Dartmouth Symposium on the Future of Computer Music Software: A Panel Discussion

“…At the same time for a pleasing appeal there must be some small violations of the melody pattern. A cognitive psychologist, an audience member in a panel discussion on the future of computer music software (Lyon, 2002), expressed the aforesaid enlightened view and the present work attempts a straightforward implementation of such a musical organization. In order to accomplish the same, shaping the melodic pattern (MP), rhythmic pattern (RP) as well as the melody violation part (MVP) by means of appropriate mathematical forms is essential.…”

mentioning

confidence: 88%

Artificial Composition: An Experiment on Indian Music

Sinha¹

2008

Journal of New Music Research

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It has been attempted to develop a neurocomputing paradigm for artificial music composition in Indian style. A musical organization, comprising a melodic pattern, a rhythmic pattern and a melody violation part, has been considered for this purpose. A simple feed forward hybrid neural network with a functional link hidden layer has been so designed as to integrate such a musical organization with Indian raga rules. The proposed artificial neural network can output a variety of compositions on any raga by generating random link weights that shape the musical organization in various ways within the freedom available in the raga framework. The neural network can be customized with specifications of any raga for outputting a large variety of musical sequences that abide by the particular raga rules. In an interactive mode, a musician user may compose non-classical and light classical songs in Indian style based on desired ragas. An evaluation of such outputs from the system on Hindustani music, as done by a group of musicians, is encouraging. The present system, when run in an ''Auto Mode'', may also serve as a generator of ''semi-finished'' music for composing music of non-traditional structure.

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“…Sound manipulation tools were the first frontier of this new music, from a long range of studios and research institutions around the world. Even now, which will be discussed in depth later, as tools for manipulating spatial trajectories and for composing with space have become more and versatile, many composers still work in the stereo format (Lyon 2014).…”

Section: Perceiving Spacementioning

confidence: 99%

Sound Objects and Spatial Morphologies

Holbrook

2019

Org. Sound

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One of Pierre Schaeffer’s achievements in his musical research was his proposal of the sound object as a basic unit of musical experience and his insistence on listening as a main focus of research. Out of this research grew a radical new music theory of sound-based composition. This article will draw on this extensive research to explore the spaces where this music is heard and present the claim that the space in which music is experienced is as much a part of the music as the timbral material itself. The key question here is the changes made to timbral material through acousmatic spatial listening and the subjective analysis affordance of the listeners’ placement and perspective. These consequences are studied from a phenomenological and psychoacoustic perspective and it is suggested that Schaeffer’s research on timbral and musical concepts can be extended to include spatial features.

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Dartmouth Symposium on the Future of Computer Music Software: A Panel Discussion

Cited by 36 publications

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The studio as laboratory: Combining creative practice and digital technology research

The studio as laboratory: Combining creative practice and digital technology research

Artificial Composition: An Experiment on Indian Music

Sound Objects and Spatial Morphologies

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