositional tools that allow composers to generate musical structures in real time. It proposes a compositional method based on generative grammars derived from Pierre Schaeffer's TARTYP, and describes the development of a compositional tool for real-time generation of Klumpenhouwer networks. The approach is based on the intersection of musical ideas with fundamental concepts in computer science including generative grammars, predicate logic, concepts of structural representation, and various methods of categorization.
3
THYWISSEN, KURT. "GeNotator: an environment for exploring the application of evolutionary techniques in computer-assisted composition." Organised Sound 4, no. 2 (June 1999): 127–33. http://dx.doi.org/10.1017/s1355771899002095.
Повний текст джерелаАнотація:
A computer-assisted composition tool for investigating the application of evolutionary techniques in the composition of music is presented. The nature of such an application is examined in terms of defining the possible mechanisms that provide a means for automated creativity. These mechanisms take inspiration from processes found in Darwinian-based evolution theory, genetic algorithm theory and similar aesthetically based uses of a genetic search heuristic in the visual arts. A formal model of ‘musical evolution’ is proposed, with particular emphasis placed on the ways in which a genetic algorithm can be used to effectively manipulate a variety of compositional structures within a hierarchical and generative grammar-based model of musical composition. The result is a prototype Windows MIDI application called GeNotator that allows composers to experiment with a range of musical structures by interactively ‘evolving’ them through a familiar and comprehensive graphical user interface.
4
Döbereiner, Luc. "Between the Abstract and the Concrete: A Constraint-Based Approach to Navigating Instrumental Space." Computer Music Journal 43, no. 1 (January 2020): 8–20. http://dx.doi.org/10.1162/comj_a_00497.
Повний текст джерелаАнотація:
This article deals with a way that algorithmic composition systems can be informed by material realities of musical performance. After a general discussion of the relation of abstract algorithms to concrete materiality, the article focuses on the idea of an instrument's space of possibilities. It briefly discusses a number of compositional approaches that seek to derive musical structure from bodily movements and from the physical properties of instruments. The last part describes a new open-source JavaScript library called OboeJS and a Web application based on this library. The system is an experimental exploration of the idea of instrumental space and an attempt to bring together abstract algorithmic processing and the concrete possibilities of a musical instrument. The system implements a flexible constraint-based search algorithm for the generation of oboe fingering sequences. This tool is presented as part of a wider approach to algorithmic composition that aims not to map data output of generative procedures to “sound generators” (e.g., performers, instruments, sound synthesis processes). Instead, I propose to derive structure from the space of possibilities of the instrument itself, which in this case is the oboe.
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Siphocly, Nermin Naguib J., El-Sayed M. El-Horbaty, and Abdel-Badeeh M. Salem. "Intelligent Technique for Automating the Conversion between Major and Minor Melodies." Future Computing and Informatics Journal 4, no. 2 (September 29, 2020): 67–78. http://dx.doi.org/10.54623/fue.fcij.4.2.2.
Повний текст джерелаАнотація:
Nowadays, computers are extremely beneficial to music composers. Computer music generation tools are developed for aiding composers in producing satisfying musical pieces. The automation of music composition tasks is a challenging research point, specially to the field of Artificial Intelligence. Converting melodies that are played on a major scale to minor (or vice versa) is interesting to both composers and music listeners. Newly converted melodies of famous songs, either from major to minor or the opposite, are becoming blockbusters on the social media. In this paper we propose an intelligent method for automating the conversion between major and minor melodies using Artificial Intelligence techniques. We run our experiments on melodies in the MIDI format which is a standard music format enabling the communication between computers and various musical devices. We also propose a smart method for musical scale detection for the input melodies. Scale detection is a critical step for correctly converting between major and minor melodies. Additionally, this step is also important as a pre-processing step in various other music retrieval or transformation applications.
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Coulembier, Klaas. "ELLIOTT CARTER'S STRUCTURAL POLYRHYTHMS IN THE 1970S: ‘A MIRROR ON WHICH TO DWELL’." Tempo 66, no. 261 (July 2012): 12–25. http://dx.doi.org/10.1017/s004029821200023x.
Повний текст джерелаАнотація:
AbstractLarge-scale polyrhythms appear in almost every composition Elliott Carter wrote during the 1980s. The roots of this technique can be found in earlier compositions where Carter deliberately combined different simultaneous speeds not only at the musical surface, but also at a deeper, structural level. In A Mirror on which to dwell (1975), he already uses this compositional tool as a form-generating feature. Through the analysis of three songs from this cycle (Anaphora, Insomnia and O Breath), it is shown how the appearance of structural polyrhythms at the musical surface is meticulously organized through pitch organization, instrumentation and the relation with text. The double function of the polyrhythm – as a surface phenomenon and a background structure – is essential for the understanding of this composition. It also shows the difference with Carter's later use of the same technique in the 1980s, where large-scale or structural polyrhythms are more of a constructional nature and remain invisible in the musical score.
7
De Prisco, Roberto, Delfina Malandrino, Donato Pirozzi, Gianluca Zaccagnino, and Rocco Zaccagnino. "Understanding the structure of musical compositions: Is visualization an effective approach?" Information Visualization 16, no. 2 (July 25, 2016): 139–52. http://dx.doi.org/10.1177/1473871616655468.
Повний текст джерелаАнотація:
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 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 (four-voice music). Composing such type of music is often perceived as a difficult task because of the rules the composer has to adhere to. In this article, 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 an interactive system, named VisualMelody, that employs the proposed visualization technique to facilitate the understanding of the structure of music compositions. The aim is to allow people to make four-voice music composition in a quick and effective way, that is, avoiding errors, as dictated by classical music theory rules. We have involved 40 people in testing VisualMelody in order to analyze its effectiveness, its usability, and the overall user satisfaction. We partitioned the people involved in the evaluation study into two groups evenly splitting the musical expertise. Then, we had one group use VisualMelody without the visualization facilities and the other using the tool enhanced with our visualization. On average, people in the group that used our visualization were 60% faster and produced music with less errors.
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Gentilucci, Marta, Luc Ardaillon, and Marco Liuni. "Composing Vocal Distortion: A Tool for Real-Time Generation of Roughness." Computer Music Journal 42, no. 4 (May 2019): 26–40. http://dx.doi.org/10.1162/comj_a_00485.
Повний текст джерелаАнотація:
This article presents the results of collaboration between a composer and researchers in the context of vocal roughness and composing for voice. Our research focused on parametric control of distortion. Specifically, we present a software device that supports the manipulation and control of vocal roughness in real time, using a method based on amplitude modulation and filtering. The compositional interest in working with classically trained opera singers and with vocal distortion led us to initiate research in the signal-processing domain. Our goal was to develop a tool that could facilitate the production of distorted sounds without direct effort on the part of the singer. In this way, the singer can perform a nondistorted or lightly distorted sound, and the software tool will generate or magnify the distortion in real time.
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Dean, Roger T., and Freya Bailes. "‘Human understanding’ in imagining and organising sound: some implications of John Locke's Essay for ecological, cognitive and embodied approaches to composition." Organised Sound 12, no. 1 (April 2007): 89–95. http://dx.doi.org/10.1017/s1355771807001616.
Повний текст джерелаАнотація:
AbstractWe discuss John Locke's ideas in his essay of 1690 on sound and its cognition and relation to bodily motion. The ideas have interesting implications for the construction of organised sound. We argue that our ecological and statistical experience of sounds in our natural (and man-made) environment is in several respects critical for our choices as soundsmiths and our impressions as listeners. Sonic repetition, both sensory and imag(in)ed, contributes to that environment. Input sounds may be ‘coupled’ to output sounds; and in some cases the physical processes generating sound and the cognitive processes of receiving them are joined. As music technologists we may think of the computer, our sonic vehicle, as a joined bodily sonic-prosthesis. ‘Simple’ sonic ideas may associate with each other through shared biological bases, and become tools for creation of ‘complex’ ideas, as Locke cogitates. Furthermore, we now have new routes towards such complex sounds, including our computer prostheses.
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Hendrich, Paweł, and Krzysztof Stefański. "Paweł Hendrich’s Emergent Sound System." Musicology Today 12, no. 1 (December 1, 2015): 116–26. http://dx.doi.org/10.1515/muso-2015-0012.
Повний текст джерелаАнотація:
Abstract Paweł Hendrich’s compositions can be compared to macrocrystals - solids composed of numerous small and identical elements, constructed in accordance with a strict pattern. Importantly, the same internal crystal structure can produce forms highly diversified with regard to external shape. Similarly, this composer’s works are very precisely structured already on the level of individual sounds, but this structure is only a tool for the creation of very clear musical macroforms. The idea of emergence - of new values resulting from the combination of simple elements - is of key importance to this composer. The paper presents the principles of organising music material in the works of Paweł Hendrich. These are, among others: periodicity, multilayered structures, permutations and flexibility. These ideas are reflected in the musical work in many dimensions, both on the level of microand macro-structure. Their application exerts a major impact on the forms created by the composer. With the development of his musical language, the composer transforms his initial material more and more radically. Simple elements and processes that underlie the construction of his works become progressively more and more difficult to reconstruct, largely due to the application of a computer in the composition process. A comprehensive look at Paweł Hendrich’s entire output of compositions proves that his work is emergent as a whole. With each new piece, a new element is added, but all of them form a coherent system. No wonder, then, that one of the composer’s works bears the telling title of Emergon.
Дисертації з теми "Computer tool for generating musical compositions"
1
Гаврілов, Владислав Сергійович. "Система прогнозування музичних композицій методами машинного навчання". Master's thesis, КПІ ім. Ігоря Сікорського, 2021. https://ela.kpi.ua/handle/123456789/46611.
Повний текст джерелаАнотація:
Магістерська дисертація: 81 с., 35 рис., 20 табл., 1 дод., 10 джерел. .
Об’єкт дослідження – є створення комп’ютерного засобу, що дозволяє
автоматично генерувати реалістичні музичні композиції. В ході роботи було
проведено аналіз існуючих методів та підходів до рішення цієї задачі. З усіх
проаналізованих були обрані ті, що дають найбільш реалістичні результати та
можуть бути реалізовані з використанням доступних обчислювальних ресурсів.
Предмет дослідження – нейромережева система, що дозволяє генерувати
нову музику на основі поданих композицій, враховуючи тривалість звучання нот
та паузи між ними.
Мета роботи – генерувати мелодії певного жанру та стилю для подальшого
їх використання в любительских проектах, де розробники не мають можливості
чи фінансів для створення власних чи покупки існуючих
Для демонстрації було згенеровано декілька композицій. Вони дозволяють
оцінити переваги та недоліки використаного методу.
У ході роботи було проаналізовано існуючі рішення даної задачі, що дало
нам змогу обрати найкращий метод та спробувати вдосконалити його.Master’s thesis explanatory note: 81 p., 35 fig., 20 tables, 1 appendixes, 10 sources. The object of the research is to create a computer tool that allows you to automatically generate realistic music compositions. In the course of the work an analysis of existing methods and approaches to solve this problem was carried out. Out of all analyzed were selected the most realistic results and can be implemented using available computing resources. The subject of the research is a neural network system that allows to generate new music based on submitted compositions, taking into account the duration of the sound of the notes and the pauses between them. The purpose of the work is to generate tunes of a certain genre and style for further use in amateur projects, where developers do not have the ability or finances to create their own or buy existing ones. Several compositions were generated for demonstration purposes. They allow you to evaluate the advantages and disadvantages of the method used. In the course of the work, existing solutions to this problem were analyzed, which allowed us to choose the best method and try to improve it.