Real-Time Corpus-Based Concatenative Synthesis for Symbolic Notation
Daniele Ghisi and Carlos Agon
Abstract
Bibtex
We introduce a collection of modules designed to segment, analyze, display and sequence symbolic scores in real-time. This mechanism, inspired from CataRT’s corpus-based concatenative synthesis, is implemented as a part of the dada library for Max, currently under development.
@inproceedings{Ghisi_tenor2016,
Address = {Cambridge, UK},
Author = { Daniele Ghisi and Carlos Agon },
Title = {Real-Time Corpus-Based Concatenative Synthesis for Symbolic Notation},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {1--7},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Tension ribbons: Quantifying and visualising tonal tension
Dorien Herremans and Elaine Chew
Abstract
Bibtex
Tension is a complex multidimensional concept that is not easily quantified. This research proposes three methods for quantifying aspects of tonal tension based on the spiral array, a model for tonality. The cloud diameter measures the dispersion of clusters of notes in tonal space; the cloud momentum measures the movement of pitch sets in the spiral array; finally, tensile strain measures the distance between the local and global tonal context. The three methods are implemented in a system that displays the results as tension ribbons over the music score to allow for ease of interpretation. All three methods are extensively tested on data ranging from small snippets to phrases with the Tristan chord and larger sections from Beethoven and Schubert piano sonatas. They are further compared to results from an existing empirical experiment.
@inproceedings{Herremans_tenor2016,
Address = {Cambridge, UK},
Author = { Dorien Herremans and Elaine Chew },
Title = {Tension ribbons: Quantifying and visualising tonal tension},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {8--18},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Hybrid Real/Mimetic Sound Works
Lindsay Vickery
Abstract
Bibtex
In 2013 I began a project to construct a process allowing for data interchange between visual and sonic media: to create a continuum in which sound could be visualized and then resonified through by both live performers and digital means. A number of processes to aid this visualisation/sonification “ecosystem” were developed. Software was created to create scores based on sonic features of “field recordings” through spectral analysis by rendering the frequency of the strongest detected sinusoidal peak of a recording vertically and its timbral characteristics by luminance, hue and saturation on a scrolling score. Along similar principals a second process was developed to generate a realtime score using graphical symbols to represent detected accents in “found sound” speech recordings. In the other direction software was built to render greyscale images (including sonograms) as sound and a second iteration to generate audio from detected analysis parameters. The imperfections in the various transcription processes are intriguing in themselves as they throw into relief the distinctions between the various forms of representation and in particular the timescales in which they are perceived. The implied circularity of processes also opened the potential for re-interrogation of materials through repeated transmutation. This discussion explores these implications in the context of the analysis of field record-ings to generate visual representations that can be reson-ified using both performative (via notation) and machine (visual data-based) processes, to create hybrid re-al/mimetic sound works through the combination (and recombination) of the processes.
@inproceedings{Vickery_tenor2016,
Address = {Cambridge, UK},
Author = { Lindsay Vickery },
Title = {Hybrid Real/Mimetic Sound Works},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {19--24},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Visualizing Music in its Entirety using Acoustic Features: Music Flowgram
Dasaem Jeong and Juhan Nam
Abstract
Bibtex
In this paper, we present an automatic method for visualizing a music audio file from its beginning to end, especially for classical music. Our goal is developing an easy-to-use visualization method that is helpful for listeners and can be used for various kinds of classical music, even for complex orchestral music. To represent musical characteristic, the method uses audio features like volume, onset density, and auditory roughness, which describe loudness, tempo, and dissonance, respectively. These features are visually mapped into static two-dimensional graph, so that users can see how the music changes by time at a look. We have implemented the method with Web Audio API, and it works on recent version of web browsers like Chrome, Firefox, Safari, and Opera. Users can access to the visualization system on their web browser and make visualizations from their own music audio files. Two types of user tests were conducted to verify effects and usefulness of the visualization for classical music listeners. The result shows that it helps listeners to memorize and understand a structure of music, and to easily find a specific part of the music.
@inproceedings{Jeong_tenor2016,
Address = {Cambridge, UK},
Author = { Dasaem Jeong and Juhan Nam },
Title = {Visualizing Music in its Entirety using Acoustic Features: Music Flowgram},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {25--32},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Swaralipi: A Framework for Transcribing and Rendering Indic Music Sheet
Chandan Misra, Tuhin Chakraborty, Anupam Basu and Baidurya Bhattacharya
Abstract
Bibtex
Creating music in computer system through its music notations requires two primary components. The first one is the mechanisms to encode music notations of respective music genres and the other one is a framework to provide the look and feel of the music written like a published or handwritten music sheet. Popular music scorewriters like Finale, Sibelius, MuseScore can edit, render and playback music transcribed in Staff notation. Being vastly different from the Indic music system in grammar, notation symbols, tonic system and encoding style, the architecture used in the music software for western music cannot cater to the Indic music system. For this reason there is a dearth of such scorewriters for Indic music system which is rich with a variety of musical genres, each different from the others in their unique notation system and language for depicting their lyric. In this paper, we propose a new framework for transcribing and rendering Indic music sheets for different genres of Indic music in computer. This framework is designed to support all major Indic notation systems and Indic language scripts and is explained using three major notation systems and language scripts throughout the paper as a case study.
@inproceedings{Misra_tenor2016,
Address = {Cambridge, UK},
Author = { Chandan Misra and Tuhin Chakraborty and Anupam Basu and Baidurya Bhattacharya },
Title = {Swaralipi: A Framework for Transcribing and Rendering Indic Music Sheet},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {33--43},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Notating the Non-Notateable: Digital Notation of Txalaparta Practice
Enrike Hurtado and Thor Magnusson
Abstract
Bibtex
This paper explores notation practices related to the ancient Basque musical tradition of the txalaparta. It will firstly present the txalaparta practice, introduce the im-provisational rules of txalaparta playing, and discuss attempts in creating notation systems for the instrument. Due to the nature of txalaparta playing, Common West-ern Notation is not a suitable notation, and we will pre-sent the notation system we have developed as part of the Digital Txalaparta project. This system captures the key parts of playing and serves for both playback and a rich documentation of what players actually perform.
@inproceedings{Hurtado_tenor2016,
Address = {Cambridge, UK},
Author = { Enrike Hurtado and Thor Magnusson },
Title = {Notating the Non-Notateable: Digital Notation of Txalaparta Practice},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {44--49},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
S-notation: A complete musical notation system for scratching and sample music derived from "Theory of Motions"
Alexander Sonnenfeld and Kjetil Falkenberg Hansen
Abstract
Bibtex
In this paper, we present and discuss S-notation for sample-based music, and particularly for DJ scratching and turntablism. Sonnenfeld developed S-notation based on his Theory of Motion where scratch music is seen as constructions of concurrent musical gestures (motion parameters), and not only turntable actions. The detailed symbolic notation was inspired by traditional musical notation, and among its advantages it covers current musical needs, it can be read and played live in performance, it provides a tool for composers to convey musical ideas, it can be expanded towards new styles and techniques, and it is generalizable to other types of sample-based music. In addition to motion parameters, the new notation system involves an analysis of the sampled sound. Finally, S-notation is also applicable for documenting and for teaching situations.
@inproceedings{Sonnenfeld_tenor2016,
Address = {Cambridge, UK},
Author = { Alexander Sonnenfeld and Kjetil Falkenberg Hansen },
Title = {S-notation: A complete musical notation system for scratching and sample music derived from "Theory of Motions"},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {50--57},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Pitchcircle3D: A Case Study in Live Notation for Interactive Music Performance
Tom Hall
Abstract
Bibtex
Recent decades have seen the establishment of computer software live notations intended as music scores, affording new modes of interaction between composers, improvisers, performers and audience. This paper presents a live notations project situated within the research domains of algorithmic music composition, improvisation, performance and software interaction design. The software enables the presentation of live animated scores which display 2D and 3D pitch-space representations of note collections including a spiral helix and pitch-class clock. The software has been specifically engineered within an existing sound synthesis environment, SuperCollider, to produce tight integration between sound synthesis and live notation. In a performance context, the live notation is usually presented as both music score and visualisation to the performers and audience respectively. The case study considers the performances of two of the author's contrasting compositions utilising the software. The results thus far from the project demonstrate the ways in which the software can afford different models of algorithmic and improvised interaction between the composer, performers and the music itself. Also included is a summary of feedback from musicians who have used the software in public music performances over a number of years.
@inproceedings{Hall_tenor2016,
Address = {Cambridge, UK},
Author = { Tom Hall },
Title = {Pitchcircle3D: A Case Study in Live Notation for Interactive Music Performance},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {58--64},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Performance Practice of Real-Time Notation
Seth Shafer
Abstract
Bibtex
The primary distinction between real-time and non-real-time notation is the ability for the performer to know ahead of time the exact details of what they will be asked to perform. This paper address the myriad of performance practice issues encountered when the notation of a work loosens its bounds in the world of the fixed and knowable, and instead explores the realms of chance, spontaneity, and interactivity. Some of these issues include: the problem of rehearsal, the problem of ensemble synchronization, the extreme limits of sight reading, failure as a compositional device, new freedoms for the performer and composer, and the new opportunities offered by the ephemerality and multiplicity of real-time notation.
@inproceedings{Shafer_tenor2016,
Address = {Cambridge, UK},
Author = { Seth Shafer },
Title = {Performance Practice of Real-Time Notation},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {65--70},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Representing atypical music notation practices: An example with late 17th century music
Rodolfo Zitellini and Laurent Pugin
Abstract
Bibtex
From the 17th century towards the first decades of the 18th century music notation slowly looses all influences from mensural music, becoming virtually identical to what we would consider common modern notation. But in these five decades of transformation composers did not just suddenly abandon older notation styles, but they were used alongside the ones that would become standard. Void notation, black notation and uncommon tempi were all mixed together. The scholar preparing modern editions of this music is normally forced to normalize all these atypical notations as many software applications do not support them natively. This paper exemplifies the flexibility of the encoding scheme proposed by the Music Encoding Initiative (MEI) and of Verovio, a visualisation library designed for it. The modular approach of these tools means that particular notation systems can be easily added whilst maintaining compatibility to other encoded notations.
@inproceedings{Zitellini_tenor2016,
Address = {Cambridge, UK},
Author = { Rodolfo Zitellini and Laurent Pugin },
Title = {Representing atypical music notation practices: An example with late 17th century music},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {71--77},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
The Expressive Function in Wor Songs
Helena Palma
Abstract
Bibtex
We study some musical and expressive features of traditional Wor vocal music, an ancestral gender of the Biaks (West Papua). A core aspect in Wor songs is the expression of wonder, which Biaks have developed into an Aesthetics of Surprise. We describe some key structural features in the pitch and time domain used as means to express such an aesthetics. We represent the acoustic and prosodic features encoding expressive content by means of an Expressive Function which contains expressive indices with internal structure. We propose an augmented expressive score for the transcription of unaccompanied Wor songs.
@inproceedings{Palma_tenor2016,
Address = {Cambridge, UK},
Author = { Helena Palma },
Title = {The Expressive Function in Wor Songs},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {78--84},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Is There a Data Model in Music Notation?
Raphaël Fournier-S'niehotta, Philippe Rigaux and Nicolas Travers
Abstract
Bibtex
Scores are structured objects, and we can therefore envisage operations that change the structure of a score, combine several scores, and produce new score instances from some pre-existing material. Current score encodings, however, are designed for rendering and exchange purposes, and cannot directly be exploited as instances of a clear data model supporting algebraic manipulations. We propose an approach that leverages a music content model hidden in score notation, and define a set of composable operations to derive new "scores" from a corpus of existing ones. We show that this approach supplies a high-level tool to express common, useful applications, can easily be implemented on top of standard components, and finally gives rise to interesting conceptual issues related to the modeling of music notation.
@inproceedings{Fournier_tenor2016,
Address = {Cambridge, UK},
Author = { Raphaël Fournier-S'niehotta and Philippe Rigaux and Nicolas Travers },
Title = {Is There a Data Model in Music Notation?},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {85--91},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
The Ontology of Live Notations Through Assemblage Theory
David Kim-Boyle
Abstract
Bibtex
This paper uses assemblage theory to help develop an ontological framework for better understanding live notation practice. Originally developed by Deleuze and Guattari across a range of theoretical writings, assemblage theory is more fully explicated in the work of Manuel de Landa in the more focused context of social ontology. This paper examines the basic concepts of assemblage theory such as material components, expressive capacities, and relations of exteriority and how they may pro-vide useful insights in the analysis of music which explores the creative potential of live notation. The temporal dynamics of non-linear musical forms are discussed and assemblage theory is shown to be a powerful tool for promoting a better understanding of how the various interactions between material and expressive components help catalyze the emergent properties of the assemblage and through it, the ontological identity of a live notation aesthetic practice.
@inproceedings{Kim-Boyle_tenor2016,
Address = {Cambridge, UK},
Author = { David Kim-Boyle },
Title = {The Ontology of Live Notations Through Assemblage Theory},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {92--97},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
[Study no. 50][Notational Becoming][Speculations]
Ryan Ross Smith
Abstract
Bibtex
The use of animation in contemporary notational practices has become increasingly prevalent over the last ten years, due in large part to the increased compositional activities throughout Europe, the United Kingdom, and North America, and in particular Iceland and Western Australia.1 The publication of several foundational texts,2 and the materialization of focused scholarly meetings3 and online consolidation projects4 have also contributed to the expansion of this growing field of animated notational practice. The range of compositional ideas repre- sented by these scores is vast, encompassing a wide va- riety of stylistic approaches and technological experimentation. While these ideas often demonstrate intriguing compositional directions, and the unique dynamic functionalities and visual characteristics of animated scores are clearly distinct from traditionally-fixed scores, it is the real-time generative processes of these scores that represent a shift in the very ontology of the musical score. In this paper I speculate on one possible framing for this ontological distinction by focusing on several attributes that, in combination, most explicitly demonstrate this distinction. These include the real-time, process-based qualities of generative animated notations, the openness that enables these procedural functionalities, the displacement of interpretive influence, and the timeliness of these processes in respect to the temporal relationship between generation, representation as notation, and sonic realization. A new work, Study no. 50, will be examined as a practical demonstration of these attributes, and will function as a jumping off point for a speculative discussion of the concept of Notational Becoming.
@inproceedings{Ross-Smith_tenor2016,
Address = {Cambridge, UK},
Author = { Ryan Ross Smith },
Title = {[Study no. 50][Notational Becoming][Speculations]},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {98--104},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Autonomy, Control, and Notation in Interactive Music
K. Michael Fox
Abstract
Bibtex
This paper proposes a conceptualization of notation for interactive musical environments. The notational approach describes the relationship between both human and non-human agents, instead of actions to be taken or sounds to be made. Of critical importance in contemporary networked culture is the degree to which technological devices and networks constrain (or control) the actions of their users. The author has developed a conception of interactivity and notational considerations which instead foreground the autonomous potential of participants and the computational systems. The author analyzes three case studies that demonstrate either a direct connection or a broader conceptual link to the described notational approach. The larger implication is a need for notational systems which do not constrain the identity of the users of interactive systems while also acknowledging and representing the agency of the systems themselves.
@inproceedings{Fox_tenor2016,
Address = {Cambridge, UK},
Author = { K. Michael Fox },
Title = {Autonomy, Control, and Notation in Interactive Music},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {105--109},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Musical Instruments as Scores: A Hybrid Approach
Enrique Tomás
Abstract
Bibtex
The development of new approaches to instrumentality during the decade of 1960 contributed to the dual perception of instruments as scores. For many performers, the instrument became the score of what they played. This artistic hybridization carries substantial questions about the nature of our scores and about the relationships among instruments, performers and musical works. This paper contextualizes the historical origins of this instrumental development within Drucker's theory of performative materiality. Then we examine the nature and notational scheme of this type of scores making use of the concept of "inherent score". Finally, through the analysis of two examples ("tangible scores" and "choreographic objects") and the notions of "affordance" and "constraint", a compositional framework for shaping the inherent instrument score is presented.
@inproceedings{Tomas_tenor2016,
Address = {Cambridge, UK},
Author = { Enrique Tomás },
Title = {Musical Instruments as Scores: A Hybrid Approach},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {110--120},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Musicking the Body Electric. The "body:suit:score" as a polyvalent score interface for situational scores.
Sandeep Bhagwati, Marcello Giordano, Joanna Berzowska, Alex Bachmayr, Julian Stein, Joseph Browne, Felix Del Tredici, Deborah Egloff, John Sullivan, Marcelo Wanderley and Isabelle Cossette
Abstract
Bibtex
Situational scores, in this paper, are defined as scores that deliver time- and context-sensitive score information to musicians at the moment when it becomes relevant. Mnemonic (rule/style-based) scores are the oldest score models of this type. Lately, animated, interactive, locative scores have added new options to situative scoring. The body:suit:score is an interface currently developed in collaboration of four labs at Concordia and McGill Universities in Montréal - an interface that will allow the musical use of all four types of situational score. Musicians are clad in a body-hugging suit with embedded technology - this suit becomes their score interface. Ultimately intended to enable ensembles to move through performance spaces unencumbered by visual scores and their specific locations, the project currently enters its second year of research-creation. The paper discusses the closely intertwined technological, ergonomic, music-psychology based and artistic decisions that have led to a first bodysuit prototype - a vibrotactile suit for a solo musician. It will also discuss the so-far three etude compositions by Sandeep Bhagwati and Julian Klein for this prototype, and their widely divergent conceptual approaches to an artistic use of the body:suit:score interface. Finally, the paper discusses next steps and emergent problems and opportunities, both technological and artistic.
@inproceedings{Bhagwati_tenor2016,
Address = {Cambridge, UK},
Author = { Sandeep Bhagwati and Marcello Giordano and Joanna Berzowska and Alex Bachmayr and Julian Stein and Joseph Browne and Felix Del Tredici and Deborah Egloff and John Sullivan and Marcelo Wanderley and Isabelle Cossette },
Title = {Musicking the Body Electric. The "body:suit:score" as a polyvalent score interface for situational scores.},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {121--126},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Processing of symbolic music notation via multimodal performance data: Brian Ferneyhough’s Lemma-Icon-Epigram for solo piano, phase 1
Pavlos Antoniadis and Frédéric Bevilacqua
Abstract
Bibtex
In the “Performance Notes” to his formidable solo piano work Lemma-Icon-Epigram, British composer Brian Ferneyhough proposes a top-down learning strategy: Its first phase would consist in an “overview of gestural patterning”, before delving into the notorious rhythmic intricacies of this most complex notation. In the current paper, we propose a methodology for inferring such patterning from multimodal performance data. In particular, we have a) conducted qualitative analysis of the correlations between the performance data -an audio recording, 12-axis acceleration and gyroscope signals captured by inertial sensors, kinect video and MIDI- and the implicit annotation of pitch during a ‘sight-reading’ performance; b) observed and documented the correspondence between patterns in the gestural signals and patterns in the score annotations and c) produced joint tablature-like representations, which inscribe the gestural patterning back into the notation, while reducing the pitch material by 70-80% of the original. In addition, we have incorporated this representation in videos and interactive multimodal tablatures using the INScore. Our work is drawing from recent studies in the fields of gesture modeling and interaction. It is extending the authors’ previous work on an embodied model of navigation of complex notation and on an application for offline and real-time gestural control of complex notation by the name GesTCom. Future prospects include the probabilistic modeling of gesture-to-notation mappings, towards the design of interactive systems which learn along with the performer while cutting through textual complexity.
@inproceedings{Antoniadis_tenor2016,
Address = {Cambridge, UK},
Author = { Pavlos Antoniadis and Frédéric Bevilacqua },
Title = {Processing of symbolic music notation via multimodal performance data: Brian Ferneyhough’s Lemma-Icon-Epigram for solo piano, phase 1},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {127--136},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
INScore expressions to compose symbolic scores
Gabriel Lepetit-Aimon, Dominique Fober, Yann Orlarey and Stéphane Letz
Abstract
Bibtex
INScore is an environment for the design of augmented interactive music scores turned to non-conventional use of music notation. The environment allows arbitrary graphic resources to be used and composed for the music representation. It supports symbolic music notation, described using Guido Music Notation or MusicXML formats. The environment has been extended to provided score level composition using a set of operators that consistently take scores as arguments to compute new scores as output. INScore API supports now score expressions both at OSC and at scripting levels. The work is based on a previous research that solved the issues of the notation consistency across scores composition. This paper focuses on the language level and explains the different strategies to evaluate score expressions.
@inproceedings{Lepetit-Aimon_tenor2016,
Address = {Cambridge, UK},
Author = { Gabriel Lepetit-Aimon and Dominique Fober and Yann Orlarey and Stéphane Letz },
Title = {INScore expressions to compose symbolic scores},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {137--143},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
OMLILY: Filling the notational gap between composition and performance
Karim Haddad and Carlos Agon
Abstract
Bibtex
This paper describes the design, the development, the usage, limitations and prospect of future development of Omlily, an OpenMusic library, for editing scores with Lilypond, using OM musical editors.
@inproceedings{Haddad_tenor2016,
Address = {Cambridge, UK},
Author = { Karim Haddad and Carlos Agon },
Title = {OMLILY: Filling the notational gap between composition and performance},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {144--150},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Netscore: an Image Server/Client Package for Transmitting Notated Music to Browser and Virtual Reality Interfaces
Benedict Carey and Georg Hajdu
Abstract
Bibtex
NetScore is an extension of the existing MaxScore pack-age (Hajdu, Didkovsky) which adds new functionality for the rapid transmission and display of music notation on remote devices through standard modern browsers with WebSocket support. This was seen as a necessary development for MaxScore due to the ubiquity of tablets and other mobile devices, among other advantages for the user, and future applications of the software. We chose a server based solution executed in Java using the Jetty library for both portability between different platforms, and scalability. Novel applications facilitated by NetScore include transmitting scores generated in Max/MSP into virtual reality interfaces and more convenient performance/ rehearsal of real-time generated music, whereby devices commonly on hand such as smartphones, tablets and laptops are used as e-scores without requiring the installation of additional software.
@inproceedings{Carey_tenor2016,
Address = {Cambridge, UK},
Author = { Benedict Carey and Georg Hajdu },
Title = {Netscore: an Image Server/Client Package for Transmitting Notated Music to Browser and Virtual Reality Interfaces},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {151--156},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
FEATUR.UX: exploiting multitrack information for artistic visualization
Ireti Olowe, Mathieu Barthet, Mick Grierson and Nick Bryan-Kinns
Abstract
Bibtex
FEATUR.UX (Feature - ous) is an audio visualization tool, currently in the process of development, which proposes to introduce a new approach to sound visualization using pre-mixed, independent multitracks and audio feature extraction. Sound visualization is usually performed using a final mix, mono or stereo track of audio. Audio feature extraction is commonly used in the field of music information retrieval to create search and recommendation systems for large music databases rather than generating live visualizations. Visualizing multitrack audio circumvents problems related to the source separation of mixed audio signals and presents an opportunity to examine interdependent relationships within and between separate streams of music. This novel approach to sound visualization aims to provide an enhanced accession to the listening experience corresponding to this use case that employs non-tonal, non-notated forms of electronic music. Findings from prior research studies focused on live performance and preliminary quantitative results from a user survey have provided the basis from which to develop a prototype that will be used throughout an iterative design study to examine the impact of using multitrack audio and audio feature extraction on sound visualization practice.
@inproceedings{Olowe_tenor2016,
Address = {Cambridge, UK},
Author = { Ireti Olowe and Mathieu Barthet and Mick Grierson and Nick Bryan-Kinns },
Title = {FEATUR.UX: exploiting multitrack information for artistic visualization},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {157--166},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
A robust algebraic framework for high-level music programming
David Janin
Abstract
Bibtex
In this paper, we present a new algebraic model for music programming : tiled musical graphs. It is based on the idea that the definition of musical objects~: what they are, and the synchronization of these objects~: when they should be played, are two orthogonal aspects of music programming that should be kept separate although handled in a combined way. This leads to the definition of an algebra of music objects~: tiled music graphs, which can be combined by a single operator : the tiled product, that is neither sequential nor parallel but both. From a mathematical point of view, this algebra is known to be especially robust since it is an inverse monoid. Various operators such as the reset and the coreset projections derive from these algebra and turned out to be fairly useful for music modeling. From a programming point of view, it provide a high level domain specific language (DSL) that is both hierarchical and modular. This language is currently under implementation in the functional programming language Haskell. From an applicative point of view, various music modeling examples are provided to show how notes, chords, melodies, musical meters and various kind of interpretation aspects can easily and robustly be encoded in this formalism.
@inproceedings{Janin_tenor2016,
Address = {Cambridge, UK},
Author = { David Janin },
Title = {A robust algebraic framework for high-level music programming},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {167--175},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
The Possibilities of a Line: Marking the Glissando in Music
Cat Hope and Michael Terren
Abstract
Bibtex
Despite the prevalence of the term "line" in musicology to suggest a trajectory or contour of a melody, these do not embody the line in the Euclidean sense of the word, due to the striated, stepwise nature of pitches in the chromatic scale in traditional harmonic music. The glissando, however, embodies this literal and smooth line without fragmentation and has become a way to align music with other disciplines such as architecture, mathematics and physics. In a more figurative sense, the glissando has been used in a mimetic capacity to signify an irrational, metaphysical otherness. From modernist stochasticism to science fiction film scores, the glissando has a dynamic and complex relationship with representation.
Glissandi explore ideas of sonic trace, surface-ness and stasis. The notation of glissandi, in traditional Western and graphical notation as well as spectrographic visualisation, is presented as a line, its horizontal axis being a measure of time, and its vertical axis being a measure of pitch. This “pitch-time space” enables the consideration of the line as a sonic trace—of motion, gesture or time itself. This also permits the conceptualisation of the line as a surface.
Some glissandi also tend to operate in structural stasis, working against the glissando's function as a sonic trace, thus the glissando-as-stasis, especially as related to drone music, is explored. Deriving inspiration from works by composers, Iannis Xeankis, James Tenney and Giacinto Scelsi, compositional attempts to combine the nature of glissando with drone in the author’s own work are de-scribed, providing an examination of examples of the way glissandi and related concepts can be notated formal-ly, rather than decoratively, in musical works.
@inproceedings{Hope_tenor2016,
Address = {Cambridge, UK},
Author = { Cat Hope and Michael Terren },
Title = {The Possibilities of a Line: Marking the Glissando in Music},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {176--180},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Resurrecting a Dinosaur - The Adaptation of Clarence Barlow's Legacy Software Autobusk
Georg Hajdu
Abstract
Bibtex
This paper aims at describing efforts to conserve and further develop the legacy real-time generative music program AUTOBUSK by Clarence Barlow. We present a case study demonstrating that a simple port of 30+ year old code may not suffice to infuse new life into a project that suffered from the abandonment of the hardware it was developed on. In the process of resurrecting this dinosaur, AUTOBUSK was entirely redesigned for the popular music software environments Max and Ableton Live (via Max for Live) and renamed DJster. It comes in several incarnations, the most recent ones being DJster Autobus for Ableton Live, a device for real-time event generation and DJster Autobus Scorepion, a plugin for the MaxScore Editor. These incarnations take advantage of being embedded in current environments running on modern operating systems and have since acquired some new and useful features. As AUTOBUSK/DJster is based on universal musical principles, which Barlow formalized during the 1970’s while working on his generative piano piece Çoǧluotobüsişletmesi, its algorithms are of general applicability for composers and performers working in diverse fields such as microtonality, interactive installations and/or film music. It has therefore inspired me to lay the foundations of a shorthand notation, which we will discuss in the last section.
@inproceedings{Hajdu_tenor2016,
Address = {Cambridge, UK},
Author = { Georg Hajdu },
Title = {Resurrecting a Dinosaur - The Adaptation of Clarence Barlow's Legacy Software Autobusk},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {181--186},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Hexaphonic Guitar Transcription and Visualization
Iñigo Angulo, Sergio Giraldo and Rafael Ramirez
Abstract
Bibtex
Music representation has been a widely researched topic through centuries. Transcription of music through the conventional notation system has dominated the field, for the best part of the last centuries. However, this notational system often falls short of communicating the essence of music to the masses, especially to the people with no music training. Advances in signal processing and computer science over the last few decades have bridged this gap to an extent, but conveying the meaning of music remains a challenging research field. Music visualization is one such bridge, which we explore in this paper. This paper presents an approach to visually represent music produced by a guitar. To achieve this, hexaphonic guitar processing is carried out (i.e. processing each of the six strings as an independent monophonic sound source). Once this information is obtained, different approaches for representing it visually are explored. As a final result, a system is proposed to enrich the musical listening experience, by extending the perceived auditory sensations to include visual stimuli.
@inproceedings{Angulo_tenor2016,
Address = {Cambridge, UK},
Author = { Iñigo Angulo and Sergio Giraldo and Rafael Ramirez },
Title = {Hexaphonic Guitar Transcription and Visualization},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {187--192},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Designing Dynamic Networked Scores to Enhance the Experience of Ensemble Music Making
Alice Eldridge, Ed Hughes and Chris Kiefer
Abstract
Bibtex
This paper describes the impetus for, and design and evaluation of, a pilot project examining the potential for digital, dynamic networked scores to enhance the experience of ensemble music making. We present a new networked score presentation system, and describe how it has evolved through a participatory design approach. Feedback has highlighted key issues concerning synchronisation between conductor, performers and notation, and autonomy and adaptation for performers; we discuss these key points and present our future plans for the project.
@inproceedings{Eldridge_tenor2016,
Address = {Cambridge, UK},
Author = { Alice Eldridge and Ed Hughes and Chris Kiefer },
Title = {Designing Dynamic Networked Scores to Enhance the Experience of Ensemble Music Making},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {193--199},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Conversion from Standard MIDI Files to Vertical Line Notation Scores and Automatic Decision of Piano Fingering for Beginners
Yasuyuki Saito, Eita Nakamura, Riku Sato, Suguru Agata, Yuu Igarashi and Shigeki Sagayama
Abstract
Bibtex
This paper introduces "vertical line notation'' (VLN) of music for piano beginners, a conversion method from standard MIDI files to VLN scores, and an algorithm of automatic decision of piano fingering for it. Currently, staff notation is widely used for various instruments including piano. However, this notation often appears hard to beginners. On the other hand, VLN is intuitive and easy to understand for piano beginners since it graphically indicates the time order of notes as well as fingering. With the VLN score, piano beginners can make smooth progress with correct fingering. VLN scores are expected to help piano beginners make smooth progress with correct fingering. An issue with VLN is that it is currently created by hand with a spreadsheet software. It would be desirable to automatically produce VLN scores from existing digital scores. In this paper, we propose a method of converting standard MIDI files into VLN scores and an algorithm of automatic fingering decision for piano beginners. Some examples of practical and successful use of VLN scores are shown.
@inproceedings{Saito_tenor2016,
Address = {Cambridge, UK},
Author = { Yasuyuki Saito and Eita Nakamura and Riku Sato and Suguru Agata and Yuu Igarashi and Shigeki Sagayama },
Title = {Conversion from Standard MIDI Files to Vertical Line Notation Scores and Automatic Decision of Piano Fingering for Beginners},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {200--211},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Taxonomy and Notation of Spatialization
Emile Ellberger, Germán Toro Pérez, Linda Cavaliero, Johannes Schuett, Basile Zimmermann and Giorgio Zoia
Abstract
Bibtex
The SSMN Spatial Taxonomy and its symbols libraries, which are the corner stone of the Spatialization Symbolic Music Notation (SSMN) project, emanates from research into composers’ attitudes in this domain. It was conceived as the basis for the development of dedicated notation and rendering tools within the SSMN project. The taxonomy is a systematic representation of all relevant features necessary to specify sound spatiality: shape and acoustic quality of the space, structure, position and movement of sound sources. It is based on single descriptors that can be combined in order to define complex spatial configurations. Descriptors can be transformed locally and globally and can be the object of structural and behavioral operations. The SSMN Spatial Taxonomy proposes a corresponding graphic symbolic representation of descriptors, operations and other functional elements facilitating the communication of creative ideas to performers and technical assistants. This paper focuses on the presentation of the taxonomy and the symbols. Additionally it describes the workflow proposed for using symbols inside a notation software prototype developed within the project. Finally, further aspects concerning the actual and future developments of SSMN are mentioned.
@inproceedings{Ellberger_tenor2016,
Address = {Cambridge, UK},
Author = { Emile Ellberger and Germán Toro Pérez and Linda Cavaliero and Johannes Schuett and Basile Zimmermann and Giorgio Zoia },
Title = {Taxonomy and Notation of Spatialization},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {212--219},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Music Analysis Through Visualization
Jia Li
Abstract
Bibtex
In this paper analytic visualizations are used to selectively highlight salient musical features in four modern compositions, focusing on micro or macro structures: from motivic pitch contour to large-scale form. At a glance these visualizations allow a quick grasp of the structure and assist listeners to make connections between local features and global trends. Textures obscured by musical notation become more apparent when displayed in a graphical format, such as broad registral shifts, polyphonic streaming, as well as interplay between instruments. Pitch, timbre and voicing are plotted against time to show large-scale patterns that would otherwise be difficult to recognize in a musical score or compare between different works. Music analysis through compositional data visualization not only makes sense to musicians but also to non-musicians, facilitating collaboration and exchange with artists and technicians in other media.
@inproceedings{Li_tenor2016,
Address = {Cambridge, UK},
Author = { Jia Li },
Title = {Music Analysis Through Visualization},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {220--225},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Notation as Temporal Instrument
Eric Maestri
Abstract
Bibtex
In this paper the author proposes a descriptive musicological framework built on the notion of notation as temporal instrument in today's context of electronic music. The principal goal is to discuss a research categorization of musical notation that consider the performative character of musical writing in electronic music performance. In the intentions of the author, this framework could resume the multiple enhancement of the temporal dimension of notation implied by the new means of performance in electronic music.
@inproceedings{Maestri_tenor2016,
Address = {Cambridge, UK},
Author = { Eric Maestri },
Title = {Notation as Temporal Instrument},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {226--229},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
Visual Confusion in Piano Notation
Marion Wood
Abstract
Bibtex
This series of Reaction Time experiments investigates how quickly notes can be read from a screen and immediately executed on a MIDI keyboard. This makes it possible to study pitch reading and motor coordination in considerable detail away from the customary confounds of rhythm reading or pulse entrainment. The first experiment found that reaction times were slower in extreme keys (3#, 4#, 3b, 4b), even for very experienced sightreaders, a large effect of clef in most individuals, and other results suggesting that, in this simple paradigm at least, reading notation presents more of a difficulty to execution than motor coordination. A second experiment found, in addition, an effect of order in which the notes were presented. A clarified form of notation was devised that disambiguates visual confusion across key signatures, and to some extent across clefs. Initial results from an experiment to contrast traditional noteheads with the clearer ones found substantial improvements in both Reaction Time and accuracy for the clarified notation. The possible applications of improved notation to the wider field of piano playing are discussed.
@inproceedings{Wood_tenor2016,
Address = {Cambridge, UK},
Author = { Marion Wood },
Title = {Visual Confusion in Piano Notation},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {230--239},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
From Transcription to Signal Representation: Pitch, Rhythm and Performance
Marie Tahon and Pierre-Eugène Sitchet
Abstract
Bibtex
Musical transcription is a real challenge, moreover in a folk music context. Signal visualization tools could be of interest for such music. The present paper is a comparison of a musical transcription and two signal representations (pitch and rhythm) applied to a song from the Gwoka repertoire. The study aims at finding similar elements and differences on pitch, rhythm and performance features in both the transcription and the signal visualization. Signal visualization is founded on vowel segmentation, and extraction of pitch and duration information. On the one hand transcription gives general characteristics on the music (harmony, tonality and rhythmic structure) and on the other hand, signal visualization gives performance-related characteristics. The main conclusion is that both approaches are of great interest for understanding such a music.
@inproceedings{Tahon_tenor2016,
Address = {Cambridge, UK},
Author = { Marie Tahon and Pierre-Eugène Sitchet },
Title = {From Transcription to Signal Representation: Pitch, Rhythm and Performance},
Booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'16},
Pages = {240--245},
Year = {2016},
Editor = {Richard Hoadley and Chris Nash and Dominique Fober},
Publisher = {Anglia Ruskin University},
ISBN = {978-0-9931461-1-4}
}
