Relevant bibliographies by topics / Computer assisted music composition

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Computer assisted music composition'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Computer assisted music composition"

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Laurson, Mikael, and Mika Kuuskankare. "Two Computer-Assisted Composition Case Studies." Contemporary Music Review 28, no. 2 (2009): 193–203. http://dx.doi.org/10.1080/07494460903322471.

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Jones, Kevin. "Generative models in computer-assisted musical composition." Contemporary Music Review 3, no. 1 (1989): 177–96. http://dx.doi.org/10.1080/07494468900640121.

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Okpara, Mabel Ugochi. "Multimedia technology: a vital instrument for music composition." AFRREV IJAH: An International Journal of Arts and Humanities 7, no. 3 (2018): 55–64. http://dx.doi.org/10.4314/ijah.v7i3.6.

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Music composition over the years has continued to be a much dreaded course of study by so many Nigerian students of Music in tertiary institutions. Through the interview conducted in this study, it was discovered that the students’ fear of the course stems from its abstractness or rather as a result of the erroneous belief that it is a very complex area of specialization to venture into, in music pedagogy. This study is aimed at disabusing the minds of the students of music from this xenophobic wrong impression and by creating an enabling mind-set and interest in music composition through this
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MAIA, ADOLFO, PAUL DO VALLE, JONATAS MANZOLLI, and LEONARDO N. S. PEREIRA. "A computer environment for polymodal music." Organised Sound 4, no. 2 (1999): 111–14. http://dx.doi.org/10.1017/s135577189900206x.

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KYKLOS, an algorithmic composition program, is presented here. It generalises musical scales for use in composition as well as in performance. The sonic output of the system is referred to as polymodal music since it consists of four independent voices playing ‘synthetic modes’. KYKLOS is suitable for computer-assisted composition because it generates MIDI files which can be altered later by the composer. It can equally well be used in live performance for dynamic modification of parameters enabling realtime musical control.
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Cope, David. "An Expert System for Computer-Assisted Composition." Computer Music Journal 11, no. 4 (1987): 30. http://dx.doi.org/10.2307/3680238.

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Hirst, David. "An echo from closed doors." Organised Sound 6, no. 1 (2001): 39–45. http://dx.doi.org/10.1017/s1355771801001066.

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On 31 December 1999 the La Trobe University Music Department closed its doors. From the outset, La Trobe Music saw itself as providing an alternative tertiary music education to the predominant paradigms of the time by fostering creativity through composition, technology, improvisation and other types of alternative performance practices. The philosophy of teaching electroacoustic music at La Trobe was to encourage students to find their own compositional voice rather than preach a particular style of electroacoustic music. The Department's research areas were in improvisation and technology,
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Feller, Ross. "Örjan Sandred: The Musical Fundamentals of Computer Assisted Composition." Computer Music Journal 42, no. 2 (2018): 67–71. http://dx.doi.org/10.1162/comj_r_00462.

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Assayag, Gérard, Camilo Rueda, Mikael Laurson, Carlos Agon, and Olivier Delerue. "Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic." Computer Music Journal 23, no. 3 (1999): 59–72. http://dx.doi.org/10.1162/014892699559896.

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THYWISSEN, KURT. "GeNotator: an environment for exploring the application of evolutionary techniques in computer-assisted composition." Organised Sound 4, no. 2 (1999): 127–33. http://dx.doi.org/10.1017/s1355771899002095.

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A computer-assisted composition tool for investigating the application of evolutionary techniques in the composition of music is presented. The nature of such an application is examined in terms of defining the possible mechanisms that provide a means for automated creativity. These mechanisms take inspiration from processes found in Darwinian-based evolution theory, genetic algorithm theory and similar aesthetically based uses of a genetic search heuristic in the visual arts. A formal model of ‘musical evolution’ is proposed, with particular emphasis placed on the ways in which a genetic algo
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Hoover, Amy K., Paul A. Szerlip, and Kenneth O. Stanley. "Functional Scaffolding for Composing Additional Musical Voices." Computer Music Journal 38, no. 4 (2014): 80–99. http://dx.doi.org/10.1162/comj_a_00269.

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Many tools for computer-assisted composition contain built-in music-theoretical assumptions that may constrain the output to particular styles. In contrast, this article presents a new musical representation that contains almost no built-in knowledge, but that allows even musically untrained users to generate polyphonic textures that are derived from the user's own initial compositions. This representation, called functional scaffolding for musical composition (FSMC), exploits a simple yet powerful property of multipart compositions: The pattern of notes and rhythms in different instrumental p
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Dissertations / Theses on the topic "Computer assisted music composition"

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Chen, Chi Wai, and cwchen@ied edu hk. "The creative process of computer-assisted composition and multimedia composition - visual images and music." RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080107.115525.

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This research study investigates how music technology can enhance and develop the musical ideas of students, focusing on the creative processes involved in computer-assisted composition and multimedia composition. The study investigates the Creative Multimedia Music Project, a module of the Associate of Arts (Music) Degree where students are using computers as music workstations. The aims of the study are (a) to evaluate the use of music technology for composing; (b) to describe the creative process of composing and investigate how the students comprehend this; and (c) to analyze the relations
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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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Ghisi, Daniele. "Music across music : towards a corpus-based, interactive computer-aided composition." Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066561/document.

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Le traitement de musique existante pour en construire de nouvelle est une caractéristique fondamentale de la tradition musicale occidentale. Cette thèse propose et discute mon approche personnelle au sujet : l'emprunt de fragments de musique à partir de grands corpus (contenant des échantillons audio ainsi que des partitions symboliques) afin de créer une palette de grains organisée par descripteurs de bas niveau. Les paramètres sont gérés par des partitions numériques hybrides. Cette thèse présente également la bibliothèque "dada", qui fournit au logiciel Max la possibilité d'organiser, de sé
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Sun, Derjen Jeney. "Teaching young children compositional concepts to enhance music learning in a computer learning environment." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244216827.

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Reynolds, Nicholas J. "Primary school creativity and composition in a professional level music software environment." Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1238.

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This paper provides an investigation into the use of professional level music software as a learning tool for creativity and composition in primary school children. The researcher believed that music and sound editing was under-used in schools and that children could: -work successfully with that type of software -work creatively with the software -benefit from its use. A small case study was used to expose the participants (eight children from Grades 3-6) to two professional level music software applications: Cakewalk Pro Audio 9 and Cool Edit 2000. The children explored the software and comp
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Ohlsson, Patrik. "Computer Assisted Music Creation : A recollection of my work and thoughts on heuristic algorithms, aesthetics, and technology." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2090.

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Denna text är delvis en dokumentation av min egna resa inom datorbaserat tonsättande, specifikt inom algoritmisk komposition. Det är även ett utforskande av den tankevärld som finns i anknytning till dessa metoder – där estetiska koncept och konsekvenser diskuteras. Texten kommer huvudsakligen att beröra metoder som gynnas av eller möjliggörs av teknologi. Jag har försökt att närma mig dessa ämnen holistiskt genom att diskutera allt från estetik, teknik, till konkreta realiseringar av särskilda musikaliska idéer. Till detta tillkommer även många notexempel, lite kod, och illustrationer – speci
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Tang, Joyce Wai-chung. "Suite for virtual double bass : a three dimensional composition based on original digital sounds created by computer assisted transformation of original recorded sound samples." HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/130.

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Garcia, Jérémie. "Supporting music composition with interactive paper." Phd thesis, Université Paris Sud - Paris XI, 2014. http://tel.archives-ouvertes.fr/tel-01056992.

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This thesis focuses on the design of interactive paper interfaces for supporting musical creation. Music composition has been deeply influenced by the computational power brought by computers but despite the use of software to create new sounds or work with symbolic notation, composers still use paper in their creative process. Interactive paper creates new opportunities for combining expression on paper and computation. However, designing for highly individual creative practitioners who use personal musical representations is challenging. In this thesis, I argue that composers need personal a
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Livermore, Joan, and n/a. "An examination of the effects of gender, age, and computer use on the process and products of misical composition in primary school children." University of Canberra. Education, 1992. http://erl.canberra.edu.au./public/adt-AUC20060405.162334.

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The purpose of this study was to build upon recent research dealing with the ways children of primary school age operate when composing original music. Through examining the musical and structural content of the musical products, and linking these features to working procedures in the composition process, the aim was to explore the interaction between process and product, and to identify any effects attributable to gender, age, or computer use. Control of the circumstances in which the compositions were generated made possible the examination of the activity of the subjects during the working
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Ladd, Michael J. "An interactive CD-ROM for the instruction of 'classic' sound synthesis methodologies." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1210534.

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The purpose of this study was twofold: first, to collect information relating to `classic' sound synthesis methodologies which have formed the basis of current synthesis methods into one comprehensive report, and secondly, to describe and develop an interactive CD-ROM as a new tool for the instruction of these synthesis methods. The historic trend has been the acquisition of sound synthesis through direct interaction with a particular piece of software or hardware. The intentions of this interactive media are to allow students to form conceptual knowledge, and develop the ability to perceive t
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Books on the topic "Computer assisted music composition"

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Winsor, Phil. Computer-assisted music composition: A primer in BASIC. Petrocelli Books, 1987.

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Leong, Samuel. Using the computer in music education: An introduction for the complete novice. CIRCME, 1995.

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Lerdahl, Fred. La composition assistée par ordinateur. IRCAM, 1986.

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Freedman, Barbara. Teaching music through composition with technology: A multimedia curriculum for the twenty-first century. Oxford University Press, 2013.

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Winsor, Phil. Automated music composition. University of North Texas Press, 1989.

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Automated music composition. University of North Texas Press, 1989.

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Selfe, Cynthia L. Computer-assisted instruction in composition: Create your own. National Council of Teachers of English, 1986.

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Composition for computer musicians. Course Technology, 2009.

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1945-, Christensen Carl J., ed. Foundations of music: A computer-assisted introduction. 4th ed. Wadsworth, 2000.

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Robert, Nelson. Foundations of music: A computer-assisted introduction. 2nd ed. Wadsworth Pub. Co., 1993.

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Book chapters on the topic "Computer assisted music composition"

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Kuuskankare, Mika. "Enriched Score Access for Computer Assisted Composition in PWGL." In Mathematics and Computation in Music. Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_34.

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Martínez–Rodríguez, Brian, and Vicente Liern. "Mercury $$^\mathrm{\textregistered }$$ : A Software Based on Fuzzy Clustering for Computer-Assisted Composition." In Mathematics and Computation in Music. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21392-3_19.

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Ayers, Lydia. "Computer Music Synthesis and Composition." In Handbook of Signal Processing in Acoustics. Springer New York, 2008. http://dx.doi.org/10.1007/978-0-387-30441-0_22.

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Papadopoulos, Alexandre, Pierre Roy, and François Pachet. "Assisted Lead Sheet Composition Using FlowComposer." In Lecture Notes in Computer Science. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-44953-1_48.

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Strang, Gerald. "III. Ethics And Esthetics Of Computer Composition." In The Computer and Music, edited by Harry B. Lincoln. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501744167-006.

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Gobin, Pascal, Richard Kronland-Martinet, Guy-André Lagesse, Thierry Voinier, and Sølvi Ystad. "Designing Musical Interfaces with Composition in Mind." In Computer Music Modeling and Retrieval. Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-39900-1_20.

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Zheng, Xiaomei, Weian Guo, Dongyang Li, Lei Wang, and Yushan Wang. "A Hybrid Swarm Composition for Chinese Music." In Lecture Notes in Computer Science. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61833-3_27.

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Garay Acevedo, Andres. "Fugue Composition with Counterpoint Melody Generation Using Genetic Algorithms." In Computer Music Modeling and Retrieval. Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/978-3-540-31807-1_7.

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Gersonde, K. "T2-Selective Proton Imaging: Representation of Functional States and Molecular Composition of Tissues." In Computer Assisted Radiology / Computergestützte Radiologie. Springer Berlin Heidelberg, 1985. http://dx.doi.org/10.1007/978-3-642-52247-5_1.

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Eaglestone, Barry. "Composition tools integration with a music database system." In Lecture Notes in Computer Science. Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/bfb0049143.

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Conference papers on the topic "Computer assisted music composition"

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Chiu, Shih-Chuan, and Man-Kwan Shan. "Computer Music Composition Based on Discovered Music Patterns." In 2006 IEEE International Conference on Systems, Man and Cybernetics. IEEE, 2006. http://dx.doi.org/10.1109/icsmc.2006.384827.

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Wiriyachaiporn, Panida, Kankawee Chanasit, Atiwong Suchato, Proadpran Punyabukkana, and Ekapol Chuangsuwanich. "Algorithmic Music Composition Comparison." In 2018 15th International Joint Conference on Computer Science and Software Engineering (JCSSE). IEEE, 2018. http://dx.doi.org/10.1109/jcsse.2018.8457397.

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Wainiya, Wasin, and Pitikhate Sooraksa. "Chen's Attractor in Music Composition." In 2017 21st International Computer Science and Engineering Conference (ICSEC). IEEE, 2017. http://dx.doi.org/10.1109/icsec.2017.8443903.

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Chen, Liang, and Kun Duan. "MIDI-assisted egocentric optical music recognition." In 2016 IEEE Winter Conference on Applications of Computer Vision (WACV). IEEE, 2016. http://dx.doi.org/10.1109/wacv.2016.7477714.

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Bresson, Jean. "Reactive visual programs for computer-aided music composition." In 2014 IEEE Symposium on Visual Languages and Human-Centric Computing (VL/HCC). IEEE, 2014. http://dx.doi.org/10.1109/vlhcc.2014.6883037.

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Liang, Liang, and Jie Liu. "An exploration of the application of computer music production software in music composition." In 2021 IEEE Asia-Pacific Conference on Image Processing, Electronics and Computers (IPEC). IEEE, 2021. http://dx.doi.org/10.1109/ipec51340.2021.9421093.

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Pichiliani, Mauro C., and Celso M. Hirata. "A tabletop groupware system for computer-based music composition." In 5th International ICST Conference on Collaborative Computing: Networking, Applications, Worksharing. IEEE, 2009. http://dx.doi.org/10.4108/icst.collaboratecom2009.8269.

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Fridenfalk, Mikael. "Algorithmic music composition for computer games based on L-system." In 2015 IEEE Games Entertainment Media Conference (GEM). IEEE, 2015. http://dx.doi.org/10.1109/gem.2015.7377230.

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Coca, Andres E., Debora C. Correa, and Liang Zhao. "Computer-aided music composition with LSTM neural network and chaotic inspiration." In 2013 International Joint Conference on Neural Networks (IJCNN 2013 - Dallas). IEEE, 2013. http://dx.doi.org/10.1109/ijcnn.2013.6706747.

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Alves Batista, Herbert, Luis Fabricio Wanderley Goes, Celso Franca, and Wendel Cassio Alves Batista. "Evolutionary Music Composition for Digital Games Using Regent-Dependent Creativity Metric." In 2017 16th Brazilian Symposium on Computer Games and Digital Entertainment (SBGames). IEEE, 2017. http://dx.doi.org/10.1109/sbgames.2017.00018.

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