Academic literature on the topic 'Drum (Musical group)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Drum (Musical group).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Drum (Musical group)"
1
Silverman, Marissa. "I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble." Research Studies in Music Education 40, no. 1 (October 28, 2017): 5–27. http://dx.doi.org/10.1177/1321103x17734972.
Full textAbstract:
The purpose of this ethnographic study was to investigate the Montclair State University’s West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the “lived reality” of the group as a whole, and to the social-cultural teaching–learning processes involved: spirituality, community-as-oneness, and communal joy. My motivation for undertaking this inquiry arose from the fact that, beginning in the 1960s, music education scholars in the United States have been concerned about the widespread marginalization of non-Western musics in American music teacher education programs. This situation is still a major concern because American undergraduate and graduate music teacher preparation remains overwhelmingly dominated by Western classical styles. This situation runs contrary to the massive social, cultural, situational, and musical diversity of American students’ lives. As one small effort to advance musical diversity in my own university music school context, I developed the proposal for and initiated the Montclair State University’s West African drum and dance ensemble.
2
Yonil, Egi, and Erfan Lubis. "PELAKSANAAN PEMBENTUKAN KEGIATAN EKSTRAKURIKULER DRUM BAND SMP NEGERI 5 KERINCI." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 93. http://dx.doi.org/10.24036/jsu.v9i2.110461.
Full textAbstract:
This study aims to identify and describe the implementation of Drum Band extracurricular activity at SMP Negeri 5 Kerinci. This is a qualitative research using descriptive method. The data were collected through literature study, observation, interview, and documentation. The research instrument used was the researcher itself. It was also supported by supporting instruments such as notebooks, stationaries, and a cellphone camera.From the results of the study, it can be described that there are some stages in the implementation of Drum Band Extracurricular activity at SMP Negeri 5 Kerinci. The stages start from selecting members, determining practice materials, determining practice schedules, doing rehearsals, and performing the Drum Band. To get maximum results, the coach creates two forms of training. One is the routine exercises carried out on Saturdays during self-development lessons, and another is the additional exercises carried out two weeks before participating in the competition. The first exercise begins with a group practice of musical instruments and is continued with a combined practice of all musical instruments. Keywords: Implementation, Extracurricular, Drum Band
3
Rafendi, Arif Rahman, and Wimbrayardi Wimbrayardi. "PELAKSANAAN KEGIATAN EKSTRAKURIKULER DRUM BAND DI SMP NEGERI 11 PADANG." Jurnal Sendratasik 9, no. 1 (May 1, 2020): 9. http://dx.doi.org/10.24036/jsu.v8i3.108135.
Full textAbstract:
AbstractThis type of research in this study was a qualitative with using a descriptive analysis approach that aims to describe the process of implementation of Drum-band extracurricular activity in SMP Negeri 11 Padang. The object of research was Drum band of SMP Negeri 11 Padang. The main instruments of this research were the researcher as an observer, the participants (actor) in an insider position also played a direct role in the object under study. Meanwhile, the supporting instruments used in this study were done by taking documentation from recording device in the form of observation, interview lists and photo camera. The results of the study illustrate that in the implementation of Drum-band extracurricular activity in SMP Negeri 11 Padang, the preparatory step of activitiy begins with the selecting Drum-band members, determining training material, determining training schedules, training and performances. In getting the most out of it, the builder makes two forms of training, which are regular weekly exercises conducted on Saturdays in Personal Development lesson and additional exercises that are done two weeks before Drum-band takes part in competitions or holiday. The first training begins with group musical instrument exercises, then followed by joint training of all musical instruments.Keywords: Arts, Music, Drum Band, Students
4
Park, Jin-Kyoung, and Soo Ji Kim. "Dual-Task-Based Drum Playing with Rhythmic Cueing on Motor and Attention Control in Patients with Parkinson’s Disease: A Preliminary Randomized Study." International Journal of Environmental Research and Public Health 18, no. 19 (September 26, 2021): 10095. http://dx.doi.org/10.3390/ijerph181910095.
Full textAbstract:
Although there have been increasing reports regarding the effectiveness of dual-task interventions in rehabilitation, the scope of this research is limited to gross motor movement, such as gait among patients with Parkinson’s disease (PD). To expand the dual-task paradigm to upper extremity motor and attention control in PD, drum playing with modulation of musical elements was attempted. The objective of this study was to evaluate the effects of a drum playing intervention with rhythmic cueing on upper extremity motor control and attention control in patients with PD. Twelve participants were randomly assigned to the drum playing intervention with rhythmic cueing group or the control group. The results showed that the drum playing with rhythmic cueing (DPRC) group significantly increased their sustained time of entrainment (45 BPM) and their latency time until entrainment from pretest to posttest. For the DPRC group, the latency time until entrainment was significantly improved, and improvements in cognitive measures were also found. This study shows that DPRC has great potential to improve upper extremity motor control and attention control and supports the development of new interventions that include this technique for rehabilitation in patients with PD.
5
Jacoby, Nori, Rainer Polak, and Justin London. "Extreme precision in rhythmic interaction is enabled by role-optimized sensorimotor coupling: analysis and modelling of West African drum ensemble music." Philosophical Transactions of the Royal Society B: Biological Sciences 376, no. 1835 (August 23, 2021): 20200331. http://dx.doi.org/10.1098/rstb.2020.0331.
Full textAbstract:
Human social interactions often involve carefully synchronized behaviours. Musical performance in particular features precise timing and depends on the differentiation and coordination of musical/social roles. Here, we study the influence of musical/social roles, individual musicians and different ensembles on rhythmic synchronization in Malian drum ensemble music, which features synchronization accuracy near the limits of human performance. We analysed 72 recordings of the same piece performed by four trios, in which two drummers in each trio systematically switched roles (lead versus accompaniment). Musical role, rather than individual or group differences, is the main factor influencing synchronization accuracy. Using linear causal modelling, we found a consistent pattern of bi-directional couplings between players, in which the direction and strength of rhythmic adaptation is asymmetrically distributed across musical roles. This differs from notions of musical leadership, which assume that ensemble synchronization relies predominantly on a single dominant personality and/or musical role. We then ran simulations that varied the direction and strength of sensorimotor coupling and found that the coupling pattern used by the Malian musicians affords nearly optimal synchronization. More broadly, our study showcases the importance of ecologically valid and culturally diverse studies of human behaviour. This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.
6
Dewi, Cicilia Dikna Astrina, and Suharto Suharto. "Musical Development Of Barongan Turonggo Laras Through Additional Instrument In Kendal Regency." Jurnal Seni Musik 10, no. 1 (June 30, 2021): 86–92. http://dx.doi.org/10.15294/jsm.v10i1.46058.
Full textAbstract:
This study aims to determine, describe, and analyze the development of the Barongan work of the Turonggo Laras group in Kendal Regency. The method used is descriptive qualitative with a musicological approach. Data collection techniques include observation, interviews, and documentation. The results showed that the development of working on Barongan Turonggo Laras music was in the form of adding western musical instruments, such as drums and keyboards in collaboration with gamelan. The use of the keyboard is intended as a filler for the main melody in campursari songs. This is because there are tones in the campursari song that does not exist on the gamelan instrument but exist on the keyboard. The addition of drums in the show is intended to lift the mood and strengthen the trance scene. The drum play tends to follow the dynamics of the kendang when accompanying the performance.
7
Archibald, Paul. "Finding the drummer: A reflection during isolation." Journal of Popular Music Education 5, no. 2 (July 1, 2021): 171–86. http://dx.doi.org/10.1386/jpme_00056_1.
Full textAbstract:
Drummers, in providing a cohesive role in a group setting, are generally valued by other instrumentalists depending on their ability to accompany sensitively and supportively; while important to all forms of popular music in which the drum kit features, the part itself is usually not created to exist independently. In recent times of lockdown and enforced isolation during the first half of 2020, drummers have found themselves deprived of the ability to make music with other people in a traditional live setting. This article examines the drummer’s reliance on the group, the value that this gives the drum kit, and the implications for identity and purpose of the drummer. In reflecting on the author’s own situation of musical ‘standstill’, and in conversation with other drummers, this article discusses the consequences this has for the drum kit (creative autonomy as an instrument) and for the drummer (implications for drummer’s self-identity), in how it may be taught, learned and viewed in the wider context of music making.
8
Barton, Jintana T. "A Comparative Study of Chinese Musical Activities in Chinese and Thai Cultural Contexts." MANUSYA 10, no. 2 (2007): 1–13. http://dx.doi.org/10.1163/26659077-01002001.
Full textAbstract:
This research explores the influence of Chinese music as it is reflected in cultural activities in China and Thailand. In China, music has been used since long before the time of Confucius (551-479 BC) as a learning tool, and the Chinese who migrated into Southeast Asia and ultimately Thailand brought their music with them. In Thai society, Chinese music has been used in traditional ways. Although the music remains closer to what was brought with the immigrants, it has been adopted into Thai society in ways that go far beyond the original Chinese use. This research found that some Chinese musical activities have become ingrained into Thai culture and society such as Lion Dance group performances in the processions for the ceremonial candle (Tian Phansa), the Khan Mak procession, and the Songkran Festival procession. The Lion Dance group also has a photo of a famous Thai monk on the front of a big drum. We also found that the khim is the most popular Chinese musical instrument among Thai people.
9
Geambaşu, Andreea, Laura Toron, Andrea Ravignani, and Clara C. Levelt. "Rhythmic Recursion? Human Sensitivity to a Lindenmayer Grammar with Self-similar Structure in a Musical Task." Music & Science 3 (January 1, 2020): 205920432094661. http://dx.doi.org/10.1177/2059204320946615.
Full textAbstract:
Processing of recursion has been proposed as the foundation of human linguistic ability. Yet this ability may be shared with other domains, such as the musical or rhythmic domain. Lindenmayer grammars (L-systems) have been proposed as a recursive grammar for use in artificial grammar experiments to test recursive processing abilities, and previous work had shown that participants are able to learn such a grammar using linguistic stimuli (syllables). In the present work, we used two experimental paradigms (a yes/no task and a two-alternative forced choice) to test whether adult participants are able to learn a recursive Lindenmayer grammar composed of drum sounds. After a brief exposure phase, we found that participants at the group level were sensitive to the exposure grammar and capable of distinguishing the grammatical and ungrammatical test strings above chance level in both tasks. While we found evidence of participants’ sensitivity to a very complex L-system grammar in a non-linguistic, potentially musical domain, the results were not robust. We discuss the discrepancy within our results and with the previous literature using L-systems in the linguistic domain. Furthermore, we propose directions for future music cognition research using L-system grammars.
10
Ramadina, Dini Dwi Dista, Rosyid Al Atok, and Didik Sukriono. "Menumbuhkan nasionalisme di kalangan remaja kelompok seni musik Patrol Perkusi Bendho Agung di Desa Gadungsari Kecamatan Tirtoyudo Kabupaten Malang." Jurnal Integrasi dan Harmoni Inovatif Ilmu-Ilmu Sosial 1, no. 2 (February 28, 2021): 182–93. http://dx.doi.org/10.17977/um063v1i2p182-193.
Full textAbstract:
This study aims to describe how to grow an attitude of nationalism, the appearance of nationalism, obstacles in developing nationalism, and those efforts are made to overcome obstacles to developing nationalism among youths Bendho Agung Percussion Patrol Music Art Group. This study uses a qualitative approach with descriptive research type. Data collection was carried out by means of observation, interviews, and documentation study. Data analysis using interactive analysis. Checking the validity of the data using triangulation techniques. how to grow an attitude of nationalism among adolescents with doing various activities includes of dancing traditional dances and playing traditional percussion patrol instruments such as kenong, saron, tambourine, drums, plastic drum, iron drum, gong and all members should to memorize the national song and folk songs. The appearance of nationalism is that the members t-shirts have nuances or patterns of batik and it doesn’t have feeling inferior or inferiority when playing traditional musical instruments and dancing traditional dances. The develeoping nationalism among youths is also inseparable from the obstacles when realizing nationalism among youths Bendho Agung Percussion Patrol Music Art Group, these obstacles are the include the time clashes between school time and the time of the event and the lack of dance costumes of Bendho Agung Percussion Patrol Music Art Group. In overcoming these obstacles the Bendho Agung Percussion Patrol Music Art Group makes efforts to overcome them by giving permission to schools and borrow or rent dance costumes in an art studio Turen.
Kajian ini bertujuan mendiskripsikan cara menumbuhkan nasionalisme, bentuk perwujudan nasionalisme, kendala yang dihadapi dalam menerapkan nasionalisme, dan solusi dalam menghadapi kendala penerapan nasionalisme di kalangan remaja Kelompok Seni Musik Patrol Perkusi Bendho Agung. Kajian ini menggunakan pendekatan kualitatif dengan jenis penelitian deskriptif. Pengumpulan data dilakukan dengan cara observasi, wawancara, dan studi dokumentasi. Analisis data menggunakan analisis interaktif. Pengecekan keabsahan data menggunakan triangulasi sumber. Cara menumbuhkan sikap nasionalisme di kalangan remaja diantaranya melalui kegiatan menari tari tradisional, bermain alat musik tradisional patrol perkusi seperti kenong, dig dug, saron, rebana, kendang, drum plastik, drum besi, gong dan mewajibkan seluruh anggota untuk hafal lagu nasional dan lagu-lagu daerah. Bentuk perwujudan nasionalisme diantaranya kaos anggota ada nuansa atau corak batik dan tidak ada rasa minder atau rendah diri ketika bermain alat musik tradisional dan menari tarian tradisional. Dalam menumbuhkan nasionalisme di kalangan remaja tidak lepas dari kendala-kendala yang muncul saat mewujudkan nasionalme di kalangan renaja Kelompok Seni Musik Patrol Perkusi Bendho Agung, kendala tersebut yaitu waktu yang bentrok antara waktu sekolah dengan waktu event dan kurangnya kostum tari yang dimiliki Kelompok Seni Musik Patrol Perkusi Bendho Agung. Dalam mengatasi kendala-kendala tersebut, Kelompok Seni Musik Patrol Perkusi Bendho Agung melakukan upaya-upaya dalam mengatasinya dengan cara memberian surat izin ke sekolah dan meminjam atau menyewa kostum tari di sanggar seni Turen.
Dissertations / Theses on the topic "Drum (Musical group)"
1
Zook, Rebecca. "Women drummers, forbidden drums: Obiní Batá negotiates a taboo." Thesis, Boston University, 2002. https://hdl.handle.net/2144/27810.
Full textAbstract:
Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
2
Bright, Crystal Dawn Gunderson Frank D. "Cakalak thunder The meaning of anarchy, value, and community in the music of Greensboro's protest drum corps /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-05052006-171727/.
Full textAbstract:
Thesis (M.M.) Florida State University, 2006.Advisor: Frank Gunderson, Florida State University, College of Music. Title and description from dissertation home page (viewed DATE). Document formatted into pages; contains 101 pages. Includes biographical sketch. Includes bibliographical references.
Books on the topic "Drum (Musical group)"
1
Drum circle spirit: Facilitating human potential through rhythm. Tempe, Ariz: White Cliffs Media, 1998.
Find full text
2
Hill, Nellie. Drum circle facilitators' handbook. Santa Cruz, CA (108 Coalinga Way, Santa Cruz 95060): Village Music Circles, 2013.
Find full text
5
Sugerman, Daniel. Wonderland Avenue: Talesof glamour and excess. New York: Morrow, 1989.
Find full text
7
Wonderland Avenue: Tales of glamour and excess. New York, N.Y: New American Library, 1990.
Find full text
8
Ian, Gittins, ed. The heroin diaries: A year in the life of a shattered rock star. New York: VH1 Books, 2007.
Find full text
10
J, Spagnola Lawrence, ed. My appetite for destruction: Sex & drugs & Guns n' Roses. New York: It Books, 2010.
Find full textBook chapters on the topic "Drum (Musical group)"
1
Tzanetakis, George. "Natural Human-Computer Interaction with Musical Instruments." In Advances in Multimedia and Interactive Technologies, 116–36. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0264-7.ch006.
Full textAbstract:
The playing of a musical instrument is one of the most skilled and complex interactions between a human and an artifact. Professional musicians spend a significant part of their lives initially learning their instruments and then perfecting their skills. The production, distribution and consumption of music has been profoundly transformed by digital technology. Today music is recorded and mixed using computers, distributed through online stores and streaming services, and heard on smartphones and portable music players. Computers have also been used to synthesize new sounds, generate music, and even create sound acoustically in the field of music robotics. Despite all these advances the way musicians interact with computers has remained relatively unchanged in the last 20-30 years. Most interaction with computers in the context of music making still occurs either using the standard mouse/keyboard/screen interaction that everyone is familiar with, or using special digital musical instruments and controllers such as keyboards, synthesizers and drum machines. The string, woodwind, and brass families of instruments do not have widely available digital counterparts and in the few cases that they do the digital version is nowhere as expressive as the acoustic one. It is possible to retrofit and augment existing acoustic instruments with digital sensors in order to create what are termed hyper-instruments. These hyper-instruments allow musicians to interact naturally with their instrument as they are accustomed to, while at the same time transmitting information about what they are playing to computing systems. This approach requires significant alterations to the acoustic instrument which is something many musicians are hesitant to do. In addition, hyper-instruments are typically one of a kind research prototypes making their wider adoption practically impossible. In the past few years researchers have started exploring the use of non-invasive and minimally invasive sensing technologies that address these two limitations by allowing acoustic instruments to be used without any modifications directly as digital controllers. This enables natural human-computer interaction with all the rich and delicate control of acoustic instruments, while retaining the wide array of possibilities that digital technology can provide. In this chapter, an overview of these efforts will be provided followed by some more detailed case studies from research that has been conducted by the author's group. This natural interaction blurs the boundaries between the virtual and physical world which is something that will increasingly happen in other aspects of human-computer interaction in addition to music. It also opens up new possibilities for computer-assisted music tutoring, cyber-physical ensembles, and assistive music technologies.
2
Dirksen, Rebecca. "Response from the Roots." In After the Dance, the Drums Are Heavy, 299–362. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.003.0008.
Full textAbstract:
This chapter profiles two classic bands tied deeply to Haiti’s Vodou roots, Boukman Eksperyans and RAM. Both bands are active and revered on the global popular music circuit and have also been instrumental in leading grassroots resistance to abuses of power and authority in Haiti. More than thirty years after their respective musical debuts, the leaders of both groups have become pillars of the music scene and respected figures in society far beyond their music celebrity status. In many regards, both ensembles have established models for civic leadership through their musical activities, and both are well recognized for their politically and socially engaged music. This chapter explores how Boukman Eksperyans and RAM have infused their music with principles of Vodou metaphysics and Haitian cultural values, albeit in different ways. It also describes how the respective bandleaders situate their musical and non-musical work in the larger scheme of Haitian politics and culture.
3
Wardrobe, Katie. "Rap My Name (Beginner)." In The Music Technology Cookbook, 7–12. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0002.
Full textAbstract:
This chapter describes an activity that was designed as a simple way for teachers to integrate technology into their music classes. Students will write a 4-measure “name rap” within a specified structure and use a drum sequencer or existing drum loop to create a rhythmic backing to accompany themselves. They will then record their rap over the rhythmic backing using audio recording software. This lesson can work with almost any age group, but it works best with Grades 5 through 8. It could be adapted for students younger than Grade 5 and for older students, too. Students can work on this activity individually, in pairs, or in small groups.
4
Dirksen, Rebecca. "The Population’s Bacchanalia." In After the Dance, the Drums Are Heavy, 243–98. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190928056.003.0007.
Full textAbstract:
Some of Haiti’s most beloved musicians raised their voices to counter the antics of President Martelly and his associates. This chapter studies the carnival songs of two anti-establishment artists who captured the public’s imagination through their alternate approaches to political activism. The first is musician-comedian Matyas, around whom a protracted and preposterous storyline was constructed about his unlikely candidacy for the presidency, subsequent win, and the havoc he is able to bring about as a result of his high-powered fictitious position. Second, the roots-reggae group Brothers Posse released a consecutive series of acerbically critical music videos for each carnival during which Martelly was in office, before Brothers Posse’s lead Don Kato took his musical engagement to a literal conclusion and was elected to the Senate in 2015. As senator, Don Kato delivered a pointed warning in a carnival song about the PetroCaribe scandal, in which several billion dollars have gone missing.
5
Parrington, John. "Music and Rhythm." In Mind Shift, 303–19. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198801634.003.0019.
Full textAbstract:
This chapter evaluates how music has been an important part of human culture for a very long time. One explanation for the centrality of music in human society is that it plays a key role in coordinating activity. Rhythmic sound ‘not only coordinates the behaviour of people in a group, it also coordinates their thinking—the mental processes of individuals in the group become synchronized’. This may explain how drums unite tribes in ceremony, why armies used to march into battle accompanied by bugle and drum, religious ceremonies are infused by song, and speech is punctuated by rhythmic emphasis on particular syllables and words. The chapter then assesses what modern neuroscience can reveal about how music affects the brain, and considers the role that music plays in the creation of meaning. It illustrates these general arguments with reference to music ranging from the classical music of Mozart and Beethoven, to mid-twentieth century jazz, through to modern pop music. The chapter also looks at how music can help us cope with some of the alienation that many people feel in modern society, and ways in which music has addressed the issue of mental illness.
6
Clendinning, Elizabeth A. "Bimusicality and Beyond." In American Gamelan and the Ethnomusicological Imagination, 154–78. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.003.0008.
Full textAbstract:
The chapter examines roles for gamelan in music pedagogy outside ethnomusicology. First, the pedagogical benefits of teaching gamelan are compared to those of teaching African drum ensembles and steel pan, two other non-Western classical percussion traditions that are commonly taught in American colleges. Then, the benefits of teaching gamelan within percussion education, composition, and music education programs are considered as teachers who employ gamelan in their classroom discuss how they use the instruments. Pedagogical benefits for students include improving motor coordination, physical technique, focus, and cognition; improving their listening skills; and expanding their concepts of artistic collaboration or group social skills, in addition to instilling real possibilities for cross-cultural professional artistic collaboration.
7
Chapman, Con. "The Rabbit Strays." In Rabbit's Blues, 107–22. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0015.
Full textAbstract:
The chapter describes Johnny Hodges’s break with the Ellington orchestra in the early 1950s. He had occasionally threatened to leave the band, and in early 1951 he did so with the encouragement of record producer Norman Granz, who signed him to a recording contract and financed his break. Hodges took two Ellingtonians with him, and among other noteworthy musicians who joined was a young John Coltrane, whom Hodges had to fire because of his drug habit. Hodges said he and his co-conspirators made the break because they wanted to return to simpler music than the ambitious works that Ellington would sometimes write. The economic reasons for the break are also discussed. The big bands were suffering, and Ellington had announced a pay cut. Ultimately Hodges found that he was not suited to be a bandleader; he disbanded the group and returned to Ellington in 1955.
Conference papers on the topic "Drum (Musical group)"
1
Du Bois, Andre, and Rodrigo Ribeiro. "Combining Effects in a Music Programming Language based on Patterns." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10430.
Full textAbstract:
HMusic is a domain specific language based on music patterns that can be used to write music and live coding. The main abstractions provided by the language are patterns and tracks. Code written in HMusic looks like patterns and multi-tracks available in music sequencers, drum machines and DAWs. HMusic provides primitives to design and combine patterns generating new patterns. The objective of this paper is to extend the original design of HMusic to allow effects on tracks. We describe new abstractions to add effects on individual tracks and in groups of tracks, and how they influence the combinators for track composition and multiplication. HMusic allows the live coding of music and, as it is embedded in the Haskell functional programming language, programmers can write functions to manipulate effects on the fly. The current implementation of the language is compiled into Sonic Pi [1], and we describe how the compiler’s back-end was modified to support the new abstractions for effects. HMusic can be and can be downloaded from [2].