Learning effectiveness of applying automated music composition software in the high grades of elementary school

The paper is mainly to explore the automated music composition experiences for the students in the high grades of elementary school who are unfamiliar with the professional music theory. The proposed Automated Composition for Music Education (ACME) software was developed to help the students to compose the rhythm and melody themselves, while chord configuration and arrangement are automatically generated. Subsequently, sixth-year students of a non-experimental school were recruited to use the software for the completion of its development. Analysis of learning effectiveness at the reaction level, analysis of learning-level learning effectiveness, correlation analysis of the reaction- and learning-levels learning effectiveness has been performed with a significant result. The correlations between each component of learning effectiveness at the reaction and learning levels were also found. Finally the students in the experimental group using the ACME teaching materials showed a better learning effectiveness at both reaction level and learning level, than those of the students in the comparison group.     

酒店客房的电气设计

本文说明酒店客房设计有关电气消防安全、照明、VOD系统、背景音乐应该注意的几个问题。     

基-2 FFT在音频分析及输出系统中的应用

主要介绍了一种将FFT算法移植到单片机上运行,通过对数字音频信号进行分析处理,以实现音乐频谱实时显示和声音输出的系统。系统硬件部分主要由声音输入、单片机模数转换、由LED组成的点阵单元以及声音信号放大输出等电路组成。利用高性能STC12C5A60S2单片机内建的模数转换功能,先将输入的音频信号采样、量化转换为数字信号,再通过软件编程进行FFT运算。输出处理结果点亮LED点阵,完成频谱显示。LED的明暗由音乐的频率变化决定。通过LM386运放芯片及外围电路将输入的音频信号进行放大后,由喇叭或者外接音箱输出。该设计不但具有较高的实用价值和观赏性,而且硬件电路结构简洁,开发、制作成本低。     

建筑与城市共生:城市复调音乐

阐释建筑与城市的关系犹如根茎,是一种生命结构;建筑与城市共生,建筑构成城市的物质环境和文化环境,城市也为建筑提供物质环境和文化环境。指出在历史环境中插入新建筑是一项挑战,同时也构成了建筑与城市多声部、多调性的复调音乐。     

Compositional strategies with generative scores

Generative processes have found broad application in the design of innovative musical forms but it is only comparatively recently through the affordances of modern digital technologies that composers have been able to explore integrating such processes in the real-time creation of musical scores. This paper explores some of these affordances as well as a variety of approaches to some of the key aesthetic and compositional challenges through the analysis of recent works by composers Georg Hajdu, Ryan Ross Smith, Jason Freeman, David Kim-Boyle, and Arne Eigenfeldt.     

Musicking,embodiment and participatory enaction of music: outline and key points

This paper proposes a way of understanding the confluence of the enactive approach to cognition and musicology in a wider sense. The implication is that existing socio-cultural approaches to meaning in music – whereby music is seen as a total social phenomenon, and the naturalistic view of music cognition may be articulated via the life-mind continuum proposed by enactivism. On the one hand, discussions on embodied music cognition are presented with the opportunity to overcome their de facto individualism in a principled, naturalistic way. On the other hand, for the socio-cultural-historical approaches the opportunity seems to be to move beyond the biology-culture divide without submitting to reductionism. A wider explanatory unit is presented. The explanatory utility of embodiment is examined in relation to the wider frame of social-life in dialectical fashion. A definition of musicking is sketched considering it as an instance of processes of social-life. This paper signals a direction to take, yet methodologies, results, and homologies with other disciplines are left open to further discussion.     

Speech / music classification using speech-specific features

This paper proposes the use of speech-specific features for speech / music classification. Features representing the excitation source, vocal tract system and syllabic rate of speech are explored. The normalized autocorrelation peak strength of zero frequency filtered signal, and peak-to-sidelobe ratio of the Hilbert envelope of linear prediction residual are the two source features. The log mel energy feature represents the vocal tract information. The modulation spectrum represents the slowly-varying temporal envelope corresponding to the speech syllabic rate. The novelty of the present work is in analyzing the behavior of these features for the discrimination of speech and music regions. These features are non-linearly mapped and combined to perform the classification task using a threshold based approach. Further, the performance of speech-specific features is evaluated using classifiers such as Gaussian mixture models, and support vector machines. It is observed that the performance of the speech-specific features is better compared to existing features. Additional improvement for speech / music classification is achieved when speech-specific features are combined with the existing ones, indicating different aspects of information exploited by the former.     

Iterative sound synthesis by means of cross-coupled digital oscillators

Abstract

Musicians have long been interested in using iterative processes to aid the composition of musical forms (macrostructure) and to synthesize sounds (microstructure). This paper introduces a new sound synthesis method exploring the non-linear behaviour of two iterative cross-coupled digital oscillators. It begins with a brief introduction to iterative systems followed by background information on previous attempts at using them for synthesizing sounds (e.g. feedback frequency and amplitude modulations). Next, it introduces our synthesis method and briefly explains how it has been implemented in a system for real-time composition and performance. The paper concludes with a discussion on how the system has been put into practice to compose and perform a number of works.     

Co-evolution between streaming and live music leads a way to the sustainable growth of music industry – Lessons from the US experiences

While digitization of music, particularly streaming services, has gained increasing popularity, it has also led to a steady decline in the revenues of recorded music industry. This is causing strong concern regarding a potential collapse of the music industry comparable to other print media industries such as newspaper and book publishing.However, recent changes in the music industry initiated by a resurgence of the live music industry are giving rise to some expectations for the survival and growth of the music industry. The parallel paths of increasing popularity of streaming services and a resurgence of live music suggest that these two dynamics are working together in a co-evolutionary way toward the sustainability of the music industry.This paper attempts to elucidate the co-evolutionary dynamism between the increasing popularity of streaming music and the resurgence of live music.An empirical analysis of monthly trends over the period of the last three decades in the US music industry by its sectors revealed that (i) the co-evolution between streaming and live music industries has functioned well over the last few years, (ii) the live music industry has incorporated a self-propagating function by assimilating innovations previously initiated by digital music, (iii) given the above co-evolution, the recent resurging trend in the music industry can be sustained, (iv) the advancement of digital innovations such as artificial intelligence, machine learning, fintech, virtual reality, big data, and social media by enabling such coevolution have transformed the live music industry into a “live-concert-streaming music industry” (LCSMI) that further enabling the participative creativity of its stakeholders. For these collaborative and cultural industries to function in harmony, trust between its participating stakeholders is very crucial.This analysis suggests the significance of a trust-based ICT-driven disruptive business model (IDBM) with a consolidated challenge for social demand (CCSD) for the development of cultural industries.     

Specific previous experience affects perception of harmony and meter.

Prior knowledge shapes our experiences, but which prior knowledge shapes which experiences? This question is addressed in the domain of music perception. Three experiments were used to determine whether listeners activate specific musical memories during music listening. Each experiment provided listeners with one of two musical contexts that was presented simultaneously with a melody. After a listener was familiarized with melodies embedded in contexts, the listener heard melodies in isolation and judged the fit of a final harmonic or metrical probe event. The probe event matched either the familiar (but absent) context or an unfamiliar context. For both harmonic (Experiments 1 and 3) and metrical (Experiment 2) information, exposure to context shifted listeners' preferences toward a probe matching the context that they had been familiarized with. This suggests that listeners rapidly form specific musical memories without explicit instruction, which are then activated during music listening. These data pose an interesting challenge for models of music perception which implicitly assume that the listener's knowledge base is predominantly schematic or abstract. (PsycINFO Database Record (c) 2011 APA, all rights reserved)