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Computer

Issue 7 • July 1991

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Displaying Results 1 - 12 of 12
  • Formula: a programming language for expressive computer music

    Publication Year: 1991, Page(s):12 - 21
    Cited by:  Papers (5)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (1347 KB)

    An overview is given of Formula (an abbreviation for Forth Music Language), a language for controlling synthesizers that can model the expressiveness of a human performance. Formula supports algorithmic composition, interactive performance, and programmed interpretation of traditional scores. It uses concurrent processes that share a single address space and are scheduled by the runtime system. No... View full abstract»

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  • Recombinant music: using the computer to explore musical style

    Publication Year: 1991, Page(s):22 - 28
    Cited by:  Papers (4)  |  Patents (5)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (654 KB)

    A research project called Experiments in Musical Intelligence (EMI) is discussed. One subprogram of EMI is an expert system that uses pattern recognition processes to create recombinant music, i.e. music written in the styles of various composers by means of a contextual recombination of elements in the music of those composers. This EMI subprogram separates and analyzes musical pitches and durati... View full abstract»

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  • Toward an expert system for expressive musical performance

    Publication Year: 1991, Page(s):30 - 34
    Cited by:  Papers (5)  |  Patents (2)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (535 KB)

    The development and implementation of an expert system that determines the tempo and articulations of Bach fugues are described. The rules in the knowledge base are based on the expertise of two professional performers. The system's input is a numeric representation of the fugue. The system processes the input using a transition graph, a data structure consisting of nodes where data is stored and ... View full abstract»

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  • Fugue: a functional language for sound synthesis

    Publication Year: 1991, Page(s):36 - 42
    Cited by:  Papers (5)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (905 KB)

    A description is given of Fugue, a language that lets composers express signal processing algorithms for sound synthesis, musical scores, and higher level musical procedures all in one language. Fugue provides functions to create and manipulate sounds as abstract, immutable objects. The interactive language supports behavioral abstraction, so composers can manage complex musical structures. Fugue'... View full abstract»

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  • A computer music system that follows a human conductor

    Publication Year: 1991, Page(s):44 - 53
    Cited by:  Papers (29)  |  Patents (3)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (1164 KB)

    An electronic orchestra with a complex performance database and MIDI (Musical Instrument Digital Interface) controllers is presented. This system responds to the gestures of a conductor through a CCD camera and a sensor glove. The processing of musical information is examined, and the system and its operation are described. It consists of a gesticulation system and the MIDI controllers. The human ... View full abstract»

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  • Algorithms for musical composition: a question of granularity

    Publication Year: 1991, Page(s):54 - 56
    Cited by:  Papers (2)  |  Patents (4)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (315 KB)

    Early approaches to computer-generated music are examined, and it is argued that making music is concerned with a higher level of granularity than that of the notes on music paper. Work in artificial intelligence shows that low-level decisions such as the selection of individual notes may actually be subordinate to a model-based control structure, the models being examples of how problems have bee... View full abstract»

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  • Scoresynth: a system for the synthesis of music scores based on Petri nets and a music algebra

    Publication Year: 1991, Page(s):56 - 60
    Cited by:  Papers (10)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (568 KB)

    The authors show that they have chosen and organized symbols depending on instrumental needs within common music notations. The new kind of representation they propose makes up a conceptual music framework with as many different levels of abstraction as the musician needs. It allows them to explicitly describe and process what they call music objects (both traditional and nontraditional music obje... View full abstract»

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  • Neurswing: an intelligent workbench for the investigation of swing in jazz

    Publication Year: 1991, Page(s):60 - 64
    Cited by:  Papers (2)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (470 KB)

    Neurswing is an intelligent system to investigate swing in jazz by simulating the operation of a rhythm section. From an input consisting of the harmonic grid of a standard time, it constructs a network representing musical data. At runtime the system generates and plays the music of piano, bass, and drums in real time. The user can control the performing style of the rhythm section by setting inp... View full abstract»

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  • HARP: a system for intelligent composer's assistance

    Publication Year: 1991, Page(s):64 - 67
    Cited by:  Papers (5)  |  Patents (3)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (476 KB)

    HARP (Hybrid Action Representation and Planning), a prototype high-level system for computer-aided composition, is introduced. HARP represents and manipulates music knowledge using a twofold formalism. An object-oriented concurrent environment, the analogical subsystem, provides procedures to manage the sound itself (samples, codes, and algorithms) and particular analysis processes. The symbolic s... View full abstract»

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  • Composition based on pentatonic scales: a computer-aided approach

    Publication Year: 1991, Page(s):67 - 71
    Cited by:  Papers (2)  |  Patents (3)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (501 KB)

    The use of pentatonic scales to explore some basic techniques of computer-aided composition is reported. The numeric notation employed to represent pitch and duration is described, examples of pentatonic music and scales are given, and the basic techniques for making music under the guidance of a composer are discussed. The score of a short composition generated with these techniques is shown and ... View full abstract»

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  • Composing by musical analog: a look at planetary orbits

    Publication Year: 1991, Page(s):72 - 75
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (419 KB)

    Generating musical compositions using models from probability statistics, fractal geometry, and other nonlinear and chaotic systems, referred to by some composers as a mapping technique or mapping, is discussed. Composition based on celestial coordinates made audible through an interactive Pascal computer program that generates such coordinates for all the planets and the Earth's Moon as seen from... View full abstract»

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  • Standards-Standard Music Description Language complies with hypermedia standard

    Publication Year: 1991, Page(s):76 - 79
    Cited by:  Papers (4)
    Request permission for commercial reuse | Click to expandAbstract | PDF file iconPDF (727 KB)

    The Standard Music Description Language (SMDL), an application of the HyTime Hypermedia/Time-based document structuring facilities, is described. The discussion covers the domains of information that SMDL associates with any piece of music, the timing of cantus events, pitch in cantus events, gamut-based pitches, just-intoned pitches, user-defined functions for pitches, chords and chord symbols, i... View full abstract»

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Sumi Helal
University of Florida
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