基于勋伯格十二音体系的作曲算法

勋伯格的"十二音列体系"是纷繁复杂的现代音乐中的一个重要派别,基于这一体系提出了一种作曲算法.该算法利用随机序列、魔方阵和图像这3种信息源,产生种子序列,并将其映射到一个八度中的12个音,得到音乐的主题,然后利用十二音体系的作曲理论对该主题进行变奏、拓展、重组并加以伴奏,在计算机上利用MATLAB的MIDI工具包实现算法作曲.     

电脑技术对传统作曲理念的影响

传统的音乐作曲制作往往需要经历非常复杂的过程,必须投入充足的时间、大量的精力与足够的资金,这同日益繁忙的现代化快节奏生活明显相违和.鉴于诞生在本世纪处的电脑音乐技术日新月异,逐步提高了电脑音乐作曲在软硬件和录音技术方面的水平.电脑音乐作曲技术是将高科技同音乐艺术的发展相融合的时代产物,它为传统音乐的现代化作出了全新的解读,音乐创作者们可以摆脱乐队的束缚和依靠,能够随意找一间微型录音棚进行创作与编曲.因此,电脑技术对传统的音乐创作和编曲起到至关重要的作用,它的产生与应用会在音乐创作发展史上留下浓墨重彩的一笔,掀起一场空前的作曲技术革命.     

人机交互的自动钢琴伴奏系统的研究

针对基于隐马尔科夫模型(HMM)的算法而实现的作曲系统进行改进,提出了利用人机交互式的音乐伴奏音型选择方式,实现了使不具备音乐知识的使用者也可以创作出善心悦目的乐曲。系统的给出了人机交互式创作的原理以及理论支持,通过实验证明了人机交互系统的可行性。最后邀请了三位专业作曲家对改进后的伴奏结果进行了系统评估,评估认为,计算机作曲系统可以创作出大众喜欢的音乐作品。     

基于MFC的五线谱编辑器的设计及实现

针对数字化音乐教学的需要,提出了基于VC环境开发五线谱作曲工具的可行性,并对其中技术原理、关键问题给出了具体的解决方法,实现了一个基本的可视化作曲工具,对一般音乐教育工作者具有很好的启发性。     

一种五线谱作曲工具的实现方法

针对数字化音乐教学的需要,提出了基于VB环境开发五线谱作曲工具的可行性,并对其中技术原理、关键问题给出了具体的解决方法,实现了一个基本的可视化作曲工具,对一般音乐教育工作者具有很好的启发性。     

遗传算法辅助作曲研究

对遗传算法在作曲中的应用进行了一定的研究。介绍了遗传算法作曲系统目前的发展情况,分析了这一研究领域存在的问题,提出了一种新的交互式遗传算法作曲系统,借助Matlab 6.5下的遗传算法工具箱对系统进行了验证,取得了很好的效果。     

印刷五线谱乐符的识别方法

近几年来,由于计算机技术的迅速发展,给音乐领域这个分支带来了很大影响。从音乐格式的分析和比较等统计处理,到自动编曲、作曲和自动演奏以及包括这全部的音乐信息处理系统的研究正在逐步展开。为此,音乐数据的计算机输入也在普通键盘、乐谱信息输     

没事玩作曲 这事我看行

音乐是世界上最美的声音,但总听别人的陈词滥调,日久难免心生厌烦。俗话说求人不如求己,我们何不玩次小清新,利用现有的设备自己过把作曲瘾。作曲很难吗?其实一点儿也不难。1乐盲?玩着就做了虽说音乐的天赋百分之百来自天生,可现在就有那么一些工具,能让没有音乐天赋的人具有作曲的能力,而且无需什么专业知识,玩着玩着,乐曲就出现了。     

没事玩作曲这事我看行

音乐是世界上最美的声音,但总听别人的陈词滥调,日久难免心生厌烦.俗话说求人不如求己,我们何不玩次小清新,利用现有的设备自己过把作曲瘾.作曲很难吗?其实一点儿也不难.     

交互式遗传算法在作曲中的应用

对交互式遗传算法作曲进行了一定的探讨.介绍了用遗传算法进行作曲的知识表示.通过将给定的乐谱转化成相应的编码,采用交互式遗传算法中的选择,交叉和变异算子产生新的乐曲.对交互式遗传算法作曲进行了仿真实验,讨论了实验步骤,给出了实验结果.仿真结果表明,设计的作曲系统可以产生出令人感兴趣的乐曲,具有一定的实际意义.     

Modelling Musical Structures

Modelling musical structures is a research field prominent among mathematicians and computer scientists as well as musicologists, psychomusicologists and musicians. Constraint programming has been proved to be a highly appropriate technique in this field. For the task of automated music composition, in particular, constraints have been shown to describe composition principles in a declarative, natural, and, above all, efficient way since music composition knowledge is in fact a collection of conditions rather than a sort of cookery-book.Unfortunately, many approaches stress the technical aspects of applying constraints and do not think about the concrete role of constraints, i.e. about what music really should be. In general, the composer as an artist is more concerned about what he wants to say through his music than with theoretically (or socially or psychologically) established rules. This means that automated music composition needs practical goals in order to make sense. The role of those goals as well as musical constraints and constraint technologies that help to realize the goals are to be shown in this article. As a modelling example the system COPPELIA is introduced. It generates music on the basis of the structures, goals, and contents of given multimedia presentations. In this relatively young field of constraint application that does not supply such ideal, well-defined and closed sets of conditions as technical applications do, we find it very important to also present general thoughts about the sense of our application, about the development of composition constraints and the conditions under which these constraints work effectively.     

Music composition system with human evaluation as human centered system

 This paper presents an interactive music composition system as one example of human centered systems that are defined as subjective systems in which human judgement, evaluation, recognition and emotion play central roles. The present music composition system reflects user's evaluation of music and employs Interactive Genetic Algorithm. One musical work is assumed to be expressed by one chromosome containing information on a melody part and backing parts through 4 bars. The composition procedures are as follows. (1) Two hundred chromosomes are generated based on general music theory. (2) A user listens to 20 musical works chosen from 200 works and performs three types of evaluations such as total evaluation, partial evaluation, and the choice of the best work. (3) The system performs the GA operations to 200 chromosomes reflecting these evaluations. Procedures (2) and (3) are repeated until a musical work reflecting user's evaluation is obtained. From the results of the evaluation experiments to confirm the validity of the system, it is found that the present system composes music reflecting user's evaluation well and is one example of human centered systems.     

An innovative method of algorithmic composition using musical tension

According to narratology or narrative theory, a piece of artwork should tell a story based on its various tensions. In this study, an automated music composition algorithm using musical tension energy was proposed; this algorithm can generate a musical piece by changing the musical tension. The proposed innovative Algorithmic Composition Musical Tension Energy (ACMTE) method uses the level of musical tension; this level is determined primarily by the chord progression and also the musical parameters of pitch interval and rhythm. The effects of musical tension energy on those parameters were analyzed. This paper presents a formula that unifies all generated parts. The experimental results demonstrate that thousands of beautiful pieces can easily be made without the use of a music database. This algorithmic composition method can be easily applied in both streaming media and to portable music devices, such as smart phones, notebooks, and MP3 players.

     

Hyperscore: a graphical sketchpad for novice composers

The Hyperscore graphical computer-assisted composition system for users with limited or no musical training takes freehand drawing as input, letting users literally sketch their pieces. Designing an intelligent, intuitive system that enables novices-particularly children-to compose music is a difficult task. We can view the problem as a spectrum of tasks that range from the development of musical algorithms for automating the compositional process to designing an appropriate interface for humans to interact with the machine. The Hyperscore software tool attempts to address both of these issues.     

Music composition by interaction between human and computer

This paper aims at constructing a music composition system that composes music by the interaction between human and a computer. Even users without special musical knowledge can compose 16-bar musical works with one melody part and some backing parts using this system. The interactive Genetic Algorithm is introduced to music composition so that users’ feeling toward music is reflected in the composed music. One chromosome corresponds to 4-bar musical work information. Users participate in music composition by evaluating composed works after GA operators such as crossover, mutation, virus infection are applied to chromosomes based on the evaluation results. From the experimental results, it is found that the users’ evaluation values become high over the progress of generations. That is, the system can compose 16-bar musical works reflecting users’ feeling. Muneyuki Unehara: He received his M.S. in Engineering in 2002 from Institute of Science and Engineering, University of Tsukuba. Currently, he is a Ph.D. candidate of Graduate School of Systems and Information Engineering, University of Tsukuba. His research interests include the construction of intelligent systems by considering soft computing techniques and human interface. Takehisa Onisawa, Ph.D.: He received Dr.Eng. in Systems Science in 1986 from Tokyo Institute of Technology. Currently, he is a Professor in the Graduate School of Systems and Information Engineering, University of Tsukuba. His research interests include applications of soft computing techniques to human centered systems thinking. He is a member of IEEE and IFSA.     

Evolving the process of a virtual composer

In this paper we present a genetic programming system that evolves the music composition process rather than the musical product. We model the composition process using a Turing-complete virtual register machine, which renders musical pieces. These are evaluated using a series of fitness tests, which judge their statistical similarity against a corpus of Bach keyboard exercises. We explore the space of parameters for the system, looking specifically at population size, single-versus multi-track pieces and virtual machine instruction set design. Results demonstrate that the methodology succeeds in creating pieces of music that converge towards the properties of the chosen corpus. The output pieces exhibit certain musical qualities (repetition and variation) not specifically targeted by our fitness tests, emerging solely based on the statistical similarities.

     

A machine learning approach to two-voice counterpoint composition

Algorithmic composition of musical pieces is one of the most popular areas of computer aided music research. Various attempts have been made successfully in the area of music composition. Artificial intelligence methods have been extensively applied in this area. Representation of musical pieces in a computer-understandable form plays an important role in computer aided music research.This paper presents a neural network-based knowledge representation schema for representing notes, melodies, and time in first species counterpoint pieces. A musical note is composed of pitch and duration in this representation schema. The proposed representation technique was tested using the back-propagation algorithm to generate two-voice counterpoint pieces.     

基于卷积神经网络的盲文音乐识别研究

盲人音乐家在交流创作的音乐作品时面临着人工转换和效率较低的问题,信息科学与技术的迅速发展为解决此类问题提供了许多解决方案。虽然目前有许多盲文音乐作品的识别方案,但其存在识别效率低和兼容能力不足等缺点。为了避免传统方案在盲文音乐图片特征提取时过多依赖人工经验,通过研究提出并设计了基于卷积神经网络的识别模型。在对盲文音乐图片的样例数据进行预处理之后,通过多次反复迭代训练,模型就可学习到盲文音乐图片中音乐符号的特征。实验结果表明,该模型的识别有效性和较强的泛化能力为盲文音乐作品的识别提供了一种新的解决方案。     

Creating and evaluating a particle system for music visualization

In this paper, we present a simplified 3D particle system and fast translation algorithm we have designed and implemented to generate real-time animated particle emitter fountains choreographed by a classical music. The approach we used to translate and map the controlling information into the musical fountain animation is also introduced, as well as the process to build the physical model of the music fountains. A proof of concept is implemented to demonstrate the main system's aspects, its feasibility, and that it has met the system's design goals. Moreover, it shows that is possible to observe visual patterns that match the theme of the musical composition, as an example of how the system can be used not only for visual appreciation and entertainment, but also as a possible support tool for music composition. We have also conducted a user study as an evaluation of the system. The results of this have provided us with positive and useful feedback on the effectiveness of our visual mappings as well as further directions to explore.     

Visualizing the Semantic Structure in Classical Music Works

A major obstacle in the appreciation of classical music is that extensive training is required to understand musical structure and compositional techniques toward comprehending the thoughts behind the musical work. In this paper, we propose an innovative visualization solution to reveal the semantic structure in classical orchestral works such that users can gain insights into musical structure and appreciate the beauty of music. We formulate the semantic structure into macrolevel layer interactions, microlevel theme variations, and macro-micro relationships between themes and layers to abstract the complicated construction of a musical composition. The visualization has been applied with success in understanding some classical music works as supported by highly promising user study results with the general audience and very positive feedback from music students and experts, demonstrating its effectiveness in conveying the sophistication and beauty of classical music to novice users with informative and intuitive displays.