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Dissertations / Theses on the topic 'Computation in music'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Hejl, Matouš. "Technics and Music : some remarks on the process of exteriorization in music." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2439.

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The delegating of thought, memory and action outside of the human body, inseparable from the process of individuation and identity formation, and the following implications for music establish an underlying theme of this text. It is a reflection on the process of "supplementation," of prosthetization or exteriorization in the recent and contemporary milieu of music making, in which nothing is any longer immediately at hand, where everything is found mediated and instrumentalized, technicized, unbalanced.

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2

Gouyon, Fabien. "A computational approach to rhythm description - Audio features for the computation of rhythm periodicity functions and their use in tempo induction and music content processing." Doctoral thesis, Universitat Pompeu Fabra, 2005. http://hdl.handle.net/10803/7484.

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Aquesta dissertació tracta del ritme musical. Més exactamente, tracta de programes informàtics que extreuen automàticament descripcions rítmiques a partir de senyals musicals d'àudio.<br/>Presentem nous algorismes per a la inducció del tempo, la estimació del "tatum," la determinació del compàs, la estimació de "swing," transformacions de "swing" i la classificació d'estils de música de ball. Aquests algorismes processen directament gravacions digitalitzades de senyals acústiques de música. La base d'aquests algorismes son funcions de periodicitat rítmica: es a dir, funcions que mesuren la imp

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3

Magalhaes, Martins Joao Pedro. "Emergent rhythmic structures as cultural phenomena driven by social pressure in a society of artificial agents." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1185.

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This thesis studies rhythm from an evolutionary computation perspective. Rhythm is the most fundamental dimension of music and can be used as a ground to describe the evolution of music. More specifically, the main goal of the thesis is to investigate how complex rhythmic structures evolve, subject to the cultural transmission between individuals in a society. The study is developed by means of computer modelling and simulations informed by evolutionary computation and artificial life (A-Life). In this process, self-organisation plays a fundamental role. The evolutionary process is steered by

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4

Hoover, Amy K. "Functional Scaffolding for Musical Composition: A New Approach in Computer-Assisted Music Composition." Doctoral diss., University of Central Florida, 2014. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6290.

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While it is important for systems intended to enhance musical creativity to define and explore musical ideas conceived by individual users, many limit musical freedom by focusing on maintaining musical structure, thereby impeding the user's freedom to explore his or her individual style. This dissertation presents a comprehensive body of work that introduces a new musical representation that allows users to explore a space of musical rules that are created from their own melodies. This representation, called functional scaffolding for musical composition (FSMC), exploits a simple yet powerful

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5

McLeod, Andrew Philip. "Language of music : a computational model of music interpretation." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31371.

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Automatic music transcription (AMT) is commonly defined as the process of converting an acoustic musical signal into some form of musical notation, and can be split into two separate phases: (1) multi-pitch detection, the conversion of an audio signal into a time-frequency representation similar to a MIDI file; and (2) converting from this time-frequency representation into a musical score. A substantial amount of AMT research in recent years has concentrated on multi-pitch detection, and yet, in the case of the transcription of polyphonic music, there has been little progress. There are many

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6

Panteli, Maria. "Computational analysis of world music corpora." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/36696.

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The comparison of world music cultures has been considered in musicological research since the end of the 19th century. Traditional methods from the field of comparative musicology typically involve the process of manual music annotation. While this provides expert knowledge, the manual input is timeconsuming and limits the potential for large-scale research. This thesis considers computational methods for the analysis and comparison of world music cultures. In particular, Music Information Retrieval (MIR) tools are developed for processing sound recordings, and data mining methods are conside

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Oberholtzer, Josiah W. "A Computational Model of Music Composition." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463123.

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This thesis documents my research into formalized score control, in order to demonstrate a computational model of music composition. When working computationally, models provide an explicit formal description of what objects exist within a given domain, how they behave, and what transformations they afford. The clearer the model becomes, the easier it is to extend and to construct increasingly higher-order abstractions around that model. In other words, a clear computational model of music notation affords the development of a clear model of music composition. The Abjad API for Formalized Scor

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8

Iniesta, Masmano Rosa. "Una relación dialógica improbable: Edgar Morin/Heinrich Schenker. Hacia una teoría de la complejidad para el sistema tonal." Doctoral thesis, Universitat de València, 2009. http://hdl.handle.net/10803/10007.

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La presente tesis toma como referencia principal el paradigma de la Complejidad deEdgar Morin y las teorías de Heinrich Schenker. Como emergencia del sistema humanomente/cerebro, el Arte en general y la música en particular son considerados desde la perspectivade las organizaciones de nuestro universo. Así, todos los acontecimientos/eventos que seproducen en el interior/exterior de una composición tonal, lo hacen en función de suantagonismo y complementariedad, siempre de forma concurrente, tal y como articula lasnociones Edgar Morin, consiguiendo superar, a través de la noción de bucle, la di

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9

Costa, César Rennó. "Controle de síntese sonora por analogia acústica e semântica aplicando computação bio-inspirada." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/259090.

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Orientadores: Fernando José Von Zuben, Jônatas Manzolli<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação<br>Made available in DSpace on 2018-08-17T09:26:02Z (GMT). No. of bitstreams: 1 Costa_CesarRenno_M.pdf: 8817422 bytes, checksum: f05c86a8d8717568f1afd9da373b6a55 (MD5) Previous issue date: 2007<br>Resumo: Este trabalho sugere novos paradigmas de controle de mecanismos de síntese sonora. Utilizando conceitos das ciências cognitivas, o processo gerativo é modelado como um sistema de conversões entre representações, da atuação su

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10

Sordo, Mohamed. "Semantic annotation of music collections: A computational approach." Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/79132.

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El consum de la música ha canviat dràsticament en els últims anys. Amb l’arribada de la música digital, el cost de producció s’ha reduït considerablement. L’expansió de la Web ha ajudat a promoure l’exploració de molt més contingut musical. Algunes botigues musicals on-line, com iTunes o Amazon, posseeixen milions de cançons a les seves col.leccions. No obstant, accedir a aquestes col.leccions d’una manera eficient és encara un gran repte. En aquesta tesis ens centrem en el problema d’anotar col.leccions musicals amb paraules semàntiques, també conegudes com tags. Els mètodes utilitzats

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11

Schlemmer, Tobias. "Annotating Lattice Orbifolds with Minimal Acting Automorphisms." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-96517.

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Context and lattice orbifolds have been discussed by M. Zickwolff, B. Ganter and D. Borchmann. Preordering the folding automorphisms by set inclusion of their orbits gives rise to further development. The minimal elements of this preorder have a prime group order and any group element can be dissolved into the product of group elements whose group order is a prime power. This contribution describes a way to compress an orbifold annotation to sets of such minimal automorphisms. This way a hierarchical annotation is described together with an interpretation of the annotation. Based on this anno

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Bogdanov, Dmitry. "From music similarity to music recommendation : computational approaches based on audio features and metadata." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/123776.

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Aquest treball es centra en el modelatge d'usuari per la recomanació musical i desenvolupa algoritmes per la comprensió automàtica i visualització de preferències musicals. Primer, es proposa un model d'usuari construït a partir d'un conjunt de peces musicals. En segon lloc, s'estudien mètodes d’estimació de similitud musical, treballant exclusivament en el contingut d'àudio. Es proposen noves mètriques basades en la informació tímbrica, temporal, tonal i semàntica. En tercer lloc, es proposen diversos mètodes de recomanació musical que utilitzen aquestes mètriques i que milloren amb un filtr

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13

Vermeulen, Hendrik Johannes. "Key profile optimisation for the computational modelling of tonal centre." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71852.

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Thesis (MPhil)--Stellenbosch University, 2012.<br>ENGLISH ABSTRACT: Tonality cognition incorporates a number of diverse and multidisciplinary aspects, including music cognition, acoustics, culture, computer-aided modelling, music theory and brain science. Current research shows growing emphasis on the use of computational models implemented on digital computers for music analysis, particularly with reference to the analysis of statistical properties, form and tonal properties. The applications of these analytical techniques are numerous, including the classification of genre and style, M

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Comajuncosas, Josep M. "Assessing creativity in computer music ensembles: a computational approach." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/359392.

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Over the last decade Laptop Orchestras and Mobile Ensembles have proliferated. As a result, a large body of research has arisen on infrastructure, evaluation, design principles and compositional methodologies for Computer Music Ensembles (CME). However, little has been addressed and very little is known about the challenges and opportunities provided by CMEs for creativity in musical performance. Therefore, one of the most common issues CMEs have to deal with is the lack of a systematic approach to handle the implications of the performative paradigms they seek to explore, in terms of

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15

Mearns, Lesley. "The computational analysis of harmony in western art music." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8676.

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This thesis describes research in the computational analysis of harmony in western art music, focussing particularly on improving the accuracy and information-richness of key and chord extraction from digital score data. It is argued that a greater sophistication in automatic harmony analysis is an important contribution to the field of computational musicology. Initial experiments use hidden Markov models to predict key and modulation from automatically labelled chord sequences. Model parameters are based on heuristically formulated chord and key weightings derived from Sch¨onberg’s harmonic

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16

Holder, Ethan Graham. "Musiplectics: Computational Assessment of the Complexity of Music Scores." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/52376.

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In the Western classical tradition, musicians play music from notated sheet music, called a score. When playing music from a score, a musician translates its visual symbols into sequences of instrument-specific physical motions. Hence, a music score's overall complexity represents a sum of the cognitive and mechanical acuity required for its performance. For a given instrument, different notes, intervals, articulations, dynamics, key signatures, and tempo represent dissimilar levels of difficulty, which vary depending on the performer's proficiency. Individual musicians embrace this tenet, but

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17

Gulati, Sankalp. "Computational approaches for melodic description in indian art music corpora." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/398984.

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Automatically describing contents of recorded music is crucial for interacting with large volumes of audio recordings, and for developing novel tools to facilitate music pedagogy. Melody is a fundamental facet in most music traditions and, therefore, is an indispensable component in such description. In this thesis, we develop computational approaches for analyzing high-level melodic aspects of music performances in Indian art music (IAM), with which we can describe and interlink large amounts of audio recordings. With its complex melodic framework and well-grounded theory, the description of

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18

Kosta, Katerina. "Computational modelling and quantitative analysis of dynamics in performed music." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30712.

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Musical dynamics- loudness and changes in loudness - forms one of the key aspects of expressive music performance. Surprisingly this rather important research area has received little attention. A reason is the fact that while the concept of dynamics is related to signal amplitude, which is a low-level feature, the process of deriving perceived loudness from the signal is far from straightforward. This thesis advances the state of the art in the analysis of perceived loudness by modelling dynamic variations in expressive music performance and by studying the relation between dynamics in piano

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19

Chan, Tak-Shing Thomas. "A cognitive information theory of music : a computational memetics approach." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.479386.

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20

Salselas, Inês. "Exploring interactions between music and language during the early development of music cognition. A computational modelling approach." Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/112058.

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This dissertation concerns the computational modelling of early life development of music perception and cognition. Experimental psychology and neuroscience show results that suggest that the development of musical representations in infancy, whether concerning pitch or rhythm features, depend on exposure both to music and language. Early musical and linguistic skills seem to be, therefore, tangled in ways we are yet to characterize. In parallel, computational modelling has produced powerful frameworks for the study of learning and development. The use of these models for studying the develop

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Wang, Siying. "Computational methods for the alignment and score-informed transcription of piano music." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30885.

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This thesis is concerned with computational methods for alignment and score-informed transcription of piano music. Firstly, several methods are proposed to improve the alignment robustness and accuracywhen various versions of one piece of music showcomplex differences with respect to acoustic conditions or musical interpretation. Secondly, score to performance alignment is applied to enable score-informed transcription. Although music alignment methods have considerably improved in accuracy in recent years, the task remains challenging. The research in this thesis aims to improve the robustnes

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Boley, J., and Earl E. Johnson. "A Computational Model to Predict Safety Limits for Aided Music Listening." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/1725.

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23

Şentürk, Sertan. "Computational analysis of audio recordings and music scores for the description and discovery of Ottoman-Turkish Makam music." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/402102.

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This thesis addresses several shortcomings on the current state of the art methodologies in music information retrieval (MIR). In particular, it proposes several computational approaches to automatically analyze and describe music scores and audio recordings of Ottoman-Turkish makam music (OTMM). The main contributions of the thesis are the music corpus that has been created to carry out the research and the audio-score alignment methodology developed for the analysis of the corpus. In addition, several novel computational analysis methodologies are presented in the context of common M

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Pun, James Chi-Him. "Gesture recognition with application in music arrangement." Diss., University of Pretoria, 2006. http://upetd.up.ac.za/thesis/available/etd-11052007-171910/.

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Hoover, Amy K. "Neat drummer : computer-generated drum tracks." Honors in the Major Thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1089.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Engineering and Computer Science<br>Computer Science

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Surges, Gregory. "Generative Audio Systems| Musical Applications of Time-Varying Feedback Networks and Computational Aesthetics." Thesis, University of California, San Diego, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3741016.

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<p> This dissertation is focused on the development of <i>generative audio systems</i> - a term used describe generative music systems that generate both formal structure and synthesized audio content from the same audio-rate computational process. In other words, a system wherein the synthesis and organizational processes are inseparable and operate at the sample level. </p><p> First, a series of generative software systems are described. These systems each employ a different method to create generativity and, though they are not strictly generative audio systems, they lay important groundw

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27

Faraldo, Pérez Ángel. "Tonality estimation in electronic dance music: a computational and musically informed examination." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/463079.

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This dissertation revolves around the task of computational key estimation in electronic dance music, upon which we perform three interrelated operations. First, we attempt to detect possible misconceptions within the task, which is typically accomplished with a tonal vocabulary overly centred in Western classical tonality, reduced to a binary major-minor model which might not accomodate popular music styles. Second, we present a study of tonal practises in electronic dance music, developed hand in hand with the curation of a corpus of over 2,000 audio excerpts, including multiple subgenres an

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Yang, Luwei. "Computational modelling and analysis of vibrato and portamento in expressive music performance." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24857.

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Vibrato and portamento constitute two expressive devices involving continuous pitch modulation and is widely employed in string, voice, wind music instrument performance. Automatic extraction and analysis of such expressive features form some of the most important aspects of music performance research and represents an under-explored area in music information retrieval. This thesis aims to provide computational and scalable solutions for the automatic extraction and analysis of performed vibratos and portamenti. Applications of the technologies include music learning, musicological analysis, m

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Schlemmer, Tobias. "Annotating Lattice Orbifolds with Minimal Acting Automorphisms." Technische Universität Dresden, 2012. https://tud.qucosa.de/id/qucosa%3A26138.

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Context and lattice orbifolds have been discussed by M. Zickwolff, B. Ganter and D. Borchmann. Preordering the folding automorphisms by set inclusion of their orbits gives rise to further development. The minimal elements of this preorder have a prime group order and any group element can be dissolved into the product of group elements whose group order is a prime power. This contribution describes a way to compress an orbifold annotation to sets of such minimal automorphisms. This way a hierarchical annotation is described together with an interpretation of the annotation. Based on this anno

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Bodily, Paul Mark. "Machine Learning for Inspired, Structured, Lyrical Music Composition." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6930.

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Computational creativity has been called the "final frontier" of artificial intelligence due to the difficulty inherent in defining and implementing creativity in computational systems. Despite this difficulty computer creativity is becoming a more significant part of our everyday lives, in particular music. This is observed in the prevalence of music recommendation systems, co-creational music software packages, smart playlists, and procedurally-generated video games. Significant progress can be seen in the advances in industrial applications such as Spotify, Pandora, Apple Music, etc., but s

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31

Freedman, Dylan. "Correlational Harmonic Metrics: Bridging Computational and Human Notions of Musical Harmony." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:14398545.

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The goal of this paper is to show that traditional music information retrieval tasks with well-chosen parameters perform similarly using computationally extracted chord annotations versus ground-truth annotations. Using a collection of Billboard songs from the last 60 years with provided ground-truth chord labels, I use established automatic chord identification algorithms to produce a corresponding extracted chord label dataset. I devise methods to compare chord progressions between two songs on the basis of their optimal localized alignment scores, adapting traditional sequence alignment tec

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Blake, Andrew M. "Computational Analysis of Quarter-Tone Compositions by Charles Ives and Ivan Wyschnegradsky." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1588259095079479.

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Senturk, Sertan. "Computational modeling of improvisation in Turkish folk music using Variable-Length Markov Models." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42761.

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The thesis describes a new database of uzun havas, a non-metered structured improvisation form in Turkish folk music, and a system, which uses Variable-Length Markov Models (VLMMs) to predict the melody in the uzun hava form. The database consists of 77 songs, encompassing 10849 notes, and it is used to train multiple viewpoints, where each event in a musical sequence are represented by parallel descriptors such as Durations and Notes. The thesis also introduces pitch-related viewpoints that are specifically aimed to model the unique melodic properties of makam music. The predictability of the

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Giraldo, Sergio Iván. "Computational modelling of expressive music performance in jazz guitar: a machine learning approach." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/395184.

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Computational modelling of expressive music performance deals with the analysis and characterization of performance deviations from the score that a musician may introduce when playing a piece in order to add expression. Most of the work in expressive performance analysis has focused on expressive duration and energy transformations, and has been mainly conducted in the context of classical piano music. However, relatively little work has been dedicated to study expression in popular music where expressive performance involves other kinds of transformations. For instance in jazz music, ornamen

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Kitahara, Tetsuro. "Computational musical instrument recognition and its application to content-based music information retrieval." 京都大学 (Kyoto University), 2007. http://hdl.handle.net/2433/135955.

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Yip, Chi-lap. "Discovering patterns in databases the cases for language, music, and unstructured data /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2240112X.

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Sinclair, Andrew J. "PREDICTING MUSIC GENRE PREFERENCES BASED ON ONLINE COMMENTS." DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1268.

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Communication Accommodation Theory (CAT) states that individuals adapt to each other’s communicative behaviors. This adaptation is called “convergence.” In this work we explore the convergence of writing styles of users of the online music distribution plat- form SoundCloud.com. In order to evaluate our system we created a corpus of over 38,000 comments retrieved from SoundCloud in April 2014. The corpus represents comments from 8 distinct musical genres: Classical, Electronic, Hip Hop, Jazz, Country, Metal, Folk, and World. Our corpus contains: short comments, frequent misspellings, little se

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Monteith, Kristine Perry. "Automatic Generation of Music for Inducing Emotive and Physiological Responses." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3753.

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Music and emotion are two realms traditionally considered to be unique to human intelligence. This dissertation focuses on furthering artificial intelligence research, specifically in the area of computational creativity, by investigating methods of composing music that elicits desired emotional and physiological responses. It includes the following: an algorithm for generating original musical selections that effectively elicit targeted emotional and physiological responses; a description of some of the musical features that contribute to the conveyance of a given emotion or the elicitation o

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葉立志 and Chi-lap Yip. "Discovering patterns in databases: the cases for language, music, and unstructured data." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31242649.

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Sanden, Christopher, and University of Lethbridge Faculty of Arts and Science. "An empirical evaluation of computational and perceptual multi-label genre classification on music / Christopher Sanden." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Mathematics and Computer Science, c2010, 2010. http://hdl.handle.net/10133/2602.

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Automatic music genre classi cation is a high-level task in the eld of Music Information Retrieval (MIR). It refers to the process of automatically assigning genre labels to music for various tasks, including, but not limited to categorization, organization and browsing. This is a topic which has seen an increase in interest recently as one of the cornerstones of MIR. However, due to the subjective and ambiguous nature of music, traditional single-label classi cation is inadequate. In this thesis, we study multi-label music genre classi cation from perceptual and computational perspectives. F

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Noland, Katy C. "Computational tonality estimation : signal processing and hidden Markov models." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8492.

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This thesis investigates computational musical tonality estimation from an audio signal. We present a hidden Markov model (HMM) in which relationships between chords and keys are expressed as probabilities of emitting observable chords from a hidden key sequence. The model is tested first using symbolic chord annotations as observations, and gives excellent global key recognition rates on a set of Beatles songs. The initial model is extended for audio input by using an existing chord recognition algorithm, which allows it to be tested on a much larger database. We show that a simple model of t

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Polli, Andrea. "Communicating air : alternative pathways to environmental knowing through computational ecomedia." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/889.

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This dissertation, Communicating Air: Alternative Pathways to Environmental Knowing through Computational Ecomedia, is the culmination of an art practice-led investigation into ways in which the production of ecomedia may open alternative pathways to environmental knowing in a time of urgent climate crisis. This thesis traces the author’s artistic, personal and political development across the period of study and presents an extended argument for greater public engagement with weather and climate science, greater public and private support for long-term collaborations between media art and cli

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Krämer, Reiner. "Algorithmic Music Analysis: a Case Study of a Prelude From David Cope’s “From Darkness, Light”." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801959/.

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The use of algorithms in compositional practice has been in use for centuries. With the advent of computers, formalized procedures have become an important part of computer music. David Cope is an American composer that has pioneered systems that make use of artificial intelligence programming techniques. In this dissertation one of David Cope’s compositions that was generated with one of his processes is examined in detail. A general timeline of algorithmic compositional practice is outlined from a historical perspective, and realized in the Common Lisp programming language as a musicological

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Washburn, Megan E. "Dynamic Procedural Music Generation from NPC Attributes." DigitalCommons@CalPoly, 2020. https://digitalcommons.calpoly.edu/theses/2193.

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Procedural content generation for video games (PCGG) has seen a steep increase in the past decade, aiming to foster emergent gameplay as well as to address the challenge of producing large amounts of engaging content quickly. Most work in PCGG has been focused on generating art and assets such as levels, textures, and models, or on narrative design to generate storylines and progression paths. Given the difficulty of generating harmonically pleasing and interesting music, procedural music generation for games (PMGG) has not seen as much attention during this time. Music in video games is essen

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Khoury, Imad. "Mathematical and computational tools for the manipulation of musical cyclic rhythms." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101858.

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This thesis presents and analyzes tools and experiments that aim at achieving multiple yet related goals in the exploration and manipulation of musical cyclic rhythms. The work presented in this thesis may be viewed as a preliminary study for the ultimate future goal of developing a general computational theory of rhythm. Given a family of rhythms, how does one reconstruct its ancestral rhythms? How should one change a rhythm's cycle length while preserving its musicologically salient properties, and hence be able to confirm or disprove popular or historical beliefs regarding its origins and e

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Gómez, Gutiérrez Emilia. "Tonal description of music audio signals." Doctoral thesis, Universitat Pompeu Fabra, 2006. http://hdl.handle.net/10803/7537.

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Aquesta tesi doctoral proposa i avalua un enfocament computacional per a la descripció automàtica dels aspectes tonals de la música a partir de l'anàlisi de senyals d'-audio polifòniques. Aquests mètodes es centren en el càlcul de descriptors de distribucions de notes, en l'estimació de tonalitat d'una peça, en la visualització de l'evolució del centre tonal o en la mesura de la similitud tonal entre dues peces diferents. <br/>Aquesta tesi contribueix substancialment al camp de la descripció tonal mitjançant mètodes computacionals: a) Proporciona una revisió multidisciplinària dels sistemes d'

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Zacharakis, Asterios. "Musical timbre : bridging perception with semantics." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8715.

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Musical timbre is a complex and multidimensional entity which provides information regarding the properties of a sound source (size, material, etc.). When it comes to music, however, timbre does not merely carry environmental information, but it also conveys aesthetic meaning. In this sense, semantic description of musical tones is used to express perceptual concepts related to artistic intention. Recent advances in sound processing and synthesis technology have enabled the production of unique timbral qualities which cannot be easily associated with a familiar musical instrument. Therefore, v

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Simon, Scott J. "A multi-dimensional entropy model of jazz improvisation for music information retrieval." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4929/.

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Jazz improvisation provides a case context for examining information in music; entropy provides a means for representing music for retrieval. Entropy measures are shown to distinguish between different improvisations on the same theme, thus demonstrating their potential for representing jazz information for analysis and retrieval. The calculated entropy measures are calibrated against human representation by means of a case study of an advanced jazz improvisation course, in which synonyms for "entropy" are frequently used by the instructor. The data sets are examined for insights in music info

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Lisounenko, Neto Alexei. "Composição digital : o uso de ferramentas digitais como instrumento de composição musical /." Bauru, 2020. http://hdl.handle.net/11449/192100.

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Orientador: Eduardo Martins Morgado<br>Resumo: A escrita e criação musical sofreram grandes mudanças com o advento das tecnologias digitais. Das inscrições em paredes da civilização pré-histórica, passamos para a pena, o lápis, a caneta chegando ao computador. Com a criação e evolução dos programas de composição musical o compositor passou a ter uma ferramenta que aumenta as possibilidades e facilidades de criação. Programas onde são permitidos escrever música com o teclado do computador, com o teclado virtual, ou até mesmo com o auxílio de um instrumento musical eletrônico, armazenar a música

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Weiß, Christof [Verfasser], Karlheinz [Akademischer Betreuer] Brandenburg, Meinard [Gutachter] Müller, and Wolfgang [Gutachter] Auhagen. "Computational methods for tonality-based style analysis of classical music audio recordings / Christof Weiß ; Gutachter: Meinard Müller, Wolfgang Auhagen ; Betreuer: Karlheinz Brandenburg." Ilmenau : TU Ilmenau, 2017. http://d-nb.info/1178142000/34.

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