Curtis Roads, Ed. the Computer Music Tutorial
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Navigating the Landscape of Computer Aided Algorithmic Composition Systems: a Definition, Seven Descriptors, and a Lexicon of Systems and Research
NAVIGATING THE LANDSCAPE OF COMPUTER AIDED ALGORITHMIC COMPOSITION SYSTEMS: A DEFINITION, SEVEN DESCRIPTORS, AND A LEXICON OF SYSTEMS AND RESEARCH Christopher Ariza New York University Graduate School of Arts and Sciences New York, New York [email protected] ABSTRACT comparison and analysis, this article proposes seven system descriptors. Despite Lejaren Hiller’s well-known Towards developing methods of software comparison claim that “computer-assisted composition is difficult to and analysis, this article proposes a definition of a define, difficult to limit, and difficult to systematize” computer aided algorithmic composition (CAAC) (Hiller 1981, p. 75), a definition is proposed. system and offers seven system descriptors: scale, process-time, idiom-affinity, extensibility, event A CAAC system is software that facilitates the production, sound source, and user environment. The generation of new music by means other than the public internet resource algorithmic.net is introduced, manipulation of a direct music representation. Here, providing a lexicon of systems and research in computer “new music” does not designate style or genre; rather, aided algorithmic composition. the output of a CAAC system must be, in some manner, a unique musical variant. An output, compared to the 1. DEFINITION OF A COMPUTER-AIDED user’s representation or related outputs, must not be a ALGORITHMIC COMPOSITION SYSTEM “copy,” accepting that the distinction between a copy and a unique variant may be vague and contextually determined. This output may be in the form of any Labels such as algorithmic composition, automatic sound or sound parameter data, from a sequence of composition, composition pre-processing, computer- samples to the notation of a complete composition. -
Syllabus EMBODIED SONIC MEDITATION
MUS CS 105 Embodied Sonic Meditation Spring 2017 Jiayue Cecilia Wu Syllabus EMBODIED SONIC MEDITATION: A CREATIVE SOUND EDUCATION Instructor: Jiayue Cecilia Wu Contact: Email: [email protected]; Cell/Text: 650-713-9655 Class schedule: CCS Bldg 494, Room 143; Mon/Wed 1:30 pm – 2:50 pm, Office hour: Phelps room 3314; Thu 1: 45 pm–3:45 pm, or by appointment Introduction What is the difference between hearing and listening? What are the connections between our listening, bodily activities, and the lucid mind? This interdisciplinary course on acoustic ecology, sound art, and music technology will give you the answers. Through deep listening (Pauline Oliveros), compassionate listening (Thich Nhat Hanh), soundwalking (Westerkamp), and interactive music controlled by motion capture, the unifying theme of this course is an engagement with sonic awareness, environment, and self-exploration. Particularly we will look into how we generate, interpret and interact with sound; and how imbalances in the soundscape may have adverse effects on our perceptions and the nature. These practices are combined with readings and multimedia demonstrations from sound theory, audio engineering, to aesthetics and philosophy. Students will engage in hands-on audio recording and mixing, human-computer interaction (HCI), group improvisation, environmental film streaming, and soundscape field trip. These experiences lead to a final project in computer-assisted music composition and creative live performance. By the end of the course, students will be able to use computer software to create sound, design their own musical gears, as well as connect with themselves, others and the world around them in an authentic level through musical expressions. -
Computer Music Studio and Sonic Lab at Anton Bruckner University
Computer Music Studio and Sonic Lab research zone (Computermusik-Forschungsraum), a workstation, an archive room/depot and (last but not at Anton Bruckner University least) offices for colleagues and the directors. Studio Report 2.1. Sonic Lab The Sonic Lab is an intermedia computer music concert Andreas Weixler Se-Lien Chuang hall with periphonic speaker system, created by Andreas Weixler for the Bruckner University to enable internatio- Anton Bruckner University Atelier Avant Austria nal exchanges for teaching and production with other Computer Music Studio Austria/EU developed computer music studios. 20 full range audio [email protected] Linz, Austria/EU channels plus 4 subsonic channels surround the audience, [email protected] enabling sounds to move in space in both the horizontal and vertical planes. A double video and data projection Figure 2 capability allows the performance of audiovisual works . preparation at the Sonic Lab and also the accommodation of conferences, etc. ABSTRACT The Computer Music Studio organizes numerous concert In the opening concert compositions by John Chowning Voices and lecture series, regionally, nationally and internation- ( - for Maureen Chowning - v.3 for soprano and The CMS (Computer Music Studio) [1] at Anton Bruckn- BEASTiary ally [3]. electronics), Jonty Harrison ( ), Karlheinz Essl er University in Linz, Austria is hosted now in a new (Autumn's Leaving for pipa and live electronics), Se-Lien building with two new studios including conceptional 1.1. History Chuang (Nowhereland for extended piano, bass clarinet, side rooms and a multichannel intermedia computer mu- multichannel electro-acoustics and live electronics) and sic concert hall - the Sonic Lab [2]. -
62 Years and Counting: MUSIC N and the Modular Revolution
62 Years and Counting: MUSIC N and the Modular Revolution By Brian Lindgren MUSC 7660X - History of Electronic and Computer Music Fall 2019 24 December 2019 © Copyright 2020 Brian Lindgren Abstract. MUSIC N by Max Mathews had two profound impacts in the world of music synthesis. The first was the implementation of modularity to ensure a flexibility as a tool for the user; with the introduction of the unit generator, the instrument and the compiler, composers had the building blocks to create an unlimited range of sounds. The second was the impact of this implementation in the modular analog synthesizers developed a few years later. While Jean-Claude Risset, a well known Mathews associate, asserts this, Mathews actually denies it. They both are correct in their perspectives. Introduction Over 76 years have passed since the invention of the first electronic general purpose computer,1 the ENIAC. Today, we carry computers in our pockets that can perform millions of times more calculations per second.2 With the amazing rate of change in computer technology, it's hard to imagine that any development of yesteryear could maintain a semblance of relevance today. However, in the world of music synthesis, the foundations that were laid six decades ago not only spawned a breadth of multifaceted innovation but continue to function as the bedrock of important digital applications used around the world today. Not only did a new modular approach implemented by its creator, Max Mathews, ensure that the MUSIC N lineage would continue to be useful in today’s world (in one of its descendents, Csound) but this approach also likely inspired the analog synthesizer engineers of the day, impacting their designs. -
Third Practice Electroacoustic Music Festival Department of Music, University of Richmond
University of Richmond UR Scholarship Repository Music Department Concert Programs Music 11-3-2017 Third Practice Electroacoustic Music Festival Department of Music, University of Richmond Follow this and additional works at: https://scholarship.richmond.edu/all-music-programs Part of the Music Performance Commons Recommended Citation Department of Music, University of Richmond, "Third Practice Electroacoustic Music Festival" (2017). Music Department Concert Programs. 505. https://scholarship.richmond.edu/all-music-programs/505 This Program is brought to you for free and open access by the Music at UR Scholarship Repository. It has been accepted for inclusion in Music Department Concert Programs by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. LJ --w ...~ r~ S+ if! L Christopher Chandler Acting Director WELCOME to the 2017 Third festival presents works by students Practice Electroacoustic Music Festi from schools including the University val at the University of Richmond. The of Mary Washington, University of festival continues to present a wide Richmond, University of Virginia, variety of music with technology; this Virginia Commonwealth University, year's festival includes works for tra and Virginia Tech. ditional instruments, glass harmon Festivals are collaborative affairs ica, chin, pipa, laptop orchestra, fixed that draw on the hard work, assis media, live electronics, and motion tance, and commitment of many. sensors. We are delighted to present I would like to thank my students Eighth Blackbird as ensemble-in and colleagues in the Department residence and trumpeter Sam Wells of Music for their engagement, dedi as our featured guest artist. cation, and support; the staff of the Third Practice is dedicated not Modlin Center for the Arts for their only to the promotion and creation energy, time, and encouragement; of new electroacoustic music but and the Cultural Affairs Committee also to strengthening ties within and the Music Department for finan our community. -
DSP Class III: Digital Electronic Music Concepts Overview (Part III) ADC and DAC Analog-To-Digital Conversion
TECH 350: DSP Class III: Digital Electronic Music Concepts Overview (Part III) ADC and DAC Analog-to-Digital Conversion Parameters of ADC: • Sampling Rate (fs) = rate at which analog signal is ^ captured (sampling) (in Hertz) Intensity v • Bit Depth = number of values for each digital sample (quantization) (in bits) Time -> Limitations/Issues with Sampling Distortion caused by sampling, AKA ALIASING (or foldover) How can we rectify (or at least describe) this phenomenon? Sampling (Nyquist) Theorem •Can describe the resultant frequency of aliasing via the following (rough) formula, iff input freq. > half the sampling rate && < sampling rate: resultant frequency = sampling frequency (fs) - input frequency For example, if fs = 1000Hz and the frequency of our input is at 800Hz: 1000 - 800 = 200, so resultant frequency is 200Hz (!) •Nyquist theorem = In order to be able to reconstruct a signal, the sampling frequency must be at least twice the frequency of the signal being sampled •If you want to represent frequencies up to X Hz, you need fs = 2X Hz Ideal Sampling Frequency (for audio) •What sampling rate should we use for musical applications? •This is an on-going debate. Benefits of a higher sampling rate? Drawbacks? •AES Standards: •Why 44.1kHz? Why 48kHz? Why higher (we can’t hear up there, can we?) •For 44.1kHz and 48kHz answer lies primarily within video standard considerations, actually… •44.1kHz = 22 · 32 · 52 · 72, meaning it has a ton of integer factors •>2 * 20kHz is great, as it allows us to have frequency headroom to work with, and subharmonics (and interactions of phase, etc.) up in that range are within our audible range Anti-Aliasing Filters + Phase Correction •How to fix aliasing? Add a low-pass filter set at a special cutoff frequency before we digitize the signal. -
The Path to Half Life
The Path to Half-life Curtis Roads A composer does not often pause to explain a musical path. When that path is a personal break- through, however, it may be worthwhile to reflect on it, especially when it connects to more gen- eral trends in today’s musical scene. My electronic music composition Half-life por- trays a virtual world in which sounds are born and die in an instant or emerge in slow motion. As emerging sounds unfold, they remain stable or mutate before expiring. Interactions between different sounds sug- gest causalities, as if one sound spawned, trig- gered, crashed into, bonded with, or dis- solved into another sound. Thus the introduc- tion of every new sound contributes to the unfolding of a musical narrative. Most of the sound material of Half-life was produced by the synthesis of brief acoustic sound particles or grains. The interactions of acoustical particles can be likened to photo- graphs of bubble chamber experiments, which were designed to visualize atomic inter- actions. These strikingly beautiful images por- tray intricate causalities as particles enter a chamber at high speed, leading to collisions in which some particles break apart or veer off in strange directions, indicating the pres- ence of hidden forces (figure 1). Figure 1. Bubble chamber image (© CERN, Geneva). Composed years ago, in 1998 and 1999, Half-life is not my newest composition, nor does it incor- porate my most recent techniques. The equipment and software used to make it was (with exception of some custom programs) quite standard. Nonetheless this piece is deeply significant to me as a turning point in a long path of composition. -
Eastman Computer Music Center (ECMC)
Upcoming ECMC25 Concerts Thursday, March 22 Music of Mario Davidovsky, JoAnn Kuchera-Morin, Allan Schindler, and ECMC composers 8:00 pm, Memorial Art Gallery, 500 University Avenue Saturday, April 14 Contemporary Organ Music Festival with the Eastman Organ Department & College Music Department Steve Everett, Ron Nagorcka, and René Uijlenhoet, guest composers 5:00 p.m. + 7:15 p.m., Interfaith Chapel, University of Rochester Eastman Computer Wednesday, May 2 Music Cente r (ECMC) New carillon works by David Wessel and Stephen Rush th with the College Music Department 25 Anniversa ry Series 12:00 pm, Eastman Quadrangle (outdoor venue), University of Rochester admission to all concerts is free Curtis Roads & Craig Harris, ecmc.rochester.edu guest composers B rian O’Reilly, video artist Thursday, March 8, 2007 Kilbourn Hall fire exits are located along the right A fully accessible restroom is located on the main and left sides, and at the back of the hall. Eastman floor of the Eastman School of Music. Our ushers 8:00 p.m. Theatre fire exits are located throughout the will be happy to direct you to this facility. Theatre along the right and left sides, and at the Kilbourn Hall back of the orchestra, mezzanine, and balcony Supporting the Eastman School of Music: levels. In the event of an emergency, you will be We at the Eastman School of Music are grateful for notified by the stage manager. the generous contributions made by friends, If notified, please move in a calm and orderly parents, and alumni, as well as local and national fashion to the nearest exit. -
43558913.Pdf
! ! ! Generative Music Composition Software Systems Using Biologically Inspired Algorithms: A Systematic Literature Review ! ! ! Master of Science Thesis in the Master Degree Programme ! !Software Engineering and Management! ! ! KEREM PARLAKGÜMÜŞ ! ! ! University of Gothenburg Chalmers University of Technology Department of Computer Science and Engineering Göteborg, Sweden, January 2014 The author grants Chalmers University of Technology and University of Gothenburg the non-exclusive right to publish the work electronically and in a non-commercial purpose and to make it accessible on the Internet. The author warrants that he/she is the author of the work, and warrants that the work does not contain texts, pictures or other material that !violates copyright laws. The author shall, when transferring the rights of the work to a third party (like a publisher or a company), acknowledge the third party about this agreement. If the author has signed a copyright agreement with a third party regarding the work, the author warrants hereby that he/she has obtained any necessary permission from this third party to let Chalmers University of Technology and University of Gothenburg store the work electronically and make it accessible on the Internet. ! ! Generative Music Composition Software Systems Using Biologically Inspired Algorithms: A !Systematic Literature Review ! !KEREM PARLAKGÜMÜŞ" ! !© KEREM PARLAKGÜMÜŞ, January 2014." Examiner: LARS PARETO, MIROSLAW STARON" !Supervisor: PALLE DAHLSTEDT" University of Gothenburg" Chalmers University of Technology" Department of Computer Science and Engineering" SE-412 96 Göteborg" Sweden" !Telephone + 46 (0)31-772 1000" ! ! ! Department of Computer Science and Engineering" !Göteborg, Sweden, January 2014 Abstract My original contribution to knowledge is to examine existing work for methods and approaches used, main functionalities, benefits and limitations of 30 Genera- tive Music Composition Software Systems (GMCSS) by performing a systematic literature review. -
Expressive Musical Robots : Building, Evaluating, and Interfacing with An
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Expressive Musical Robots: Building, Evaluating, and Interfacing with an Ensemble of Mechatronic Instruments By: Jim Murphy A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2014 Supervisory Committee Supervisor: Dr. Ajay Kapur (New Zealand School of Music, Victoria University of Wellington School of Engineering and Computer Science) Co-Supervisor: Dr. Dale A. Carnegie (Victoria University of Wellington School of Engineering and Computer Science) ©Jim W. Murphy, 2014 ii “Merlin himself, their elderly creator, said he had devoted years to these machines, his favorites, still unfinished.” James Gleick Abstract Expressive Musical Robots: Building, Evaluating, and Interfacing with an Ensemble of Mechatronic Instruments by Jim Murphy An increase in the number of parameters of expression on musical robots can result in an increase in their expressivity as musical instruments. This thesis focuses on the design, construction, and implementation of four new robotic instruments, each designed to add more parametric control than is typical for the current state of the art of musical robotics. The principles followed in the building of the four new instruments are scalable and can be applied to musical robotics in general: the techniques exhibited in this thesis for the construction and use of musical robotics can be used by composers, musicians, and installation artists to add expressive depth to their own works with robotic instruments. -
Lettres John Chowning, François Bayle, Daniel Teruggi, Jon Appleton, Gérard Assayag, Richard Kronland Martinet, Mitsuko Aramaki, Sølvi Ystad
Lettres John Chowning, François Bayle, Daniel Teruggi, Jon Appleton, Gérard Assayag, Richard Kronland Martinet, Mitsuko Aramaki, Sølvi Ystad To cite this version: John Chowning, François Bayle, Daniel Teruggi, Jon Appleton, Gérard Assayag, et al.. Lettres. Computer Music Journal, Massachusetts Institute of Technology Press (MIT Press), 2017, 41, pp.15 - 20. 10.1162/COMJc00410. hal-01688998 HAL Id: hal-01688998 https://hal.archives-ouvertes.fr/hal-01688998 Submitted on 26 Apr 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Letters John Chowning, François Bayle, Daniel Teruggi, Jon Appleton, Gérard Assayag, Richard Kronland-Martinet, Mitsuko Aramaki, Sølvi Ystad Computer Music Journal, Volume 41, Number 2, Summer 2017, pp. 15-20 (Article) Published by The MIT Press For additional information about this article https://muse.jhu.edu/article/662531 Access provided by CNRS BiblioSHS (19 Jun 2017 15:43 GMT) Letters [Editor’s note: To complement the tones. I was stunned; the sounds were Yamaha’s consideration of their first late Jean-Claude Risset’s obituary as sparkling and lively as was he. all-digital family of synthesizers. in this issue’s News section, we Risset showed me how, with careful It has often been a topic of dis- solicited these letters of tribute from listening and attention to small de- cussion why Risset, and then I, individuals who knew him well. -
The Assembling of "Stria" by John Chowning
Laura Zattra Dipartimento di Storia delle Arti Visive e della The Assembling of Stria by Musica Universita di Padova John Chowning: A Piazza Capitaniato 7 Padova, Italy 35139 Philological Investigation [email protected] This article starts from the assumption that musi- ates a computation that is not an immediately intel- cology needs methods borrowed from philology for ligible symbol. Moreover, electroacoustic music studying computer music. The analysis of the cre- often implies the role of the musical assistant, ative and revision process that John Chowning car- or the performance assistant, or someone who trans- ried out in the realization of Stria (1977) is made lates compositional ideas into digital data: These possible by textual criticism and interpretation all are human agents who carry on a codification based on digital and audio sources, sketches, and through the processes of writing. The study of the oral communications. process of composition (the term ecriture would be This research moves from the hypothesis that more appropriate) and the text must be applied to Stria exists in several versions and follows the his- the tape, the CD, digital memory, the digital score, torical genesis of the assembling of the sections. and so on, because "these texts do not certainly Conclusions trace the various stages of the assem- show a visible context of writing, but do certainly bling process, from the very first synthesis of the maintain its essence and its reproduction technol- piece to two different and coexisting four-channel ogy" (De Benedictis 2004, p. 247). and stereophonic versions. As the last resort, among these different texts converging to the electroacoustic work, and within this actual culture where aurality-orality and ecrit- Theoretical Introduction ure are blurred, the composer's "mental" text is fundamental.