Effectiveness of HMM-Based Retrieval on Large Databases

We have investigated the performance of a hidden Markov model based QBH retrieval system on a large musical database. The database is synthetic, generated from statistics gleaned from our (smaller) database of musical excerpts from various genres. This paper reports the performance of several variations of our retrieval system against different types of synthetic queries on the large database, where we can control the errors injected into the queries. We note several trends, among the most interesting is that as queries get longer (i.e., more notes) the retrieval performance improves

Preparation for Interactive Live Computer Performance in Collaboration with a Symphony Orchestra

This paper describes the design, implementation, and use of an interactive computer-based instrument in the context of a composition for orchestra and live electronics. We will begin with an overview of the piece from a compositional point of view, emphasizing the musical goals for the electronics aspect. Then we will discuss the extremely demanding technical requirements of integrating live electronics with a full orchestra. We will describe the interactive instrument in detail, emphasizing the novel mapping of performer's gestures to computer-generated sound events and the novel OpenSound Control-based structure of the software

Concerto for Laptop Ensemble and Orchestra: The Ship of Theseus and Problems of Performance for Electronics With Orchestra: Taxonomy and Nomenclature

This dissertation is an examination of the problems faced when staging a work for electronics and orchestra. Part I is an original composition and model for the exploration of those problems. Part II is a monograph reviewing those problems and concentrating on issues of taxonomy and nomenclature. Part I is a concerto for laptop ensemble and orchestra titled The Ship of Theseus. It is named after a philosophical paradox. If every component of an object (i.e. the boards of a ship) is replaced with newer parts, at what point does the original cease to exist? Likewise, if the music performed by an instrument or ensemble is sampled and played back on stage, is it still an orchestra, or is it a recording? The role of the soloists is also explored throughout the work. Similarly to the dialogue of a Classical concerto, at times the soloist enhances the orchestra; at other times it clashes. Part II is an exploration of the etymology and nomenclature of electroacoustic music. In chapter 1, I explore broad problems and concerns specific to electronics and orchestra. In chapter 2, I break down the etymologies of both the orchestra and electroacoustic music, focusing on general issues surrounding the latter specifically. A new taxonomy for electroacoustic music is presented. In chapter 3, I investigate the nomenclature of three well-known terms: live electronic, real time, and interactive. Each of these terms is problematic and often misused; as a result the new term transformational is introduced and defined. This term should not be associated with the general idea of a musical transformation (although such an idea is not unwarranted), but with the flow of musical information in and out of a system. It is my hope that with the introduction of a new classification based on musical information, I will not merely pad the decades-long discourse on nomenclature of electroacoustic music, but rather provide a starting point for composers and technicians to reconcile technology with the music itself. The terms presented in this dissertation should not be considered definitive, but rather the inception of a new dialogue