Augmenting Music Sheets with Harmonic Fingerprints
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Basics Music Principles E-Book
Basic Music Principles (e-book edition) Copyright © 2011-2013 by Virtual Sheet Music Inc. All rights reserved. No part of this e-book shall be reproduced or included in a derivative work without written permission from the publisher. It can be shared instead anywhere on the web or on printed media in its entirety. No patent liability is assumed with respect to the use of the information contained herein. Although every precaution has been taken in the preparation of this e-book, the publisher and authors assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of the information contained herein. REMEMBER! YOU ARE WELCOME TO SHARE AND DISTRIBUTE THIS BOOK ANYWHERE! Trademarks All terms mentioned in this e-book that are known to be trademarks or service marks have been appropriately capitalized. Publisher cannot attest to the accuracy of this information. Use of a term in this e-book should not be regarded as affecting the validity of any trademark or service mark. Virtual Sheet Music® and Classical Sheet Music Downloads® are registered trademarks in USA and other countries. Warning and Disclaimer Every effort has been made to make this e-book as complete and as accurate as possible, but no warranty is implied. The information provided is on an “as is” basis. The authors and the publisher shall have neither liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained in this e-book. The E-Book’s Website Find out more, contact the author and discuss this e-book at: http://www.virtualsheetmusic.com/books/basicmusicprinciples/ Published by Virtual Sheet Music Inc. -
Dynamic Generation of Musical Notation from Musicxml Input on an Android Tablet
Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Laura Lynn Housley Graduate Program in Computer Science and Engineering The Ohio State University 2012 Master's Examination Committee: Rajiv Ramnath, Advisor Jayashree Ramanathan Copyright by Laura Lynn Housley 2012 Abstract For the purpose of increasing accessibility and customizability of sheet music, an application on an Android tablet was designed that generates and displays sheet music from a MusicXML input file. Generating sheet music on a tablet device from a MusicXML file poses many interesting challenges. When a user is allowed to set the size and colors of an image, the image must be redrawn with every change. Instead of zooming in and out on an already existing image, the positions of the various musical symbols must be recalculated to fit the new dimensions. These changes must preserve the relationships between the various musical symbols. Other topics include the laying out and measuring of notes, accidentals, beams, slurs, and staffs. In addition to drawing a large bitmap, an application that effectively presents sheet music must provide a way to scroll this music across a small tablet screen at a specified tempo. A method for using animation on Android is discussed that accomplishes this scrolling requirement. Also a generalized method for writing text-based documents to describe notations similar to musical notation is discussed. This method is based off of the knowledge gained from using MusicXML. -
How to Read Choral Music.Pages
! How to Read Choral Music ! Compiled by Tim Korthuis Sheet music is a road map to help you create beautiful music. Please note that is only there as a guide. Follow the director for cues on dynamics (volume) and phrasing (cues and cuts). !DO NOT RELY ENTIRELY ON YOUR MUSIC!!! Only glance at it for words and notes. This ‘manual’ is a very condensed version, and is here as a reference. It does not include everything to do with reading music, only the basics to help you on your way. There may be !many markings that you wonder about. If you have questions, don’t be afraid to ask. 1. Where is YOUR part? • You need to determine whether you are Soprano or Alto (high or low ladies), or Tenor (hi men/low ladies) or Bass (low men) • Soprano is the highest note, followed by Alto, Tenor, (Baritone) & Bass Soprano NOTE: ! Alto If there is another staff ! Tenor ! ! Bass above the choir bracket, it is Bracket usually for a solo or ! ! ‘descant’ (high soprano). ! Brace !Piano ! ! ! • ! The Treble Clef usually indicates Soprano and Alto parts o If there are three notes in the Treble Clef, ask the director which section will be ‘split’ (eg. 1st and 2nd Soprano). o Music written solely for women will usually have two Treble Clefs. • ! The Bass Clef indicates Tenor, Baritone and Bass parts o If there are three parts in the Bass Clef, the usual configuration is: Top - Tenor, Middle - Baritone, Bottom – Bass, though this too may be ‘split’ (eg. 1st and 2nd Tenor) o Music written solely for men will often have two Bass Clefs, though Treble Clef is used for men as well (written 1 octave higher). -
Sheet Music Unbound
http://researchcommons.waikato.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. Sheet Music Unbound A fluid approach to sheet music display and annotation on a multi-touch screen Beverley Alice Laundry This thesis is submitted in partial fulfillment of the requirements for the Degree of Master of Science at the University of Waikato. July 2011 © 2011 Beverley Laundry Abstract In this thesis we present the design and prototype implementation of a Digital Music Stand that focuses on fluid music layout management and free-form digital ink annotation. An analysis of user constraints and available technology lead us to select a 21.5‖ multi-touch monitor as the preferred input and display device. This comfortably displays two A4 pages of music side by side with space for a control panel. The analysis also identified single handed input as a viable choice for musicians. Finger input was chosen to avoid the need for any additional input equipment. -
The Duality of the Composer-Performer
The Duality of the Composer-Performer by Marek Pasieczny Submitted for the Degree of Doctor of Philosophy School of Arts Faculty of Arts and Social Sciences Supervisors: Prof. Stephen Goss ©Marek Pasieczny 2015 The duality of the composer-performer A portfolio of original compositions, with a supplementary dissertation ‘Interviews Project: Thirteen Composers on Writing for the Guitar’. Abstract The main focus of this submission is the composition portfolio which consists of four pieces, each composed several times over for different combinations of instruments. The purpose of this PhD composition portfolio is threefold. Firstly, it is to contribute to the expansion of the classical guitar repertoire. Secondly, it is to defy the limits imposed by the technical facilities of the physical instrument and bring novelty to its playability. Third and most importantly, it is to overcome the challenges of being a guitarist-composer. Due to a high degree of familiarity with the traditional guitar repertoire, and possessing intimate knowledge of the instrument, it is often difficult for me as a guitarist-composer to depart from habitual tendencies to compose truly innovative works for the instrument. I have thus created a compositional approach whereby I separated my role as a composer from my role as a guitarist in an attempt to overcome this challenge. I called it the ‘dual-role’ approach, comprising four key strategies that I devised which involves (1) borrowing ‘New Music’ practices to defy traditionalist guitar tendencies which are often conservative and insular; (2) adapting compositional materials to different instrumentations; and expanding on (3) the guitar technique as well as; (4) the guitar’s inventory of extended techniques. -
Automatic Music Transcription Using Sequence to Sequence Learning
Automatic music transcription using sequence to sequence learning Master’s thesis of B.Sc. Maximilian Awiszus At the faculty of Computer Science Institute for Anthropomatics and Robotics Reviewer: Prof. Dr. Alexander Waibel Second reviewer: Prof. Dr. Advisor: M.Sc. Thai-Son Nguyen Duration: 25. Mai 2019 – 25. November 2019 KIT – University of the State of Baden-Wuerttemberg and National Laboratory of the Helmholtz Association www.kit.edu Interactive Systems Labs Institute for Anthropomatics and Robotics Karlsruhe Institute of Technology Title: Automatic music transcription using sequence to sequence learning Author: B.Sc. Maximilian Awiszus Maximilian Awiszus Kronenstraße 12 76133 Karlsruhe [email protected] ii Statement of Authorship I hereby declare that this thesis is my own original work which I created without illegitimate help by others, that I have not used any other sources or resources than the ones indicated and that due acknowledgement is given where reference is made to the work of others. Karlsruhe, 15. M¨arz 2017 ............................................ (B.Sc. Maximilian Awiszus) Contents 1 Introduction 3 1.1 Acoustic music . .4 1.2 Musical note and sheet music . .5 1.3 Musical Instrument Digital Interface . .6 1.4 Instruments and inference . .7 1.5 Fourier analysis . .8 1.6 Sequence to sequence learning . 10 1.6.1 LSTM based S2S learning . 11 2 Related work 13 2.1 Music transcription . 13 2.1.1 Non-negative matrix factorization . 13 2.1.2 Neural networks . 14 2.2 Datasets . 18 2.2.1 MusicNet . 18 2.2.2 MAPS . 18 2.3 Natural Language Processing . 19 2.4 Music modelling . -
Exploiting Innate Rhythmic Sense in a Ringtone Composer
EXPLOITING INNATE RHYTHMIC SENSE IN A RINGTONE COMPOSER Daniel Lock & Paul Cairns UCL Interaction Centre University College London 26 Bedford Way, London WC1H 0AP, UK www.uclic.ucl.ac.uk/paul/taptone/ ABSTRACT ringtone composer interfaces are far from usable. They are so far from usable that third party developers are even Mobile phone ringtones help their owners identify their own producing downloadable software to make ringtone phone ringing amongst the many other possible phones that composition easier [8]. Some web-sites also offer could ring in a given place. However, existing interfaces for instructions on how to enter various tunes into different personalising ringtones have real usability problems. This phones [2] but the phone owner must still struggle with the paper proposes a new design that exploits humans’ innate original interfaces even to do this. rhythmic abilities. The design is implemented in a PC prototype and compared to the existing interface of a popular There is clearly a demand, then, for ringtone composition. brand of phone. It is found to be more satisfying and suggests In this paper, we consider a new method for entering further development. ringtones into a mobile phone. Of course, mobile phones present interesting constraints, having limited screen space Keywords and only push-button interfaces. They also present Music Interface, Rhythm, Natural Interaction, TapTone, interesting opportunities because unlike the majority of Mobile Phone Ringtones desktop computers, the microphone is an essential feature of the device. 1. MUSIC FOR THE MASSES A guiding principle to the resulting design was the At one level, the ringtones of mobile phones need only exploitation of natural abilities of humans, that is, music communicate a single bit of information – whether someone seems to be a universal human cultural trait so the interface is trying to call you or not. -
Betternote: Evaluating Alternative Music Notation Jack Swiggett Stanford University 610 Mayfield Ave, Stanford, CA 94305 [email protected]
BetterNote: Evaluating Alternative Music Notation Jack Swiggett Stanford University 610 Mayfield Ave, Stanford, CA 94305 [email protected] ABSTRACT pitch mapping. And the lines and spaces are not enough to This paper presents a tool for objectively evaluating music represent every note in Western music theory, so notes are notation systems. In particular, we assess the ease with sometimes augmented with a “sharp” (♯) or a “flat” (♭) to which a musician playing piano can sight-read music change their pitch. On top of this, learners must study a written using a particular system. We use this tool to separate system for representing rhythm. evaluate two different notation systems—traditional Western notation and a proposed alternative, known as As a result of these complexities, beginning musicians are Klavarskribo. We present the results of this evaluation, and often intimidated by notation, and many never learn to read discuss future steps that would further our understanding of it. Yet without reading notation, they cannot easily share alternative music notation systems. their musical ideas or explore the vast wealth of written music that exists. Many have sought to remedy this Author Keywords problem by developing alternative notation systems that are Music, notation, piano, usability, user study. more intuitive for learners. Yet while hundreds of alternative systems have been proposed, we have almost no ACM Classification Keywords objective evaluations of their efficacy. Without a way to H5.2. Information interfaces and presentation (e.g., HCI): compare systems, we cannot redesign and optimize music User Interfaces. notation to serve a wider audience. INTRODUCTION Klavarskribo Western music notation has a long and complex history. -
Concert Orchestra
Concert Orchestra Lesson: April 7, 2020 Learning Target: “I can identify and count basic rhythms” Warm-Up . Goal Warm-Up Review Consider your goal from yesterday. If necessary, change or modify your goal to best meet your needs. Answer the following writing prompts: 1. My goal is important because….. 2. The benefit of achieving this goal is…... Lesson . Downbeat Meter Pulse Rhythm words Time Tempo Signature Do you know the difference? Beat Metronome . Rhythm Words ● Time Signature (4/4, 2/4, ¾, 6/8, 9/8, etc.) ○ How many beats are in a measure, AND ○ What kind of note gets the beat. ● Pulse (“Feeling the beat”) ● Downbeat (The first beat of every measure) ● Tempo (“How fast”) ● Meter (“Strong” and “Weak” beats) . Time Signatures What do they mean? . Time Signatures Top Number = “How many” Beats in a measure Bottom Number = “What Kind” of note gets the beat . Time Signatures = 6 beats = Quarter Note gets the beat . Did you know music is like Math? Time for some word problems 1. If you are in the time signature 4/4, what kind of note gets the beat? 2. If you are in the time signature 5/8 , how many 8th notes are in a measure? 3. If you are in the time signature 3/4 , how many 8th notes are in a measure? . ANSWER KEY 1. If you are in the time signature 4/4, what kind of note gets the beat? The QUARTER NOTE gets the beat. The bottom number 4 means quarter note, an 8 would mean 8th note, 2 would mean half note, etc. -
The Following Is a Glossary of Terms, Some of Which You Won't Readily Find
Communicating with the Band in Their Vocabulary The following is a glossary of terms, some of which you won’t readily find in music textbooks. These are practical, on-the-job, day-to-day terms you will want to know in the real world of performing and singing on stage. These will aid you greatly in communicating with the band in their language. A Capella – Singing alone or unaccompanied, literally in a chapel style, i.e., vocal music without instrumental accompaniment. This can be another good style in the singer’s palette of colors. Accelerando - Means to speed up the music at this point little by little. Ad Lib - Also means rubato and colla voce. This is music that is played out of tempo or out of time where the musicians follow the singer word for word. This also means that in rubato sections of your "Do-it-yourself' charts, you MUST write all the lyrics so that your musicians can follow your words. Otherwise, they haven't the slightest idea where you are at any given point in an ad-lib section. (All music is either in some tempo or it is not.) Agent - One who actually finds you work and books your act. Arrangement - A completely original musical interpretation of a song arranged for one or more pieces of a band. A & R Man - Stands for Artists and Repertoire. This is the person at a record company who listens to your original demos or cassettes for possible consideration of a record deal. Back Beat - Traditionally, beats two and four of a 4/4 repeating pattern. -
Sheet Music Reader Sevy Harris, Prateek Verma Department of Electrical Engineering Stanford University Stanford, CA [email protected], [email protected]
1 Sheet Music Reader Sevy Harris, Prateek Verma Department of Electrical Engineering Stanford University Stanford, CA [email protected], [email protected] Abstract—The goal of this project was to design an image processing algorithm that scans in sheet music and plays the music described on the page. Our algorithm takes a digital image of sheet music and segments it by line. For each line, it detects the note types and locations, and computes the frequency and duration. These frequency and duration pairs are stored in a matrix and fed into the audio synthesizer, which plays back the music. For simple and non-noisy input images, the audio output for this algorithm was recognizable and played the pitches accurately, excluding the presence of accidentals. F 1INTRODUCTION preprocessing functions to enhance the quality Much like the problem of optical character of the image and make it easier to analyze. recognition, there are many useful applications Then, the key objects are detected using mor- for automating the process of reading sheet phological operations. In the final stage, the music. An optical sheet music reader allows detected notes and other objects are combined a musician to manipulate scores with ease. and analyzed to produce frequency and dura- An algorithm that converts an image to note tion pairs that are sent to the synthesizer as a frequencies can easily be transposed to other matrix. keys and octaves. Transposing music is a very tedious process when done by hand. A sheet 2.1 Segmentation and Preprocessing music reader also has the potential to quickly translate handwritten music into a much more First the image is binarized using Otsu’s readable digital copy. -
Positional Drum Notation
Positional Drum Notation Sebastiano Bea, Mishel Johns Abstract—Sheet music designed for pitched instruments does not translate well to drum music. Our prototype drum set music notation is designed to allow efficient display of information and easy interpretation especially by novice learners. The notation maps the instruments in the drum set horizontally to match the usual location in the drum set, and adds easily distinguishable icons that visually resemble the instrument. Sections with identical music are consolidated and marked in a timeline for the musician to follow. Index Terms—Musical Notation, drums, positional mapping, vertical orientation INTRODUCTION Musical notation has been historically designed for instruments with pitches. The higher the note is on the score, the higher the 1 RELATED WORK pitch. Notes are seen as an ordinal variable, as they can be In this section we will present different notation systems which compared. With drum sets, however, this distinction falls, as there we have identified along with the main pros and cons of each one. is no (obvious) direct way to compare the sound of each drum. The bass drum may have a lower frequency compared to a crash 1.1 Traditional Music Staff Notation cymbal, but they differ by many other factors that are not easily It is the current standard for drum music notation. It is based on comparable. Drum sounds are much more "nominal" rather than the same rules that govern notation for other instruments. Each "ordinal", as they are so different that they cannot be ordered line / space on the score corresponds to a specific drum quantitatively.