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Dissertations / Theses on the topic 'Computer music'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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1

Tibbetts, Tracey D. "Computer generated music : a methodology for computer music composition." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1125059.

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This study will prove the fact that computers provide unprecedented opportunities to create music. Several distinct levels of computer participation can exist in the creative process. The lowest level, involving record-keeping functions, results in programs that serve as compositional aids. The intermediate level incorporates stochastic (literally "random") processes on a limited basis, and represents the midpoint between computer-assisted and computercomposed works. The highest level focuses on the design of algorithms that result in compositions determined in most of their details by stochas
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2

Faia-Harrison, Carl. "Collaborative computer music composition and the emergence of the computer music designer." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/11917.

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This submission explores the development of collaborative computer music creation and the role of the Musical Assistant, or Computer Music Designer, or Live Electronics Designer, or RIM (Réalisateur en informatique musicale) and does so primarily through the consideration of a series of collaborations with composers over the last 18 years. The submission documents and evaluates a number of projects which exemplify my practice within collaborative computer music creation, whether in the form of live electronics, tape-based or fixed media work, as a live electronics performer, or working with co
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Yu, ChÅ ng. "Computer generated music composition." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/10901.

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4

Frisk, Henrik. "Improvisation, computers and interaction : rethinking human-computer interaction through music /." Malmö : Malmö Academy of Music, Lund University, 2008. http://www.lu.se/o.o.i.s?id=12588&postid=1239899.

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5

Phelps, James D. (James Dee). "Computer Simulacra." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331100/.

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Computer Simulacra is a musical work composed for amplified instrumental ensemble and computer instruments on tape. It is a computer-assisted work, composed with the help of a stochastic compositional algorithm, called PTERIO, designed by the composer.
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6

Stubenvoll, Matthias. "Musiklernen am Computer : zur Qualität von Musik-Lernsoftware und ihrer empirischen Überprüfung /." Essen : Verl. Die Blaue Eule, 2008. http://d-nb.info/990141454/04.

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7

Britton, Sam. "Towards hypertextual music : digital audio, deconstruction and computer music creation." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14949.

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This is a study of the way in which digital audio and a number of key associated technologies that rely on it as a framework have changed the creation, production and dissemination of music, as witnessed by my own creative practice. The study is built on my own work as an electronic musician and composer and draws from numerous collaborations with not only other musicians but also researchers and artists, as documented through commissions, performances, academic papers and commercial releases over an 9 year period from 2007 to 2016. I begin by contextualising my own musical practice and outlin
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8

Page, Stephen Dowland. "Computer tools for music information retrieval." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293399.

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9

Albright, Larry E. (Larry Eugene). "Computer Realization of Human Music Cognition." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc330819/.

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This study models the human process of music cognition on the digital computer. The definition of music cognition is derived from the work in music cognition done by the researchers Carol Krumhansl and Edward Kessler, and by Mari Jones, as well as from the music theories of Heinrich Schenker. The computer implementation functions in three stages. First, it translates a musical "performance" in the form of MIDI (Musical Instrument Digital Interface) messages into LISP structures. Second, the various parameters of the performance are examined separately a la Jones's joint accent structure, qua
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10

Prechtl, Anthony. "Adaptive music generation for computer games." Thesis, Open University, 2016. http://oro.open.ac.uk/45340/.

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This dissertation explores a novel approach to game music that addresses the limitations of conventional game music systems in supporting a dynamically changing narrative. In the proposed approach, the music is generated automatically based on a set of variable input parameters corresponding to emotional musical features. These are then tied to narrative parameters in the game, so that the features and emotions of the music are perceived to continuously adapt to the game's changing narrative. To investigate this approach, an algorithmic music generator was developed which outputs a stream of c
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11

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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12

Ghisi, Daniele. "Music across music : towards a corpus-based, interactive computer-aided composition." Electronic Thesis or Diss., Paris 6, 2017. http://www.theses.fr/2017PA066561.

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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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13

Mendes, Barbosa Álvaro Manuel. "Computer-suported cooperative work for music applications." Doctoral thesis, Universitat Pompeu Fabra, 2006. http://hdl.handle.net/10803/7536.

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Aquesta tesi recull la recerca al voltant de les pràctiques musicals mitjançant xarxes d'ordinadors realitzada al Grup de Tecnologia Musical de la Universitat Pompeu Fabra a Barcelona entre l'any 2001 i el 2005. Parteix del treball dut a terme durant la última dècada dins del camp del Treball Cooperatiu amb Ordinadors (Computer-Supported Cooperative Work, CSCW) el qual aporta els mecanismes de col·laboració els quals, des de un punt de vista musical, poden ser estudiats en diversos escenaris: composició, interpretació, improvisació i educació.<br/>La primera contribució d'aquest treball és un
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14

Nash, Chris. "Supporting virtuosity and flow in computer music." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/244047.

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As we begin to realise the sonic and expressive potential of the computer, HCI researchers face the challenge of designing rewarding and accessible user experiences that enable individuals to explore complex creative domains such as music. In performance-based music systems such as sequencers, a disjunction exists between the musician’s specialist skill with performance hardware and the generic usability techniques applied in the design of the software. The creative process is not only fragmented across multiple physical (and virtual) devices, but divided across creativity and productivity pha
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15

Chatham, Rick 1962. "Constellations: For Wind Ensemble and Computer Music." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc1038771/.

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Constellations is a single movement work that explores the color between acoustic instruments and computer generated sounds. It is scored for four flutes (two doubling on piccolos), two oboes, two bassoons, eight B-flat clarinets, two bass B-flat clarinets; two alto saxophones, tenor saxophone, baritone saxophone; four trumpets in B-flat, four horns in F; three trombones, bass trombone; two tubas;piano; six percussionists; and contrabass. The duration of the work is nine minutes and twenty-eight seconds. Mapping of stellar constellations provide the primary material for all pitch and harmonic
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16

Lindqvist, Björn. "Music generation using tracker music and machine learning." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-302573.

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We investigate the modelling of polyphonic “tracker music” using deep neural networks. Tracker music is a music storage format invented in the late 1980s for use on that time’s home computers and is often used for storing synthesized electronic music. Tracker music differs significantly from other music formats and has properties that makes it both harder and easier to use for training neural networks than other formats. This makes it interesting to explore what methods are most suitable for extracting musical information from the format. As far as we know, we are the first to explore how to u
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17

Fang, Meng-Tieh Saint-Saëns Camille Saint-Saëns Camille Saint-Saëns Camille. "Colors of the music /." Online version of thesis, 2009. http://hdl.handle.net/1850/10840.

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18

Verity, Adrian. "A computer aided music therapy analysis system : CAMTAS." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425732.

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19

McCormack, Michelle Mary. "The design and evaluation of computer music interfaces." Thesis, City University London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339694.

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20

Pearce, Alastair T. P. "MAP : a computer program for music information retrieval." Thesis, King's College London (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264938.

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21

Keup, Jessica Faith. "Computer Music Composition using Crowdsourcing and Genetic Algorithms." NSUWorks, 2011. http://nsuworks.nova.edu/gscis_etd/197.

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When genetic algorithms (GA) are used to produce music, the results are limited by a fitness bottleneck problem. To create effective music, the GA needs to be thoroughly trained by humans, but this takes extensive time and effort. Applying online collective intelligence or "crowdsourcing" to train a musical GA is one approach to solve the fitness bottleneck problem. The hypothesis was that when music was created by a GA trained by a crowdsourced group and music was created by a GA trained by a small group, the crowdsourced music would be more effective and musically sound. When a group of revi
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22

Fick, Jason. "Transfantasies for Flauto Traverso, Computer Music, and Dance." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271813/.

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TransFantasies is an interdisciplinary composition for Baroque flute (flauto traverso), computer music, and dance. A crucial component of the work is an interactive hardware and software environment that provides the opportunity for the players to shape aspects of the work during the performance. This essay discusses the influences that inspired the work and presents an in-depth analysis of notable elements of the composition. Primary issues include compositional models for gesture-based composition, historical performance practices, interactivity, and relationships between music and dance.
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23

Chen, Daniel. "Computer improvisation of jazz solos /." Online version of thesis, 1992. http://hdl.handle.net/1850/11088.

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24

Collins, N. M. "Towards autonomous agents for live computer music : realtime machine listening and interactive music systems." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597873.

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This thesis will describe a set of interactive systems developed for a range of musical styles and instruments, all of which attempt to participate in a concert by means of audio signal analysis alone. Machine listening, being the simulation of human peripheral auditory abilities, and the hypothetical modelling of central auditory and cognitive processes, is utilised in these systems to track musical activity. Whereas much of this modelling is inspired by a bid to emulate human abilities, strategies diverging from plausible human physiological mechanisms are often employed, leading to matching
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25

Fredericks, Pamela R. "Music & the creative imagination /." Online version of thesis, 1993. http://hdl.handle.net/1850/12145.

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26

Elezovic, Ivan. "Echoes : [for] tenor, chamber ensemble & computer." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33369.

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Echoes is an interactive composition for amplified chamber ensemble and computer. The entire research that led to this piece was based on the exploration of the evolution of the sound produced initially by the acoustic instruments and then interpreted by the computer. Why "Echoes"?<br>As a sonic phenomenon the echo has several fairly distinct dimensions. These are commonly understood to include the following: the repetition of a sound by reflection of sound waves from a surface; any repetition or imitation of words, style or ideas; the sympathetic sound response; and, in music, a soft repetiti
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27

Price, Lee Scott. "Ocean of Forms: for Soprano and Computer." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115141/.

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Ocean of Forms is a cycle of five songs for solo soprano voice and electronic/computer music accompaniment on poems by noted Bengali poet, musician, philosopher, and author Rabindranath Tagore. This work approaches the song cycle as a vehicle for expressing and highlighting the poet's words. Word and syllabic stress, text painting, melodic development, and formal structure all function in relation to the text and its meaning. the replacement of the traditional piano accompaniment with electronic accompaniment provides further possibilities for new timbral structures and transformations, exp
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28

Malouf, Frederick Leroy. "A system for interactive music composition through computer graphics." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/424876.

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Software development for both compositional systems and computer graphics has been extensive in the computer music field. Compositional systems employ different techniques in supporting the global strategies of composers, and they require alphanumeric input. Programs in computer graphics have been concerned primarily with the representation of common music notation. A System for Interactive Music Composition Through Computer Graphics was developed to provide a composer with an interactive, compositional, graphics environment.Musical constructs are not depicted in the system through common musi
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29

Tseng, Yu-Chung 1960. "Five Soundscapes for Acoustic Instruments and Taped Computer Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935784/.

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Inspired by Chinese poems, the overall characteristics of the work reflect the assimilation of several non-Western musical and philosophical influences such as the use of pentatonic scale patterns, the principle of embellishing a single note, and the application of the I-Ching in dealing with active instrumental passages over a long-sustained computer music drone. Traditional Western compositional techniques such as aleatory counterpoint, serialism, and moment form are also employed in the treatment of thematic material, developmental processes and formal design.
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30

Sum, Ka Yi Kelly. "Musical compositions exploring real-time human-computer interaction with acoustic instruments." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/887.

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31

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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32

Tuffen, John Anthony. "Load distribution within a heterogeneous multiprocessor computer music system." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242117.

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33

Farbood, Morwaread Mary. "Hyperscore : a new approach to interactive, computer-generated music." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/61122.

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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2001.<br>Includes bibliographical references (leaves 78-81).<br>This thesis discusses the design and implementation of Hyperscore, a computer-assisted composition system intended for users of all musical backgrounds. Hyperscore presents a unique graphical interface which takes input in the form of freehand drawing. The strokes in the drawing are mapped to structural and gestural elements in the music, allowing the user to describe the large scale-structure of a piece v
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34

Schüler, Nico. "On Methods and Methodology of (Computer-Assisted) Music Analysis." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36660.

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35

Lockhart, Adam. "A Pattern Oriented Data Structure for Interactive Computer Music." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68002/.

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This essay describes a pattern oriented data structure, or PODS, as a system for storing computer music data. It organizes input by sequences or patterns that recur, while extensively interlinking the data. The interlinking process emulates cognitive models, while the pattern processing draws specifically from music cognition. The project aims at creating open source external objects for the Max/MSP software environment. The computer code for this project is in the C and Objective-C computer programming languages.
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36

Barbosa, Alvaro. "Displaced soundscapes computer supported cooperative work for music applications." Saarbrücken VDM Verlag Dr. Müller, 2006. http://d-nb.info/991339223/04.

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37

Zaccagnino, Gianluca. "Computer Music Algorithms. Bio-inspired and Artificial Intelligence Applications". Doctoral thesis, Universita degli studi di Salerno, 2017. http://hdl.handle.net/10556/2564.

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2014 - 2015<br>Music is one of the arts that have most benefited from the invention of computers. Originally, the term Computer Music was used in the scientific community to identify the application of information technology in music composition. It began over time to include the theory and application of new or existing technologies in music, such as sound synthesis, sound design, acoustic, psychoacoustic. Thanks to its interdisciplinary nature, Computer Music can be seen as the encounter of different disciplines. In the last years technology has redefined the way individuals can work, commun
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38

Pearson, Mark. "Synthesis of organic sounds for electroacoustic music : cellular models and the TAO computer music program." Thesis, University of York, 1996. http://etheses.whiterose.ac.uk/10899/.

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39

Streeter, Elaine. "Computer-aided music therapy evaluation : investigating and testing the music therapy logbook prototype 1 system." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1201/.

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This thesis describes the investigation and testing of a prototype music therapy practice evaluation system: Music Therapy Logbook, Prototype 1. Such a system is intended to be used by music therapists as an aid to their existing evaluation techniques. The investigation of user needs, the multi-disciplinary team work, the pre-field and field recording tests, and the computational music analysis tests are each presented in turn, preceded by an in depth literature review on historical and existing music therapy evaluation methods. A final chapter presents investigative design work for proposed u
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40

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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41

Welch, Chapman. "Three Pieces for Musicians and Computer: Rameaux, Nature Morte, Moiré." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9723/.

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Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics
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42

Morgan, Christopher R. (Christopher Robert). "Circumfusion: a Composition for Real-Time Computer Music Spatialization System." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277632/.

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Two of the leading methodologies for spatializing audio over multiple channels include non-real-time multi-track tape and variations of real-time systems that often involve complex configurations of hardware. Of the latter, composers relying on MIDI as a control source have used pairs of sound modules, effects units and automation capable mixers to achieve spatialization over four loudspeakers. These systems typically employ intensity panning, Doppler shifts and reverberation. The present research details the development of a compact spatialization system using a MAX patch controlling a Kur
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43

Yang, Fan M. Eng Massachusetts Institute of Technology. "Adaptive music recommendation system." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/61584.

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Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 61-63).<br>While sources of digital music are getting more abundant and music players are becoming increasingly feature-rich, we still struggle to find new music that we may like. This thesis explores the design and implementation of the MusicPlanner - a music recommendation application that utilizes a goal-oriented framework to recommend and play music. Goal-oriented programming approaches probl
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44

Rogers, Rowell S. (Rowell Seldon). "Cenotaph: A Composition for Computer-Generated Sound." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc331070/.

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Cenotaph is a work of fifteen minutes duration for solo tape realized on the Synclavier Digital Music System at the Center for Experimental Music and Intermedia. All of the sound materials in the work consist of resynthesized timbres derived from the analysis of digital recordings of seven different human voices, each speaking the last name of one of the Challenger astronauts. The work's harmonic resources are derived in a unique way involving partitioning of the octave by powers of the Golden Section. The work is in a single movement divided into three sections which function as prologue, act
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45

Mott, Ryan. "Music in motion : the synthesis of album design and motion graphics for downloadable music /." Online version of thesis, 2009. http://hdl.handle.net/1850/10942.

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46

Villani, A. David Jr. "An appraisal of the use of computer music notation software among selected high school music teachers." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11076.

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Thesis (D.M.A.)--Boston University<br>The use and availability of computer software in support of music composition developed dramatically during the latter part ofthe twentieth century. As technology advanced, so did the ability to compose, notate, and edit music using computer software. The use of notation software has impacted music education. Many high school music educators have implemented music notation software into their music courses. The purpose of the present study was to gain a greater understanding of the practice of high school music teachers who use music notation software in t
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47

Persaud, Felicia Nafeeza. "In Search of Computer Music Analysis: Music Information Retrieval, Optimization, and Machine Learning from 2000-2016." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38007.

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My thesis aims to critically examine three methods in the current state of Computer Music Analysis. I will concentrate on Music Information Retrieval, Optimization, and Machine Learning. My goal is to describe and critically analyze each method, then examine the intersection of all three. I will start by looking at David Temperley’s The Cognition of Basic Musical Structures (2001) which offers an outline of major accomplishments before the turn of the 21st century. This outline will provide a method of organization for a large portion of the thesis. I will conclude by explaining the most rece
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48

del, Toro Brian. "Using Procedural Audio to Control an Algorithmic Composition that is Controlled by a Computer Game." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/894.

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The purpose of this project is to create a game audio engine based on procedural audio. I designed an audio engine in the visual programming language Max/MSP that I call High Score. High Score receives data from a game that I designed in the game development program Unity3D. The data that it receives controls an algorithmic composition that serves as the musical score of the game as well as several processes that synthesize various sound effects in the game. This approach to game audio proves to be very flexible and offers new aesthetic possibilities for game music and sound design.
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49

McNutt, Elizabeth. "Pipe wrench : a recording of music for flute and computer /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p3001271.

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Thesis (D.M.A.--Music)--University of California, San Diego, 2000.<br>Vita. Thesis consists of a document exploring "the issues of performing and recording music that uses technology" and a recording project. Five pieces of music for flute and computer technology were involved in the recording project: The twittering machine by Andrew May; Music for Flute and Computer by Cort Lippe; The Blistering Price of Power by Eric Lyon; Interact I by Barry Moon; and Jupiter by Philippe Manoury. Duration of acc. tapes: 58:05. "Selective discography" of works for flute and interactive electronics, and of w
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50

Welch, Chapman. "Three pieces for musicians and computer Rameaux, Nature morte, Moiré /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9723.

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First part for bass flute with b-foot, and computer; 2nd part for metal percussion (vibraphone, glockenspiel, crotales) and computer; 3rd part for clarinet (in A and B-flat) and computer. Includes specifications for computer. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 48-50).
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