Research on the Application of Music Notation Software in Spectruming Musical Works

科技的进步为计算机音乐的诞生打下了基础，使其在各个领域中都有广泛的应用。而计算机技术的发展，不断推动了音色合成技术的发展。数字信号处理器运算能力的大幅提高也使得硬件设备不再是唯一的追求，在技术和成本上都给计算机音乐的发展提供了广大的空间。其次，现代文化的多样性也必然导致了现代音乐创作的多元化，而这需要音乐创作者创作出具有自身特色和个性的音乐。此外，如何实现有效而准确地传达创作者的音乐思想是一个大难题。 乐谱是学习音乐或创作的人最重要的交流载体。然而传统的手抄式的乐谱在手写和抄阅的过程中容易出现音符记录错误等，也不便于进行传播和修改，往往使演奏、演唱者和学习音乐的人无法正确识谱，以至于错误的理...Development of technologies laid the foundation for the birth of computer music, made it widely used in kinds of field. The developments of computer technologies continuously promote the sound synthesis technology. Substantial increase in computing power of digital signal processor also makes hardware devices no longer the sole pursuit, which gives a majority of space in technologies and the cost ...学位：工程硕士院系专业：软件学院_工程硕士(软件工程)学号：X200923026

Active Scores: Representation and Synchronization in Human-Computer Performance of Popular Music

Computers have the potential to significantly extend the practice of popular music based on steady tempo and mostly determined form. There are significant challenges to overcome, however, due to constraints including accurate timing based on beats and adherence to a form or structure despite possible changes that may occur, possibly even during performance. We describe an approach to synchronization across media that takes into account latency due to communication delays and audio buffering. We also address the problem of mapping from a conventional score with repeats and other structures to an actual performance, which can involve both “flattening” the score and rearranging it, as is common in popular music. Finally, we illustrate the possibilities of the score as a bidirectional user interface in a real-time system for music performance, allowing the user to direct the computer through a digitally displayed score, and allowing the computer to indicate score position back to human performers

Active Scores: Representation and Synchronization in Human-Computer Performance of Popular Music

Computers have the potential to significantly extend the practice of popular music based on steady tempo and mostly determined form. There are significant challenges to overcome, however, due to constraints including accurate timing based on beats and adherence to a form or structure despite possible changes that may occur, possibly even during performance. We describe an approach to synchronization across media that takes into account latency due to communication delays and audio buffering. We also address the problem of mapping from a conventional score with repeats and other structures to an actual performance, which can involve both “flattening” the score and rearranging it, as is common in popular music. Finally, we illustrate the possibilities of the score as a bidirectional user interface in a real-time system for music performance, allowing the user to direct the computer through a digitally displayed score, and allowing the computer to indicate score position back to human performers

Real-time audiovisual and interactive applications for desktop and mobile platforms

Tese de mestrado integrado. Engenharia Informática e Computação. Universidade do Porto. Faculdade de Engenharia. 201

AN APPROACH TO MACHINE DEVELOPMENT OF MUSICAL ONTOGENY

This Thesis pursues three main objectives: (i) to use computational modelling to explore how music is perceived, cognitively processed and created by human beings; (ii) to explore interactive musical systems as a method to model and achieve the transmission of musical influence in artificial worlds and between humans and machines; and (iii) to experiment with artificial and alternative developmental musical routes in order to observe the evolution of musical styles. In order to achieve these objectives, this Thesis introduces a new paradigm for the design of computer interactive musical systems called the Ontomemetical Model of Music Evolution - OMME, which includes the fields of musical ontogenesis and memetlcs. OMME-based systems are designed to artificially explore the evolution of music centred on human perceptive and cognitive faculties. The potential of the OMME is illustrated with two interactive musical systems, the Rhythmic Meme Generator (RGeme) and the Interactive Musical Environments (iMe). which have been tested in a series of laboratory experiments and live performances. The introduction to the OMME is preceded by an extensive and critical overview of the state of the art computer models that explore musical creativity and interactivity, in addition to a systematic exposition of the major issues involved in the design and implementation of these systems. This Thesis also proposes innovative solutions for (i) the representation of musical streams based on perceptive features, (ii) music segmentation, (iii) a memory-based music model, (iv) the measure of distance between musical styles, and (v) an impi*ovisation-based creative model

Mapping gestures in the creation of intangible artworks

"Mapping gestures in the creation of intangible artworks" considers that what is normally understood as an artwork, such as a painting or music, is in fact a tangible thing experienced via excitation of the physical senses. It is the perceiver's interpretation of this excitation that creates their unique experience of the object, and this interpretation creates the artwork. Rather than a linear, single-trajectory interaction from the art-maker to the art-perceiver, “Mapping gestures ...” hypothesises that this relationship is best understood as having the qualities of a Möbius strip, in that the maker and perceiver are engaged in an interaction in which each are simultaneously creator and perceiver. "Mapping gestures ...” has two parts: the three art-objects, MOTION, SPEECH and VISION, and the accompanying exegesis, which discusses the ideas and processes that informed their development. Its process is to explore the making of these art-objects and the discoveries that that generates. These discoveries in turn influence the process of creating the art-objects, which consequently leads to more discoveries. MOTION, SPEECH, and VISION are designed to engage the perceiver both physically and mentally, and to represent that engagement through simultaneously showing the result of their physical and their mental interactions with it. "Mapping gestures in the creation of intangible artworks" coalesces a bricolage of diverse aspects, including: concepts and theories relating to art making and communication, various art works, and art making concepts and processes, into a set of art-objects that overtly, fundamentally, and in essence rely on the interaction and interpretation of the perceiver in order to become artworks

A Language for Interactive Audio Applications

Interactive systems are difficult to program, but high-level languages can make the task much simpler. Interactive audio and music systems are a particularly interesting case because signal processing seems to favor a functional language approach while the handling of interactive parameter updates, sound events, and other real-time computation favors a more imperative or object-oriented approach. A new language, Serpent, and a new semantics for interactive audio have been implemented and tested. The result is an elegant way to express interactive audio algorithms and an efficient implementation