Robot Composer
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In the Studio: the Role of Recording Techniques in Rock Music (2006)
21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
The Semiosis of Soul: Michael Jackson's Use of Popular Music Conventions
The Semiosis of Soul: Michael Jackson's Use of Popular Music Conventions by Konrad Sidney Bayer, B.Mus., M.A. [email protected] Konrad Sidney Bayer is an independent researcher, part-time instructor at Kinki University, Osaka Jogakuin College, Poole Gakuin University, Kwansei Gakuin University, and Tezukayama University in Japan. Abstract Michael Jackson, possibly more than any other pop artist of the 20th Century, managed to bridge the gap in musical tastes between African American audiences and European American audiences. During his time at Motown, he internalized the goal, taught to all Motown artists by Berry Gordy, of crossing over and appealing to European American audiences. Motown artists helped popularize R&B music among white listeners. However, none achieved the same level of crossover success as Jackson. This paper looks at the popular music conventions that Jackson drew from to appeal to diverse groups expressing a variety of musical tastes. In so doing, he was able to communicate something essential and authentic that resonated among the many different people who came to appreciate and love his music. Key words: conventions, social values, community, crossover, power. The focus of my research for this paper is the conventions Michael Jackson engaged with to create his music. Specifically, this paper will be looking at the conventions at work in “Don’t Stop 'til You Get Enough” and “Beat It.” I’m curious how these songs are similar and different, why Jackson chose the conventions he engages with for these two songs, and what social values the songs express. I want to show how Jackson’s choices and the way he engaged with the conventions expressed his social values and the social values that were growing in prominence in American society at the beginning of his post-Motown solo career in the late 1970s and early 1980s. -
Composing Pop Music Pdf
Composing pop music pdf Continue Pop music automation is an area of study among musicians and computer scientists to create successful pop music algorithmically. It is often based on the premise that pop music is particularly formulaic, unchanging, and easy to compose. The idea of automating the composition of pop music is connected with many ideas in algorithmic music, artificial intelligence (AI) and computational creativity. Review: Automation in music algorithms (or at least formal sets of rules) has been used to compose music for centuries; procedures used to construct a voice lead in a counterpoint, for example, can often be reduced to an algorithmic determinant. Now the term is usually reserved, however, for the use of formal procedures to make music without human intervention. Classical music automation software exists that generates music in the style of Mozart and Bach and jazz. In particular, David Cope wrote a software system called Experiments in Musical Intelligence (or EMI), which is able to analyze and generalize from the existing music of the human composer to create new musical compositions in the same style. The output of EMI is convincing enough to convince the listeners of the person that his music is created by a man at a high level of competence. Creative research in the field of jazz has focused on the process of improvisation and cognitive requirements that this imposes on the music agent: reasoning about time, remembering and conceptualizing what has already been played, and planning ahead for what can be replicated further. Inevitably associated with the automation of pop music is the analysis of pop music. -
Algorithmic Composition of Popular Music
Algorithmic Composition of Popular Music Anders Elowsson January 4, 2012 DT2215, PROJECT. Abstract This report explores possibilities and techniques regarding algorithmic composition of pop- ular music. Methods in algorithmic composition are reviewed with a focus on Markov models and generative grammar. The report also gives an account of psychological research concerning human music perception. The concept of Global Joint Accent Structure is introduced, as a way of understanding how melody and rhythm interact to make good music. The idea is based on earlier psychological research concerning Joint Accent Structure (Jones, 1993), but focuses globally on the interaction between rhythmic accents in the music and the melody. A program (called PAC ) that composes popular music based on the ideas presented, is described. The important parts are methods for creating tempo, basic rhythms, chord progressions, phrase structures, the rhythm of the melody and the pitches of the melody. Some results are pre- sented and the main conclusion is that the method handles tempo, rhythm, chord progressions and phrase structures well but need further improvements when it comes to the pitches of the melody. Some ideas on how to improve this is suggested. Contents 1 Introduction 3 2 Theory 4 2.1 Melody & Rhythm . 4 2.1.1 Melody . 4 2.1.2 Rhythm and meter . 6 2.2 Patterns . 6 2.3 Memory functions . 8 2.4 Accents . 9 2.5 An integrated model of melody and rhythm . 9 3 Method 12 3.1 General design . 12 3.2 Implementation . 18 3.2.1 Tempo . 19 3.2.2 Metrical pattern . 19 3.2.3 Chords . -
Proceedings of the International Society for Music Education 33Rd World Conference on Music Education Baku, Azerbaijan 15-20 July 2018
Proceedings of the International Society for Music Education 33rd World Conference on Music Education Baku, Azerbaijan 15-20 July 2018 ii Proceedings of the International Society for Music Education 33rd World Conference on Music Education Baku, Azerbaijan 15-20 July 2018 David Forrest Editor iii Proceedings of the International Society for Music Education 33rd World Conference on Music Education Baku, Azerbaijan 15-20 July 2018 Edited by David Forrest ISBN 978-0-6481219-3-0 © 2018 International Society for Music Education (ISME) Published in Australia in 2018 International Society for Music Education (ISME) Suite 148 45 Glenferrie Road Malvern, Victoria 3144 Australia Design: Nicholas Chilvers Copy requests: [email protected] National Library of Australia Cataloguing-in-Publication Data A CIP record is available from the National Library of Australia Dewey Number: 780.7 All rights reserved. Except for the quotation of a short passage for the purposes of criticism or review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from the publisher. The full papers submitted to the 2018 International Conference were double blind refereed by a panel of international authorities before inclusion in the Conference Proceedings. iv Acknowledgements ISME is indebted to the work of the Chairs of the Commissions, Forum and Special Interest Groups of the International Society for Music Education. -
Analyzing Genre in Post-Millennial Popular Music
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire. -
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology
Gagen, Justin. 2019. Hybrids and Fragments: Music, Genre, Culture and Technology. Doctoral thesis, Goldsmiths, University of London [Thesis] https://research.gold.ac.uk/id/eprint/28228/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Hybrids and Fragments Music, Genre, Culture and Technology Author Supervisor Justin Mark GAGEN Dr. Christophe RHODES Thesis submitted for the degree of Doctor of Philosophy in Computer Science GOLDSMITHS,UNIVERSITY OF LONDON DEPARTMENT OF COMPUTING November 18, 2019 1 Declaration of Authorship I, Justin Mark Gagen, declare that the work presented in this thesis is entirely my own. Where I have consulted the work of others, this is clearly stated. Signed: Date: November 18, 2019 2 Acknowledgements I would like to thank my supervisors, Dr. Christophe Rhodes and Dr. Dhiraj Murthy. You have both been invaluable! Thanks are due to Prof. Tim Crawford for initiating the Transforming Musicology project, and providing advice at regular intervals. To my Transforming Musicology compatriots, Richard, David, Ben, Gabin, Daniel, Alan, Laurence, Mark, Kevin, Terhi, Carolin, Geraint, Nick, Ken and Frans: my thanks for all of the useful feedback and advice over the course of the project. -
Interviews from 1980
Tagg (ed.) Interviews 1980 1 Interviews from 1980 Edited by Philip Tagg (2nd re-edition, Montréal, March 2007)1 Contents Library music interviews 1. KPM (London) ....................................................................................... 2 2. Bruton Music (London) ........................................................................ 17 3. Éditions Montparnasse 2000 (Paris).................................................... 29 4. Boosey & Hawkes (London) ................................................................ 40 UK National Film School interviews 5.Sound engineer, National Film School ................................................. 52 6.Composer, National Film School .......................................................... 59 Cultural Studies interviews 7. Graham Murdock (Leicester)............................................................... 66 8.Dick Bradley (Birmingham)................................................................... 73. 9. CSI à l’École des Mines (Paris) ........................................................... 80 Paul Beaud (Lausanne/Paris) (under construction) Typographical conventions The editor’s spoken words, mostly questions, are in this typeface. The inter- viewee’s words are in this type face. Narrative outside the actual con- versations is in this typeface. 1. Originally published in September 1980 as Film Music, Mood Music and Popular Music Research. Interviews, conversations, entretiens sur la musique de film, de sonorisation et sur la recherche dans la musique des mass-média. -
Semantic Annotation of Music Collections: a Computational Approach
Semantic Annotation of Music Collections: A Computational Approach Mohamed Sordo TESI DOCTORAL UPF / 2011 Directors de la tesi: Dr. Xavier Serra i Casals Dept. of Information and Communication Technologies Universitat Pompeu Fabra, Barcelona, Spain Dr. Òscar Celma i Herrada Gracenote, Emeryville, CA, USA Copyright c Mohamed Sordo, 2011. Dissertation submitted to the Department of Information and Communication Technologies of Universitat Pompeu Fabra in partial fulfillment of the require- ments for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Music Technology Group (http://mtg.upf.edu), Dept. of Information and Communica- tion Technologies (http://www.upf.edu/dtic), Universitat Pompeu Fabra (http://www. upf.edu), Barcelona, Spain. A Radia, Idris y Randa. Me siento muy orgulloso de ser vuestro hijo y tu hermano. A toda mi familia. Acknowledgements During these last few years, I had the luck to work with an amazing group of people at the Music Technology Group. First and foremost, I would specially like to thank 3 people regarding this dissertation. Xavier Serra, for giving me the opportunity to join the Music Technology Group, and for his wise advices in key moments of the thesis work. Òscar Celma, for being the perfect co- supervisor a post–graduate student can have. Whether it was for guidance or for publishing, he was always there. Fabien Gouyon, who would have been without any doubt the third supervisor of this thesis. I especially thank him for giving me the opportunity to join his research group in the wonderful city of Porto, as a research stay. -
Mediated Music Makers. Constructing Author Images in Popular
Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. 47 Visual reflections of Björk. 49 Conclusion . 54 2. Stardom in disguise. 56 Author image as a marketing asset. -
Bandnet: a Neural Network-Based, Multi-Instrument Beatles-Style Midi Music Composition Machine
BANDNET: A NEURAL NETWORK-BASED, MULTI-INSTRUMENT BEATLES-STYLE MIDI MUSIC COMPOSITION MACHINE Yichao Zhou1;2;∗ Wei Chu1 Sam Young 1;3 Xin Chen1 1 Snap Inc. 63 Market St, Venice, CA 90291, 2 Department of EECS, University of California, Berkeley, 3 Herb Alpert School of Music, University of California, Los Angeles, [email protected], [email protected], [email protected], [email protected] ABSTRACT post-processing stage. Although the quality of the com- posed music may be quite satisfactory, the composition In this paper, we propose a recurrent neural network process can be time-consuming and the composed music (RNN)-based MIDI music composition machine that is can be biased toward a particular style. Recently, agnostic able to learn musical knowledge from existing Beatles’ approaches that do not depend on expert knowledge have music and generate full songs in the style of the Beat- been emerging [9]. Instead of relying on music experts, les with little human intervention. In the learning stage, these methods employ a data-driven approach to learn gen- a sequence of stylistically uniform, multiple-channel mu- eralizable theory and patterns from existing pieces of mu- sic samples was modeled by an RNN. In the composition sic, and this approach has proven to be effective. For exam- stage, a short clip of randomly-generated music was used ple, [2,15] trained a hidden Markov model from music cor- as a seed for the RNN to start music score prediction. To pora and [10] modeled polyphonic music from the perspec- form structured music, segments of generated music from tive of the graphic model.