- General Information
- List of Computer Music Research Sites
- Computer Music Journal Home Page
Computer Music Journal (CMJ) is a quarterly Journal that covers a wide range of topics related to digital audio signal processing and electroacoustic music. It is published (as hard copy) by MIT Press and is now in its 20th year. The topics addressed in Computer Music Journal include:
" software and hardware for digital audio signal processing;
" electroacoustic, electronic, and computer music;
" software for music notation, printing, and archival systems;
" music representation languages and music cognition;
" new physical performance interfaces;
" sound localization and 3-D sound spatialization;
" sound in computer user interfaces and virtual realities;
" aesthetics of contemporary music, and other areas.
- Conferences in Computer Music
- CCRMA: OVERVIEW 1995-96
- Journal of New Music Research: Electronic Appendix
- Music Perception
Music Perception publishes original empirical and theoretical papers, methodological articles and critical reviews from scientists and musicians studying musical phenomena. The broad range of disciplines covered includes psychology, psychophysics, linguistics, neurology, neurophysiology, artificial intelligence, computer technology, physical and architectural acoustics, and music theory.
- Computer Music references
Computer Music references oriented towards the practice of computer music particularly, production, languages, scheduling algorithms and programs.
- Computer Music bibliography
This is a bibliography on synthesizers, midi, computer and electronic music
- Music and Audio Links
List compiled by Xavier Serra
- Synthesis Methods
- Tutorial on MIDI and Music Synthesis
- WWW Pages Relating to Sound Computation
- Contemporary Classical Music Archive
- Graduate Researchers at UCSD
- Graduate Researchers at CRCA
- Machine Listening Group Projects @ MIT
- Fourth International Conference on Music Perception and Cognition
- Class Page: Music 420 / EE265: Short-Time Fourier Transform Theory and Audio Applications
- MATLAB
- Research projects
- SMS World
SMS (Spectral Modeling Synthesis) is a software package that implements several techniques for the analysis, transformation and synthesis of sounds. The goal of SMS is to get a general and intuitive sound representation based on analysis, from which we can manipulate musical parameters while maintaining the perceptual identity with the original sound when no transformations are made.
- Music Projects at the Artificial Intelligence Research Institute (IIIA-CSIC, Bellaterra)
- Music, Mind, Machine, by Peter Desain & Henkjan Honing
This pages are dedicated to research in the computational modeling of temporal structure in musical knowledge and music cognition. It describes research that is currently done at the NICI (University of Nijmegen), the ILLC (University of Amsterdam), and the IBM T.J. Watson Center, New York
- Home Page of Gerhard Widmer
- Eric Scheirer's Home Page
- Michael Pelz-Sherman's Home Page
Master's thesis entitled "On the Formalization of Expression in Music Performed by Computers"
- Michael Pelz-Sherman
A Framework for the Semiotic Analysis and Synthesis of Performer Interactions in Western Improvised Contemporary Art Music
- Douglas Nunn -Durham Music Technology, School of Engineering, Durham University
The main thrust of my research is to analyse raw audio files and derive the notes contained. This is done by multirate spectral analysis on a DSP chip, followed by several further processing stages on an IBM PC.
- Source separation and transcription of polyphonic music
This paper examines the issues of source separation and transcription of polyphonic music, and presents some early but encouraging results in converting raw audio into an event-based representation. This can be used to recreate the input by additive synthesis, and can also be simplified to a MIDI file or a printed score.
- Durham Music Technology
- Bryan Holloway
- M.S. Thesis on transition between notes (1995)
Analysis and synthesis of transitions between musical notes are open-ended problems in computer music. While much research has been done on the proper analysis and synthesis of musical timbres, less attention has been paid to what occurs between successively played notes. Using the Lemur representation, we have developed a graphical editor, LemurEdit, for closely examining and modifying analyses of violin transitions. A library of transitions components, indexed by their distinguishing characteristics, can be created for later recall in a real-time performance situation. These components are manipulated, joined, and finally synthesized to create any transition, as needed by the performer.
- ICMC 1992 Paper
- Caroline Palmer's Home Page
- C.S.C. - Centre of Computational Sonology
- Neural networks vs. rules systems: evaluation test of automatic performance of musical scores
Musicians, according to the instrument they play, make loudness, duration and timbre deviations on the notes of the score they are performing, since the traditional musical notation does not suffice the composer's real intentions, and leaves some freedom's degrees to the player himself. These deviations determine the performing characteristics of a pianist in respect to another one. Furthermore a literal performance of a musical score would lead to an extremely mechanic and unnatural performance to the listener's ears.
The present work starts from the Sundberg's and co-workers' researches on automatic scores' performance [Friberg, 1991] [Sundberg et al., 1991] and continues the research on real-time piano scores performance by mean of particular artificial neural networks. In our previous works [Bresin et al., 1991] [Bresin et al., 1992] we showed the possibility to build some neural networks which can learn some performing rules. These nets show good generalisation properties, and, after a training phase, are able to do real-time performances of any score introducing some appropriate deviations. In the present research we propose a comparison test between various performances to evaluate, by mean of listening tests, the use of trained neural nets in automatic performance.
- Bruno Repp
Staff scientist, Haskins Laboratories
- Does expressive timing remain relationally invariant under global tempo transformations?
Meeting M.I.T. 1994 June 6-10.
Measurements of tone interonset intervals in pianists' performances of Schumann's ``Traumerei'' at three different tempi [B. H. Repp, Psychol. Res. (in press)] have suggested approximate relational invariance of expressive timing, but with a tendency towards reduced temporal contrast (relative modulation depth) at a faster tempo. In this study a perceptual test was assembled by manipulating global tempo (3 levels) and degree of temporal contrast (5 levels) independently in a single MIDI-recorded performance of ``Traumerei.'' Skilled pianist subjects rated the resulting 15 performances on a 10-point scale. The question was whether the same degree of temporal contrast would be preferred at all three tempi (suggesting relational invariance), or whether an interaction would emerge, such that smaller degrees of contrast are preferred at faster tempi. The results may speak to the adequacy of simple tempo controls on MIDI instruments or in performance synthesis. [Work supported by NIMH.]
- Haskins Laboratories
- SR 117-118
Expressive Timing in Schumann's "Traumerei": An Analysis of Performances by Graduate Student Pianists
Bruno H. Repp....141
Quantitative Effects of Global Tempo on Expressive Timing in Music Performance: Some Perceptual Evidence
Bruno H. Repp....161
Detectability of Duration and Intensity Increments in Melody Tones: A Partial Connection between Music Perception and Performance
Bruno H. Repp....173
Acoustics, Perception, and Production of Legato Articulation on a Digital Piano
Bruno H. Repp....93
Pedal Timing and Tempo in Expressive Piano Performance: A Preliminary Investigation
Bruno H. Repp....211
- Brian Thomas McLintock, et al. "Musical Expression in Automated Composition of Phrases",
Music composed by computers has always been lacking in "musical" qualities: mood, emotional expression, and a sense of purpose or goal. A musical expert system called EMOTER is the first attempt to address these important musical aspects. EMOTER receives as input a list of moods (e.g., happy, lively) and generates melodic passages intended to evoke those moods in an organized, coherent fashion. EMOTER composes the basic units of music called phrases. Results with EMOTER are excellent. Some of the musical phrases generated from a mood-specification are comparable to music that a reasonably talented composer might produce. More theory is needed, however, before the full complexities of human-composed music are sufficiently captured in code for EMOTER to pass a Turing test in music composition.
- Jeff Bilmes's Home Page
- Michael A. Lee
Post Doctoral Researcher and BISC Administrator, Computer Science Division,University of California.
My interests include adaptive methods and learning algorithms based on neural networks, fuzzy systems, and genetic algorithms with application to intelligent and adaptive user interfaces, learning control, knowledge acquisition and extraction, embedded systems, interactive music systems, and reflective programming systems. Particular goals are to develop techniques for building expressive user interfaces, explore techniques for auditory display, and to develop highly interactive data exploration environments.
- Crawford Tait's Home Page
- Musical pitch tracking using the methods of conventional and "narrowed"autocorrelation
- David A. Jaffe's Home Page
- Performance Expression in Commuted Waveguide Synthesis of Bowed Strings by David A. Jaffe and Julius O. Smith
ABSTRACT:In [Smith 1993], an approach was described for implementing efficient real-time bowed string synthesis. Recent work has focused on differentiating the members of the violin family, as well as on the flexibility necessary to create expressive performance. This paper presents a technique for creating smooth transitions between notes, enabling a variety of bowing styles to be synthesized, such as legato, marcato and martele. A method for supporting such left-hand techniques as vibrato and glissando is also given, as is the efficient simulation of pitch-correlated bow noise. Examples from various periods of music history have been convincingly synthesized in real time using the Music Kit and DSP56001 under NEXTSTEP.
- Ken Lomax's home page
- Adrian Freed: CNMAT Research Director
- Bring Your Own Control to Additive Synthesis
BYO is a layer between high level programming tools (such as IRCAM/Opcode's MAX [Puckette & Zicaralli 90], Matlab, and the Apple Newton) and interpolated additive synthesis [Freed et al. 93]. The primary goal of BYO is to facilitate the development of interesting, new control paradigms for musically expressive sound synthesis. The novelty of the BYO design over more general extension mechanisms (e.g., Max externals, C++ objects, or NewtonScript proto's) is that by being optimized for manipulations of spectral descriptions (partials and noise) of sound, excellent run-time efficiency is achieved without loss of expressiveness.
- Reactive Control and Synthesis of Sound
- Steven Travis Pope Publications
The T-R Trees software system is a set of software tools for the graphical and programmatic manipulation of expressive and structural hierarchies in music composition. It is loosely based on the hierarchies described in Fred Lerdahl and Ray Jackendoof's landmark book A Generative Theory of Tonal Music--weighted grouping and prolongational reduction trees (also called tension-relaxation or T-R trees).
- Kevin Baird Home Page
- Technology and Creative Expression, by Todd Machover
- IPUS Home Page (Knowledge-Based Signal Processing)
IPUS makes front-end signal processing dynamically modifiable in response to scenario changes and to the need to re-analyze ambiguous or distorted data.
- Tonal Motion and Kivy's Resemblance Theory of Musical Expression
In his widely known work, The Corded Shell: Reflections on Musical Expression (1980), Peter Kivy posits a theory of musical expression that indirectly engages issues with which many music theorists are also concerned. Kivy's theory essentially depends on a resemblance between gestural shapes in the music and expressive human behavior.
- Timber and Articulation as Meaning
Timbre and articulation, whether as defined ideally in the score or as realized in performance, have received little attention from music analysts. However, the example of a pistol shot illustrates how the mind may assign complex arrays of meaning to very short sounds, and I illustrate how the listener may construe meaning in advance of, and to some extent independent to, syntactical contextualization.
- Department of Speech, Music and Hearing, KTH
Stockholm
- Music performance
- Expressive synthetic speech
- Other stuff
- Intelligent Image Coding in Multimedia Communications-Toward User-friendly Visual Communications services
The automatic moving image generation system is comprised of three parts an analytical module that parses written directions, a voice synthesis module that generates spoken sounds, and a moving image synthesis module that generates expressive facial images. The written directions are like the script of a play. They contain the lines to be spoken by the actors, as well as directions about movements and expressions, like the instructions inserted into the script by the playwright or director. T
- DEAF95 - Granular~Synthesis
Dutch Electronic Art Festival 1995. The Motion Control / Modell 5 installation: Four enormous screens each show the head of Japanese performance artist Akemi Takeya. Every movement of her mouth, her eyes and her whole head, like screaming, blinking and tilting, are programmed into the Granular Synthesis machine.
- Digital mantras, bySteven R. Holtzman. Reviewed by Henry See
Steven R. Holtzman, MIT Press, Cambridge, Mass. 1994.
Reviewed by Henry See
The stated goal of Holtzman's work is to "establish an aesthetic foundation for the use of computers for creative expression in language, music, art, and virtual reality.
- Syntax for CoCo (Compact Composer (c))
CoCo is a language for writing multi-voice music in ASCII characters, so it can be entered by keyboard, sent by mail, and more importantly, _more blabla_ file.