Journal articles on the topic 'Computer assisted music composition'

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 expository study on the multimedia technology as a vital instrument in music composition. A simple observation and comparison of the old manual system of music composition/notation with the new computer-assisted multimedia system reveals that the computer-assisted multimedia method is much better in terms of facility as well as performing numerous tasks than the old system and it is therefore recommended for compositional and notational purposes. Participation, interview, observation and literature review were the research methods employed for this study.Keywords: Multimedia, Technology, Music, Composition

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.

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, signal processing, gestural control devices, computer-assisted composition, analysis of electroacoustic music, realtime DSP, live electronics and installations. La Trobe's excellence in electroacoustic music was recognised by its inclusion in a survey of the world's top twenty-three computer music institutions by the Japanese journal Intercommunication 6. La Trobe staff and postgraduate students contributed papers and compositions to international and national computer music conferences and La Trobe was very much a part of the international community for over twenty-five years. The challenge now is for other Victorian institutions to meet the needs of today's students and to provide the deep research foundation in electroacoustic music that informs teaching and generates new music directions in the community.

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 algorithm can be used to effectively manipulate a variety of compositional structures within a hierarchical and generative grammar-based model of musical composition. The result is a prototype Windows MIDI application called GeNotator that allows composers to experiment with a range of musical structures by interactively ‘evolving’ them through a familiar and comprehensive graphical user interface.

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 parts of the same song are functionally related. That is, in principle, one part can be expressed as a function of another. Music in FSMC is represented accordingly as a functional relationship between an existing human composition, or scaffold, and a generated set of one or more additional musical voices. A human user without any musical expertise can then explore how the generated voice (or voices) should relate to the scaffold through an interactive evolutionary process akin to animal breeding. By inheriting from the intrinsic style and texture of the piece provided by the user, this approach can generate additional voices for potentially any style of music without the need for extensive musical expertise.

Hard to learn and easy to forget are real problems in Wushu practice. Digital Wushu instruction court as the computer assisted technology increases alternative teaching method in Wushu teaching activities. Digital Wushu instruction court includes hardware system and software system. Hard ware is mainly composed by digital floor, digital periphery, digital terminal and communication platform. Software includes picture, video, music, text, motion analysis system and so on. The purpose of digital Wushu instruction court is to cultivate students’ interests to Wushu, increase Wushu instruction effect, and develop their self-learning ability.

With the invention of UPIC by Iannis Xenakis in 1977, for the first time one could achieve the sonic realisation of drawn musical ideas by a computer. Since then, no one seems to have proposed an equivalent tool, providing usability for both beginners and professionals. We will discuss how lively the UPIC idea can still be today, and why we should pay attention to this approach. Indeed, there has been a relative quietness in the domain of computer music specifically regarding how we arrange graphical curves to describe the evolution of sound parameters and create a musical form. This ascertainment led to the birth of our project UPISketch, which aims at the same goal, using today’s technology. We hope that this first version can reintroduce the concept of a ‘computer-assisted tool for sound composition, assisted by drawing’ to a global audience. The program being available since June 2018, we will evaluate the results of the first workshops with various publics and take a glimpse at the next developments.

This article provides a brief survey of composition in which field recordings or other referential sounds are transcribed for acoustic instruments. Through a discussion of how electroacoustic music and scholarship have conceptualised the notion of mimesis, and how various forms of contemporary acoustic music have adopted electroacoustic techniques, it identifies a recent musical practice in which these concerns are brought together. The article proposes the term mimetic instrumental resynthesis as a way of describing the common threads behind works that employ electronic-assisted or computer-assisted techniques towards instrumental imitations of environmental and extra-musical sounds. The article also highlights some of the conceptual and aesthetic questions emerging from such a practice, including the idea of transformation, issues of referentiality, listening, the influence of different technologies and their aesthetic implications, and the tension between abstract and concrete conceptions of the works discussed. Finally, the article raises concerns surrounding the language of discussing what is necessarily an interdisciplinary venture.

Many studies have shown a link between being competent in early mathematics and achievement in school. Early math skills have the potential to be the best predictors of later performance in reading and mathematics. Movement and songs are activities that children like, making it easier for teachers to apply mathematical concepts through this method. This study aims to develop audio-visual learning media in the form of songs with a mixture of western and traditional musical idioms, accompanied by movements that represent some of the teaching of early mathematics concepts. The stages of developing the ADDIE model are the basis for launching new learning media products related to math and art, and also planting the nation's cultural arts from an early age. These instructional media products were analyzed by experts and tested for their effectiveness through experiments on five children aged 3-4 years. The qualitative data were analyzed using transcripts of field notes and observations and interpreted in a descriptive narrative. The quantitative data were analyzed using gain score statistics. The results showed that there was a significant increase in value for early mathematical understanding of the concepts of geometry, numbers and measurement through this learning medium. The results of the effectiveness test become the final basis of reference for revision and complement the shortcomings of this learning medium. Further research can be carried out to develop other mathematical concepts through motion and song learning media, and to create experiments with a wider sample.
 Keywords: Early Mathematical Skills, Movement and Song Idiom Traditional, Audio-visual Learning Media
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This article reports on an exploratory investigation of the relationship between prior experience of formal instrumental music tuition (FIMT) and the process of collaborative computer-based music composition. The study linked a school in the UK with a school in Norway to engage in computer-mediated collaborative composition via e-mail. Participants were grouped into composing pairs (one from each country) balanced for prior musical experience. Results revealed prior experience of FIMT was associated with extended and complex musical dialogues, critical engagement with musical ideas and produced an ‘exploratory’ environment. No prior experience of FIMT was associated with uncritical and descriptive dialogues and a ‘cumulative’ environment. Proposals for future research are discussed.

‘Sometimes maligned for its allegedly behaviorist connotations but critical for success in many fields from music to sport to mathematics and language learning, practice is undergoing something of a revival in the applied linguistics literature’ (Long & Richards 2007, p. xi). This research timeline provides a systematic overview of the contributions of computer-assisted language learning (CALL) to the role, nature, and development of individual practice in language learning. We focus on written language practice in Tutorial CALL, corrective feedback and language awareness-raising in Intelligent CALL (ICALL), and individualization of the learning process through tailoring of learning sequences and contingent guidance.

Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.

Recent technological developments and the increasing impact of the media mean that listening to music and creative music making constitutes a major and integrated part of many young people's lives.The aim of the present article is to describe the process of computer-based composition, and how this is perceived by young composers. This paper describes a three-year empirical study of 129 computer-based compositions by 15 to 16-year-olds. Computer MIDI-fti.es were system- atically collected covering the sequence of the creation processes step by step; interviews were carried out with each of the participants; and observations were made of their work.All the participants succeeded in creating music, and in the subsequent analysis, six qualitatively different ways of creating music were identified which could be divided into two main categories: HORIZONTAL and VERTICAL. These categories, devised by the authors in this context, refer to compositional strategies, not to structures in the music itself. In the horizontal categories composition and arranging are separate processes, whereas in the vertical categories composition and arranging are one integrated process.

The aim of this paper is to describe the process of solfège learning when assisted by computers. The research was conducted in the Länsi-Uusimaa Music Institute in Finland. The study focused on pupils’ attitudes, opinions, motivation, and learning-outcomes using computer-based music learning. We also examined how Solfeggio 1, the new electronic ear-training material, works. Jukka Louhivuori (1990) has examined the didactical questions of computer-assisted music education. He emphasized that learning music with a computer does not mean the replacement of “real” music. The notions of learning and teaching can change in quality, mainly in the area of “learning-by-doing” and “discovery learning” in the computer-assisted music classroom. It was found that computer-assisted music learning is more agreeable and effective than traditional music learning. Although results showed that we need a well-functioning, modern environment and a well-educated “researcher-teacher,” well-motivated pupils are the most important aspects.