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future work, we plan to add functionality for uploading . Top 10 presets or sets of composition parameters Table 2 music components and recommending generated songs. during 54 days of operation. SOUND TO SCALE TO SOUND, A SETUP FOR MICROTONAL Style preset (top 10) Frequency 7. REFERENCES EXPLORATION AND COMPOSITION “Singing with guitar” style (default) 3622 [1] L. Hiller and L. Isaacson, “Experimental Music,” “Rock 1” style 2484 McGraw-Hill, 1959. Olmo Cornelis, Joren Six “Old Japanese Meiji-era songs” style 1658 [2] S. Kaske, “A Conversation with Clarence Barlow,” “Nursery songs 1” style 1417 Royal Academy of Fine Arts & Royal Conservatory Computer Music Journal, vol.9, no.1, 1985. University College Ghent “Ballade” style 1285 [3] M. Mathews and L. Rosler, “Graphical language for “Japanese typical school song” style 1145 the scores of computer-generated sounds,” Perspec- Hoogpoort 64, 9000 Ghent - Belgium “Pops” style 951 tive of New Music, vol.6, no.2, pp.92–118, 1968. [email protected] “Rock 2” style 781 [4] M. Balaban, et al., “Abstraction as a Means for End- “Yesterday (from The Beatles)” style 583 User Computing in Creative Applications,” IEEE “Nursery songs 2” style 576 Trans on Systems, Man, and Cybernetics, Part A, ABSTRACT formation Retrieval community, that aimed at automated vol.32, no.6, pp.640–653, 2002. computational analysis of any musical parameter. In this [5] R. Baker, et al., “MUSICOMP: MUsic Simulator- This paper elaborates on a setup for microtonal explo- context, we have developed Tarsos1. It was especially de- Interpreter for COMpositional Procedures for ration, experimentation and composition. Where the ini- signed for the analysis of pitch in African music. The the IBM 7090 electronic digital computer,” Ur- tial design of the software Tarsos aimed for the scale anal- specific characteristics of tone scales in this wide range of bana:University of Illinois, Experimental Music ysis of ethnic music recordings, it turned out to deliver music, urged us to develop a very flexible system for pitch Studio, Tech. Rep., 1963. a flexible platform for pitch exploration of any kind of analysis, pitch representation, pitch (and scale) interpreta- [6] G. M. Koenig, “Project 1: a programme for musical music. Scales from ethnic music, but also theoretically tion and fitting forms of output. It led to the java platform composition,” Electric Music Reports, vol.2, pp.32– designed scales and scales from musical practice, can be Tarsos where both automated and manual analysis are im- 44, 1970. analyzed in great detail and can be adapted by a flexible plemented in an interface where users can alter any found [7] K. Ebcioglu, “An Expert System for Harmoniz- interface with auditory feedback. The output, the scales, pitch suggestion, thus listen and verify in order to retrieve ing Four-Part Chorales,” Computer Music Journal, are written into the standardized Scala format, and can be the used tone scale. This prior goal soon extended to- vol.12, no.3, pp.43-51, 1998. used in a MIDI-to-WAV converter that renders a MIDI file wards small use cases in listening to the unique qualities [8] M. Henz, et al., “COMPOzE - intention-based mu- into audio tuned in a particular scale. This setup creates of retrieved scales. It was a pilot for a more systematic sic composition through constraint programming,” an environment for tone scale exploration that can be used approach to alter Tarsos in such way that it becomes a in Proc. ICTAI, pp.118–121, 1996. for microtonal composition. tool for microtonal experiment as well. Nowadays sev- [9] J. A. Biles, “GenJam: A Genetic Algorithm for Gen- eral options are built in the software that makes microtonal erating Jazz Solos,” in Proc ICMC, 1994. 1. INTRODUCTION composition much more easy and accessible. Any scale, Figure 7. Numbers of generated songs, server access and [10] D. Cope, “Computer Model of Music Composition,” retrieved from analysis, based on theory, or created from distinct users per day (data for 49 days out of total 54 days Machine models of music, pp.403–425, 1992. Pitch and tone scale organization is one of the many inter- experiment, coupled with a score can be rendered into a is shown above): In average, 280 songs were generated [11] F. Pachet, “The Continuator: Musical Interaction esting musical parameters, but it is foremost the oldest one WAV-file using a MIDI synthesizer. in a day. Distinct users were counted by detecting and With Style,” Journal of New Music Research, vol.32, that has been studied. In ancient Greece, several scien- This paper is structured as follows: an introduction removing the same IP addresses in the access log. no.3, pp.333-341, 2003. tist/philosophers searched for the intimacies of sound and sketching the background for this research. Chapter two [12] G. Hierhaus, “Algorihmic Composition,” Springer its sympathic vibrations. Using a monochord, Pythagoras will provide a view on the methodology. Chapter three Verlag Wien, 1990. revealed the intervallic ratios for his tuning system that documents several case studies. The final chapter states 6. CONCLUSION [13] S. Fukayama, et al., “Automatic song composition was used for ages. It was the beginning of an adven- aspects on future work. from the lyrics exploiting prosody of the Japanese ture between mathematical and physical theories versus We discussed a method to assist novice users in the cre- lyrics,” in Proc. SMC, 2010. sounding realities and musicality, where people enigmat- ation of original songs from Japanese lyrics, and intro- [14] S. M. Schwanauer, “A Learning Machine for Tonal ically spoke about commas, wolf tones, theory of affects 2. METHODOLOGY duced our system “Orpheus version 3”. In order to help Composition,” Machine models of music, pp.512– and temperaments. In Western music, music theory devel- Figure 1 summarizes the setup for this microtonal experi- navigate the user through the difficult process of composi- 532, 1992. oped gradually towards an equal temperament, with some ment in a circular triad. The software Tarsos explores and tion, we proposed the following three system designs for [15] M. E. Beckman and J. B. Pierrehumbert, “Intona- exceptions by experimental composers. In non-Western extracts scales, the software Scala gathers all the files and the solutions; (1) to design a system with direction func- tional structure in japanese and english,” in Phonol- classical music however, many alternative tuning systems serves as a basis for the auditory feedback, note by note tionality in generating songs, (2) to formulate composition ogy Yearbook 3, pp.255–309, 1986. that use specific intervals such as quartertones have been or converting MIDI to WAV-files. as an optimization problem, and (3) to integrate system [16] R. E. Bellman, “Dynamic Programming,” Princeton described. In oral music, one encounters even more dif- synthesis and analysis engine of vocal and lyrics. University Press, 1957. ferent scales, that were developed in a master-student re- Evaluation of our method took place through the web [17] S. Kawamoto, et al., “Galatea: Open-Source Soft- lationship, tangled in a functional and societal context and 2.1. TARSOS, inner workings service of our automatic composition system. The average ware for Developing Anthropomorphic Spoken Dia- less depending on theoretical framework. Most software tools for pitch analysis focus on Western number of generated songs per user in a access to the web- log Agents,” Life-Like Characters, Springer-Verlag, Nowadays music has become a digital object. Indi- music, and thus focus on a pitch organization of 12 pitch server was 2.33 songs, and in total 15,139 songs were pp.187–212, 2004. vidual people, large museums and archives, all of them classes per octave, in an equal temperament, that is 100 generated automatically during 54 days of operation. Var- [18] S. Sako, et al., “A Singing Voice Synthesis System like to provide digital copies of their analogue recordings cents per interval. However, to fill the need for pitch anal- ious presets for composition parameters were chosen for Based on Hidden Markov Model,” Transactions of to create an easy-to-browse collection. These digital ob- ysis of ethnic music, another approach was needed that giving directions on generating songs. These results indi- Information Processing Society of Japan, pp.719– jects also have a completely different research potential. cated that our method was a possible solution for encour- 727, 2004. Music and sound can be analyzed as a physical or sym- 1Tarsos, together with a manual, the source code and other documen- aging novice users to compose their original songs. For bolical string of information; it gave birth to the Music In- tation, can be found at http://tarsos.0110.be. _446 _447 the pitch class histogram results in an interval table, that Tarsos contains the tone scale and all of its intervals. All visual- izations and the table interact directly: e.g. changes made to the peak locations propagate instantly throughout the AUDIO SCALA interface. INPUT Audio Scala 2.2. SCALA gets the scales Synthesizer TARSOS 2 MIDI (score) Scala is a software tool for experimentation with musical to tunings, such as just intonation scales and non-Western Audio PROCESSING Figure 1. Circular triad between input and output; Tarsos scales. It supports scale creation, editing, comparison, analyses audio, Scala organizes the output of the analyses, analysis, storage. Exploration of tunings and scales fits MIDI Keyboard which can be uploaded again in Tarsos so any scale can be Scala very well. The Scala program comes with a dataset PC Scala rebuilt and sonified. of over 3900 theoretical scales ranging from historical harp- Keyboard sichord temperaments over ethnic scales to scales used in OUTPUT Live contemporary music. Scala files are text files that contain has a much more fine grained range of pitch possibilities.
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