A Model of Musical Motifs

Anders, Torsten

doi:10.1007/978-3-642-04579-0_5

Cited by 3 publications

(3 citation statements)

References 3 publications

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“…Anders [2009] argues that the foundation for the successful modeling of harmony was the modeling of harmonic concepts such as pitches, intervals, chords, and scales. As a first step towards a model of classical melody composition, the author presents a formal model of musical motifs.…”

Section: Melody and Formmentioning

confidence: 99%

Constraint programming systems for modeling music theories and composition

Anders

Miranda

2011

ACM Comput. Surv.

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Constraint programming is well suited for the computational modeling of music theories and composition: its declarative and modular approach shares similarities with the way music theory is traditionally expressed, namely by a set of rules which describe the intended result. Various music theory disciplines have been modeled, including counterpoint, harmony, rhythm, form, and instrumentation. Because modeling music theories "from scratch" is a complex task, generic music constraint programming systems have been proposed that predefine the required building blocks for modeling a range of music theories. After introducing the field and its problems in general, this survey compares these generic systems according to a number of criteria such as the range of music theories these systems support.

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Section: Melody and Formmentioning

confidence: 99%

Constraint programming systems for modeling music theories and composition

Anders

Miranda

2011

ACM Comput. Surv.

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“…For example, pitch contour motifs are possible that constrain only the direction of melodic intervals. The variation motif model defines an extra music representation for motifs that explicitly represents analytical features such as the identity and variation of a motif by variables (Anders 2009). Users define what a motif identity means (e.g., which parameters are involved, and how they are constrained), and which variations are possible (defined as a set of transformation functions).…”

Section: An Extensible System: Strasheelamentioning

confidence: 99%

Compositions Created with Constraint Programming

Anders

2018

Oxford Handbooks Online

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This chapter surveys music constraint programming systems, and how composers have used them. The chapter motivates and explains how users of such systems describe intended musical results with constraints. This approach to algorithmic composition is similar to the way declarative and modular compositional rules have successfully been used in music theory for centuries as a device to describe composition techniques. In a systematic overview, this survey highlights the respective strengths of different approaches and systems from a composer's point of view, complementing other more technical surveys of this field. This text describes the music constraint systems PMC, Score-PMC, PWMC (and its successor Cluster Engine), Strasheela and Orchidée --most are libraries of the composition systems PWGL or OpenMusic. These systems are shown in action by discussing the composition process of specific works

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“…Moreover, composers can control features of the resulting motivic structure manually (Anders, 2009). For example, composers may pre-compose features of the motifs of a piece such as outlining their rhythmic structure (e.g.…”

Section: Score Information and Variable Domainsmentioning

confidence: 99%

Interfacing Manual and Machine Composition

Anders¹,

Miranda²

2009

Contemporary Music Review

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Computer-aided composition (CAC) is situated somewhere in the middle between manual composition and automated composition that is performed autonomously by a computer program. Computers cannot make aesthetic decisions in their own right. They can only follow orders. Aesthetic decisions are made by composers, both via the design of computer programs and by manually controlling these programs. The latter plays an important part in CAC. The composition process typically involves much emending and revising: changing how a computer program is controlled is easier and allows for a more intuitive way of working than changing the program itself. This paper argues that constraint programming is a particularly suitable programming paradigm for flexibly interfacing manual and machine composition.

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A Model of Musical Motifs

Cited by 3 publications

References 3 publications

Constraint programming systems for modeling music theories and composition

Constraint programming systems for modeling music theories and composition

Compositions Created with Constraint Programming

Interfacing Manual and Machine Composition

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