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Algorithmic Music Composition with computers (in real and non-real time) has had many approaches. It can be viewed from different points of view: scientific, technological, artistic or philosophical. In this paper the author introduces three projects developed between 1990 and 2000 in Havana, during his time as a professor, researcher and composer at the University of Arts of Cuba. He also exposes...
This paper presents a novel method for the estimation of beat interval from audio files. As a first step, a feature extracted from the waveform is used to identify note onsets. The estimated note onsets are used as input to a beat induction algorithm, where the most probable beat interval is found. Several enhancements over existing beat estimation systems are proposed in this work, including methods...
Musical Archive Information System (MAIS) is an integration of many research efforts developed at computer music laboratory of University of Milan. It is a system to organize, manage and utilize information of a heterogeneous set of music source material. Unstructured information is retrieved by non-traditional queries such as humming or playing of a melody (content queries). This work is a development...
In the oral traditional cultures of Central Africa, the rules which underline the musical system are rarely verbalised: abstract concepts like “scale”, “degree” or “interval”, are not just non-verbalised, they are practically unverbalisable. Thus the study of musical scales requires the use of interactive experimental methods. For two years, a research-team leaded by Simha Arom (in collaboration with...
High-Level music descriptors are key ingredients for music information retrieval systems. Although there is a long tradition in extracting information from acoustic signals, the field of music information extraction is largely heuristic in nature. We present here a heuristic-based generic approach for extracting automatically high-level music descriptors from acoustic signals. This approach is based...
Computer sequencers generally control other digital musical instruments. This paper discusses our particular interest in playing the sequencers themselves as digital musical instruments. We present our ensemble’s approach to live sequencer-based performance, supporting multiple musicians coordinating activities through one central control system. We then review a number of promising software technologies...
Sound synthesis can be considered as a tool to characterize a musical performance together with the performer himself. Indeed, the association of real-time synthesis algorithms based on an accurate description of the physical behavior of the instrument and its control parameters, and gestures capture devices the output parameters of which can be recorded simultaneously with the synthesised sound,...
This paper describes our approach for editing PSID files. PSID is a sound format that allows the original Commodore 64 synthesizer music to be played on modern computers and thus conserves a music subculture of the eighties. So far, editing PSID files required working directly with Commodore 64 machine language. The paper gives a small overview of sound synthesis with the Commodore 64, argues why...
The GMEM (National Center for Musical Creation) has created an integrated microsound synthesis system called GMU (“GMEM Microsound Universe”) inside the Max/MSP environment. GMU works in real time and its center is made of a few microsound synthesis objects (written in C at GMEM). Around these objects, we have elaborated sophisticated sound control strategies, with high-level interactive access inputs...
Discovering information is one of the great challenges of our time. Description tasks are among the most time consuming activities in our society and we leave behind huge swathes of documents, which we will never describe or address due to lack of tools and time. At the same time humankind has produced and will continue producing unimaginable quantities of organised information through different media...
A method is presented to extract musical features from melodic material. Various viewpoints are defined to focus on complementary aspects of the material. To model the melodic context, two measures of entropy are employed: A set of trained probabilistic models capture local structures via the information-theoretic notion of unpredictability, and an alternative entropy-measure based on adaptive coding...
This paper describes a research work in which we study the possibility of applying genetic algorithms to the extraction of musical patterns in monophonic musical pieces. Each individual in the population represents a possible segmentation of the piece being analysed. The goal is to find a segmentation that allows the identification of the most significant patterns of the piece. In order to calculate...
In the context of musical analysis, we propose an algorithm that automatically induces patterns from polyphonies. We define patterns as “perceptible repetitions in a musical piece”. The algorithm that measures the repetitions relies on some general perceptive notions: it is non-linear, non-symetric and non-transitive. The model can analyse any music of any genre that contains a beat. The analysis...
In this paper, we investigate the derivation of musical structures directly from signal analysis with the aim of generating visual and audio summaries. From the audio signal, we first derive features – static features (MFCC, chromagram) or proposed dynamic features. Two approaches are then studied in order to derive automatically the structure of a piece of music. The sequence approach considers the...
In this paper the classification of monophonic melodies from two different musical styles (Jazz and classical) is studied using different classification methods: Bayesian classifier, a k-NN classifier, and self-organising maps (SOM). From MIDI files, the monophonic melody track is extracted and cut into fragments of equal length. From these sequences, A number of melodic, harmonic, and rhythmic numerical...
As the use of digital music is getting popular, there is an increasing demand for efficient retrieval of music. To do that, an effective music indexing and natural way of querying a music should be incorporated. This paper describes the FMF system that designed to retrieve tunes from a database on the basis of a few notes which are drawn into a musical sheet applet or sung into a microphone. FMF system...
The purpose of this article is to characterize the various kinds and specificities of music representations in technical systems. It shows that an appropriate division derived from existing applications relies in four main types, which are defined as the physical, signal, symbolic and knowledge levels. This fair simple and straightforward division provides a powerful grid for analyzing all kinds of...
This paper aims at describing an approach to the music performance situation as a laboratory for investigating interactivity. I would like to present “Leçons pour un apprenti sourd-muet” [1], where the basic idea is that of two improvisers, a saxophonist and a computer, engaged in a series of musical questions and responses. The situation is inspired from the Japanese shakuhachi tradition, where imitating...
Interactive computer music proposes a number of considerations about what the audience experiences in relationship of what-is-going-on-on-stage and the overall musical result. While a traditional music instrument is a compact tool and “to play an instrument” has a precise meaning for everybody, the new electro-acoustic instrument is a system consisting of a number of spread out components: sensors...
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