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Journal articles on the topic 'Music score'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Kostagiolas, Petros A., Charilaos Lavranos, Konstantina Martzoukou, and Joseph Papadatos. "Keeping the score." Library Management 36, no. 6/7 (2015): 495–510. http://dx.doi.org/10.1108/lm-06-2014-0063.

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Purpose – The purpose of this paper is to study the role of academic music libraries in financially straitened times. The academic music library aims to cover the information needs of the academic community; yet the unique nature of music information also allows academic libraries to develop services for a broad spectrum of different user groups. Design/methodology/approach – The theoretical analysis is supported by empirical evidence from a nationwide survey in Greece. The survey was carried out from July to September 2013 and presents results from interviews with the directors of all academi

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2

Zhang, Xiang-Yi, and Jia-Lien Hsu. "Full-Scale Piano Score Recognition." Applied Sciences 15, no. 5 (2025): 2857. https://doi.org/10.3390/app15052857.

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Sheet music is one of the most efficient methods for storing music. Meanwhile, a large amount of sheet music-image data is stored in paper form, but not in a computer-readable format. Therefore, digitizing sheet music is an essential task, such that the encoded music object could be effectively utilized for tasks such as editing or playback. Although there have been a few studies focused on recognizing sheet music images with simpler structures—such as monophonic scores or more modern scores with relatively simple structures, only containing clefs, time signatures, key signatures, and notes—in

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3

Platte, Nathan. "Music for Spellbound (1945): A Contested Collaboration." Journal of Musicology 28, no. 4 (2011): 418–63. http://dx.doi.org/10.1525/jm.2011.28.4.418.

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Production files detailing the construction of the musical score for the film Spellbound reveal an intense and complicated collaboration involving music editor Audray Granville, director Alfred Hitchcock, composer Miklós Rózsa, and producer David O. Selznick. Tracing the formation of the score from initial outlines through composition and editing shows how these four individuals contributed to the score’s development. Conflicting instructions from Hitchcock and Selznick as well as Granville’s preview score influenced Rózsa’s compositional decisions, and Granville’s revisions of Rózsa’s recorde

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Yang, Jing. "RESEARCH ON PIPA SCORE ACROSS NATIONAL BOUNDARIES: "YUHEXUAN PIPA SCORE" AND "NANGONG PIPA SCORE" FROM JAPAN." Scientific heritage, no. 143 (August 27, 2024): 9–15. https://doi.org/10.5281/zenodo.13378537.

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The "Yuhexian Pipa Score" compiled by Wang Lu, a descendant of the Northern School Pipa, in 1900 is a representative work of the Northern School Pipa. Some of the scores were first published in the "Music Magazine" of Peking University (1919-1921). Due to Mr. Wang's unresolved hand condition and subsequent illness, it was not possible to publish all the scores, and some of them were scattered among the public. After several generations of efforts to excavate and organize, in 1991, the People's Music Publishing House published the selected songs of "Yuhexian Pipa Score" in the form of a simplif

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Lin, Qin. "Music Score Recognition Method Based on Deep Learning." Computational Intelligence and Neuroscience 2022 (July 7, 2022): 1–12. http://dx.doi.org/10.1155/2022/3022767.

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In recent years, the recommendation application of artificial intelligence and deep music has gradually become a research hotspot. As a complex machine learning algorithm, deep learning can extract features with value laws through training samples. The rise of deep learning network will promote the development of artificial intelligence and also provide a new idea for music score recognition. In this paper, the improved deep learning algorithm is applied to the research of music score recognition. Based on the traditional neural network, the attention weight value improved convolutional neural

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6

Sherk, Warren. "Dimitri Tiomkin’s Music Score for Resurrection." Journal of Film Music 11, no. 2 (2025): 73–95. https://doi.org/10.1558/jfm.26821.

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Dimitri Tiomkin’s first music score for a dramatic film was for Resurrection. The film was released in January 1931, at a tumultuous time in the early history of sound films. This article traces the production history of the music for the film through published material in newspapers and trade publications, including interviews with Tiomkin, and draws on some correspondence with the composer.

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Mulyadi, Ahmad Wisnu, Carmadi Machbub, Ary S. Prihatmanto, and Bong-Kee Sin. "Design of Music Learning Assistant Based on Audio Music and Music Score Recognition." Journal of Korea Multimedia Society 19, no. 5 (2016): 826–36. http://dx.doi.org/10.9717/kmms.2016.19.5.826.

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8

Geysen, Frans. "Toetsenstuk voor Lucien Goethals [Music Score]." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 54 (2000): 127. http://dx.doi.org/10.2307/3686883.

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9

Boulez, Pierre. "Fragment de "Sur Incises" [Music Score]." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 52 (1998): 33. http://dx.doi.org/10.2307/3686910.

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10

Anderson, Gillian B., and James L. Limbacher. "Keeping Score: Film Music, 1972-1979." American Music 3, no. 3 (1985): 354. http://dx.doi.org/10.2307/3051478.

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11

Dannenberg, Roger B., and Christopher Raphael. "Music score alignment and computer accompaniment." Communications of the ACM 49, no. 8 (2006): 38–43. http://dx.doi.org/10.1145/1145287.1145311.

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12

Taube, Heinrich. "Stella: Persistent Score Representation and Score Editing in Common Music." Computer Music Journal 17, no. 4 (1993): 38. http://dx.doi.org/10.2307/3680543.

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13

Potter, Keith, and Steve Reich. "Reich in Score." Musical Times 131, no. 1773 (1990): 597. http://dx.doi.org/10.2307/966183.

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14

Kurkela, Kari. "Score, vision, action." Contemporary Music Review 4, no. 1 (1989): 417–35. http://dx.doi.org/10.1080/07494468900640461.

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15

Horsewood, Adrian. "Internet score libraries." Early Music 48, no. 2 (2020): 265–66. http://dx.doi.org/10.1093/em/caaa029.

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16

Tejada, Jesús. "Hearing Music Notation through Music Score Software: Effects on Students’ Music Reading and Writing." International Journal of Learning: Annual Review 16, no. 6 (2009): 17–32. http://dx.doi.org/10.18848/1447-9494/cgp/v16i06/46351.

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17

Ren, Dexin. "Research on Multi-Modal Music Score Alignment Model for Online Music Education." Journal of Advanced Computational Intelligence and Intelligent Informatics 28, no. 5 (2024): 1075–84. http://dx.doi.org/10.20965/jaciii.2024.p1075.

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As music data storage becomes increasingly diverse in the era of big data, ensuring alignment of music works with the same semantics for online music education is crucial. To achieve this, a multi-modal music score alignment algorithm model based on deep learning was developed and optimized. Experimental results demonstrated that Note + DCO feature combination yielded the best MIDI input characteristics (mean value: 13.27 ms), whereas CQT feature comparison produced the best results for audio input (average: 12.85 ms). The ResNet-34 network was noted to have the most effective music score alig

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Fournier-S’niehotta, Raphaël, Philippe Rigaux, and Nicolas Travers. "Modeling Music as Synchronized Time Series: Application to Music Score Collections." Information Systems 73 (March 2018): 35–49. http://dx.doi.org/10.1016/j.is.2017.12.003.

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19

Shan, Senquan. "The Status Quo and Promotion Strategy of Music Score Literacy of Junior School Students." Science Insights Education Frontiers 10, S1 (2021): 22. http://dx.doi.org/10.15354/sief.21.s1.ab052.

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Understanding the music score is a fundamental skill in Music learning. It used to be the training of basic skills in the music class before the curriculum reform. However, this skill was gradually marginalized in the initial stage of curriculum reform in that it is too difficult for students to have a delightful learning experience. Since the publication of Criterion for music Curriculum 2011, music score literacy has gained a foothold again. Its theory stage is higher than before. Owing to various causes, teaching this skill is still in a dilemma in practice. With the improvement of compulso

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20

Liang, Mingheng. "Music Score Recognition and Composition Application Based on Deep Learning." Mathematical Problems in Engineering 2022 (June 17, 2022): 1–9. http://dx.doi.org/10.1155/2022/2415857.

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Optical score recognition is a critical technology for retrieving music information, and note recognition is a critical component of score recognition. This article evaluates and discusses the current state of research on important technologies for score recognition. To address the issues of low note recognition accuracy and intricate steps in the present music score image, a deep learning-based music score recognition model is proposed. The model employs a deep network, accepts the entire score image as input, and outputs the note's time value and pitch directly. Experiments on music scores d

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21

Butler, David. "The Days Do Not End: Film Music, Time and Bernard Herrmann." Film Studies 9, no. 1 (2006): 51–63. http://dx.doi.org/10.7227/fs.9.8.

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The tendency in most writing on the temporal properties of film music has been to note music‘s ability to establish, quickly and efficiently, a films historical setting. Although acknowledging this important function, this paper seeks to explore a wider range of temporal properties fulfilled by film music. Three aspects of musics temporality are discussed: anachronism (whereby choices of anachronistic music can provide the spectator with ways of making sense of a films subtext or its characters’ state of mind), navigation (the ability of music to help the spectator understand where and when th

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22

Angeler, David G. "Biodiversity in Music Scores." Challenges 11, no. 1 (2020): 7. http://dx.doi.org/10.3390/challe11010007.

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Nature has inspired music since the dawn of humankind and has contributed to the creation and development of music as an art form. However, attempts to use the science of nature (i.e., quantitative ecology) to inform music as a broader art-science system is comparatively underdeveloped. In this paper an approach from biodiversity assessments is borrowed to quantify structural diversity in music scores. The approach is analogous in its nature and considers notations with distinct pitches and duration as equivalents of species in ecosystems, measures within a score as equivalents of ecosystems,

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23

Zhao, Junran. "A Brief Analysis of the Innovative Ideas of Music Acoustics in Film Soundtrack." Highlights in Art and Design 4, no. 2 (2023): 107–8. http://dx.doi.org/10.54097/hiaad.v4i2.13370.

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The film Interstellar is an important work directed by Nolan and scored by master of film music, Hans Zimmer. This work has won the 87th Academy Award for Best Score and Best Sound. It is a work worth thinking about both in music and sound. This paper will explain the innovative use of music acoustics through the analysis of some music in this film.

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Hastuti, Erni Purwaning, and Sunaryo Soenarto. "Pengembangan multimedia pembelajaran mata pelajaran teori musik kelas X SMK Negeri 2 Kasihan Bantul." Jurnal Inovasi Teknologi Pendidikan 5, no. 2 (2018): 129–39. http://dx.doi.org/10.21831/jitp.v5i2.15292.

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Penelitian ini bertujuan untuk: (1) menghasilkan produk multimedia pembelajaran teori musik untuk kelas X SMK Negeri 2 Kasihan Bantul yang berisikan tentang bentuk, nilai nada, dan sukat; (2) mengetahui kelayakan produk multimedia yang dihasilkan, (3) mengungkapkan keefektifan produk multimedia yang dihasilkan. Penelitian ini merupakan penelitian dan pengembangan yang diadaptasi dari model Alessi & Trollip, yang mencakup tahapan kegiatan sebagai berikut: perencanaan, desain, dan pengembangan. Hasil penelitian ini adalah sebagai berikut (1) produk yang dihasikan adalah multimedia interaktif

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25

Li, Chan. "A Deep Learning-Based Piano Music Notation Recognition Method." Computational Intelligence and Neuroscience 2022 (June 2, 2022): 1–9. http://dx.doi.org/10.1155/2022/2278683.

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In the era of rapid development of computer technology, piano music notation and electronic synthesis system can be established using computer technology, and the basic laws of music score can be analyzed from the perspective of image processing, which is of a great significance in promoting piano improvement and research and development, etc. In this paper, the Beaulieu analysis method is used to analyze the piano music notation and electronic synthesis system module. For piano sheet music, sheet music recognition is the main problem in the whole system. Through the digital recognition method

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26

Geysen, Frans. "Erratum: Toetsenstuk voor Lucien Goethals [Music Score]." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 55 (2001): 321. http://dx.doi.org/10.2307/3686843.

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27

Adderley, Cedric. "Keeping Score: Michael Tilson Thomas on Music." Music Educators Journal 93, no. 1 (2006): 16. http://dx.doi.org/10.2307/3693413.

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28

Brady, Sophie A. "Review: International Music Score Library Project (IMSLP)." Journal of the American Musicological Society 72, no. 3 (2019): 920–35. http://dx.doi.org/10.1525/jams.2019.72.3.920.

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29

KATSUMOTO, Kenji, Yuichi YOSHIDA, Naoki SAIWAKI, and Shogo NISHIDA. "An Approach to 3D Spacial Music Score." Transactions of the Institute of Systems, Control and Information Engineers 16, no. 6 (2003): 295–302. http://dx.doi.org/10.5687/iscie.16.295.

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30

Castellanos, Francisco J., Antonio-Javier Gallego, and Jorge Calvo-Zaragoza. "Automatic scale estimation for music score images." Expert Systems with Applications 158 (November 2020): 113590. http://dx.doi.org/10.1016/j.eswa.2020.113590.

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31

Shang, Rui. "A Deep Learning-Enabled Composition System Based on Piano Score Recognition." Mobile Information Systems 2022 (July 5, 2022): 1–9. http://dx.doi.org/10.1155/2022/9132697.

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Piano is used for music and comprises a stringed keyboard instrument wherein the strings are tapped by softer-coated wooden hammers. The score providing music for the piano, often a compressed transcription of orchestral music, is referred to as piano score. Presently, the Internet is overflowing with music score resources. Having so many music score resources available, professional learners and amateur music lovers are unable to identify and obtain music score information that matches their needs and wasting valuable time. Due to the rapid development of deep learning algorithms, some indivi

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32

Qin, Yang, Huiming Xie, Shuxue Ding, Yujie Li, Benying Tan, and Mingchuan Ye. "Score Images as a Modality: Enhancing Symbolic Music Understanding through Large-Scale Multimodal Pre-Training." Sensors 24, no. 15 (2024): 5017. http://dx.doi.org/10.3390/s24155017.

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Symbolic music understanding is a critical challenge in artificial intelligence. While traditional symbolic music representations like MIDI capture essential musical elements, they often lack the nuanced expression in music scores. Leveraging the advancements in multimodal pre-training, particularly in visual-language pre-training, we propose a groundbreaking approach: the Score Images as a Modality (SIM) model. This model integrates music score images alongside MIDI data for enhanced symbolic music understanding. We also introduce novel pre-training tasks, including masked bar-attribute model

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33

Zhang, LiLan. "Learning Chinese Classical Music with the Aid of Soundscape by Using Intelligent Network." Computational Intelligence and Neuroscience 2022 (May 13, 2022): 1–8. http://dx.doi.org/10.1155/2022/2085413.

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A soundscape is a sound environment of the awareness of auditory perception and social or cultural understanding. To improve the subjective initiative of the Chinese classical music students, this study explores new learning modes and methods using soundscape and investigates its learning effect using intelligent music software. To examine the emotional experience of players in playing before and after learning, 50 students from music majors and 50 from non-music majors were selected. Results show that in the positive and negative emotional classical music experiment, most music majors and non

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Jiang, Jing. "Using Pitch Feature Matching to Design a Music Tutoring System Based on Deep Learning." Computational Intelligence and Neuroscience 2022 (September 6, 2022): 1–7. http://dx.doi.org/10.1155/2022/4520953.

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It is a challenge for the current music teaching system to carry out teaching according to the difference of score difficulty and realize automatic grading. Therefore, identifying the difficulty of music score according to pitch is the key to individualize music teaching resources. This paper summarizes and analyzes the problem of pitch feature extraction in music teaching. In the pitch extraction, the audio signal is divided into frames, and the feature matching of high-pitched content in music teaching resources is realized by smoothing the pitch sequence. In addition, the pitch feature extr

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35

ADORNO, THEODOR W. "ON THE SCORE OF ‘PARSIFAL’." Music and Letters 76, no. 3 (1995): 384–97. http://dx.doi.org/10.1093/ml/76.3.384.

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36

Smolskaitė, Giedrė. "Musicalization of Literature: Kostas Ostrauskas’s The Quartet." Semiotika 13 (December 20, 2017): 57–76. http://dx.doi.org/10.15388/semiotika.2017.16725.

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In works of literature, music can be found in the form of score fragments, notation symbols, song lyrics, musicological terminology, acoustic aspects of speech, musicians as characters, etc. Such manifestations connect two systems of signification and create an intermedial dialogue between music and literature, which requires a specific methodological approach. According to the intermediality theoretician Werner Wolf, “[t]he verbal text appears to be or become [...] similar to music, or to effects connected with certain compositions, and we get the impression of experiencing music ‘through’ th

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Xiang, Yuehua. "Analysis of Psychological Shaping Function of Music Education under the Background of Artificial Intelligence." Journal of Environmental and Public Health 2022 (September 9, 2022): 1–14. http://dx.doi.org/10.1155/2022/7162069.

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In order to solve the problem of integrating intelligent technology into music teaching, this paper puts forward the methods of using intelligent technology to optimize the music teaching system; to enhance the effectiveness of music psychological guidance, music intelligent creation, the development of Yi Guzheng platform, the integration of online sparring technology, and the rational use of Mu class platform, and to ensure the construction of loop curriculum system with “intelligent piano.” RBF algorithm has strong data processing ability, which can ensure the operation quality of music sco

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38

SADOFF, RONALD H. "The role of the music editor and the ‘temp track’ as blueprint for the score, source music, and scource music of films." Popular Music 25, no. 2 (2006): 165–83. http://dx.doi.org/10.1017/s0261143006000845.

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The ‘temp track’, a temporary mock-up of a film's soundtrack, is assembled from pre-existing music prior to the real, commissioned score being composed. An integral element of the post-production process of American feature films, it survives only in its role for audience previews. Constructed by a music editor, in most cases, it is a blueprint of a film's soundtrack – a musical topography of score, songs, culture and codes in which a balance must obtain between the director's vision, the music's function, underlying requirements of genre, and the spectator's perception. This article demonstra

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Telyoarubun, Peter Hendriks. "Pengembangan Aplikasi Klasifikasi Musik Reggae." KALBISIANA Jurnal Sains, Bisnis dan Teknologi 10, no. 3 (2024): 288–93. http://dx.doi.org/10.53008/kalbisiana.v10i3.801.

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This study aims to design software to classify Reggae music and other genres of music. The training data used is music audio data totaling 721 music audio and 309 audio data for test data. The method used in this study uses Scikit-learn software to create machine learning models and uses Flask software to create application displays. The final result in increment one is the accuracy of the training data and test data at 150 epochs, for the results of the training data accuracy of 75% and test data of 65% and getting a model evaluation with the results of Accuracy Score 95.27%, Precision Score

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Xu, Qinchen. "Bridging Cultures: Unveiling the Aesthetic Nuances in He Zhanhaos 'The Butterfly Lovers' Guzheng Concerto Score." Communications in Humanities Research 27, no. 1 (2024): 221–29. http://dx.doi.org/10.54254/2753-7064/27/20232122.

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The 1950s marked a period of China's opening up and reform, which is also considered the "Renaissance Era" of modern Chinese music. Chinese musicians began to experiment with blending traditional ethnic music with elements of modern music. Simultaneously, as a result of economic and cultural exchanges and development, the Western music system gradually entered China, providing Chinese musicians with more inspiration and creative material. In this context, He Zhanhao and Chen Gang composed the Guzheng Concerto "Liang Shanbo and Zhu Yingtai." This concerto represents the fusion of Chinese ethnic

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Engur, Doruk. "The Effect of Music Teacher Education on Musical Taste of Music Majors." International Education Studies 13, no. 1 (2019): 98. http://dx.doi.org/10.5539/ies.v13n1p98.

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In this study, it was aimed to determine the level of change of music education students' musical taste after they have received four years of music education given within the scope of the Music Education Undergraduate Program. To achieve this purpose, a cross-sectional survey was employed. Therefore, 12 pieces were selected to represent each category of Baroque, Classical, Romantic, and 20th-century music, and the first, second, third, and fourth-year students were asked to score the pieces out of 7 according to their musical taste. The results show a linear trend decreasing from Baroque to 2

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Fitriya, Suci, Ramadhan Putra Satria, and S. Samun. "Terapi Musik Klasik Untuk Menurunkan Tingkat Depresi Pada Pasien Psikososial : Kehilangan." Prosiding Seminar Nasional Kesehatan 1 (January 19, 2022): 2237–46. http://dx.doi.org/10.48144/prosiding.v1i.1045.

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AbstractDepression is an emotional disorder or mild mental disorder characterized by prolonged sadness, hopelessness, feelings of guilt and meaninglessness. Loss is a condition of the individual parting with something that previously existed into nothing. Classical music can have a calming effect, reduce anxiety, feel relaxed and stabilize emotions. The prevalence of depression in the population aged 15 years in Tegal Regency is 6.87% or 2,689 people. This study aims to determine the administration of classical music therapy to reduce the level of depression in psychosocial: loss patients in t

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Glenn Schellenberg, E. "Music Lessons, Emotional Intelligence, and IQ." Music Perception 29, no. 2 (2011): 185–94. http://dx.doi.org/10.1525/mp.2011.29.2.185.

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musically trained and untrained participants were administered tests of emotional intelligence and IQ. As in previous research, trained participants scored higher than untrained participants on the IQ Composite score and on its Verbal and Nonverbal subtests. The advantage for the trained group on the Composite score and on the Nonverbal subtest was evident even when gender, parents' education, family income, and first language were held constant. The groups performed similarly, however, on the test of emotional intelligence, and scores on the IQ test were only weakly correlated with scores on

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44

Pancake, Catherine. "Optical Scores for Improvised Music." Leonardo Music Journal 21 (December 2011): 17–18. http://dx.doi.org/10.1162/lmj_a_00055.

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The author describes her creation and use of HD videos that serve as projected scores for improvisatory musicians. Each video score provides pulsing color and visual elements to inspire the improvisation group in performance.

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Imai-Matsumura, Kyoko, and Megumi Mutou. "Gaze Analysis of Pianists’ Sight-reading: Comparison Between Expert Pianists and Students Training to Be Pianists." Music & Science 4 (January 2021): 205920432110611. http://dx.doi.org/10.1177/20592043211061106.

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One of the most important skills for a pianist is sight-reading, which is the ability to read an unknown music score and play it. In recent years, research has analysed eye movement during sight-reading. However, the definition of sight-reading has varied. In addition, the participants enlisted as experts in most studies have been music college students. The present study aimed to compare eye movements during sight-reading between experts, teachers at a music college and pianists, and non-experts, music college students studying to become pianists, using an eye tracker. Using easy and difficul

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Qiao, Suying, and Ng Khar Thoe. "Research on the Pathways for Innovative Cultural Development of University Music Courses Based on Music Education Concepts." International Journal of Religion 5, no. 10 (2024): 3190–202. http://dx.doi.org/10.61707/n2pwyn08.

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In order to improve the music education in colleges and universities for cultivating students' comprehensive quality and enriching students' cultural literacy. In this paper, firstly, we optimize the music teaching mode, based on the theory of multiple intelligences and centered on the characteristics of students' intelligence structure, we innovate the teaching mode of music courses in colleges and universities, and emphasize the authenticity and context of the teaching environment. Secondly, the ant colony algorithm is used to find the optimal solution of music course classroom-time. In the

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LEE, Inho, and Johee LEE. "Analysis of chromatic mediant relationship in film music score with Neo-Riemannian theory." Rast Müzikoloji Dergisi 10, no. 4 (2022): 449–61. http://dx.doi.org/10.12975/rastmd.20221041.

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Film has influenced the public as an important cultural form since the 20th century, and film music, as an integral part of film, plays an important role in shaping its content. Film music was influenced by late European Romantic music, and the Hollywood film score system was established based on composers of European descent, followed by the fusion of numerous emerging musical styles, such as Jazz, Rock, and EDM, etc. The orchestral music as the main composition of the film score has a sense of aural expectation in the sound expression, which largely comes from the chromaticization of the har

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Guo, Edward. "Die "International Music Score Library" - Vergangenheit, Gegenwart und Zukunft." Forum Musikbibliothek 34, no. 1 (2015): 32–35. http://dx.doi.org/10.13141/fmb.v2013302.

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Dank der Unterstützung ehrenamtlicher Mitarbeiter entstand 2006 die International Music Score Library, kurz IMSLP. IMSLP verfügt heute (Stand Dezember 2012) über 223.000 Noteneditionen und 22.000 Tonaufnahmen. Durch die Integration des Werner Icking Music Archive (WIMA), konnte im Juli 2012 das Archiv um 76.548 zu 6110 Werken ergänzt werden. Auch schießt IMSLP Kooperationen mit Bibliotheken sowie Universitäten nicht aus um den Bestand auszubauen speziell in Hinblick auf Werke noch studierender Komponisten.

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Chen, Gen Fang, and Wen Jun Zhang. "An Overview of Optical Music Recognition in China." Advanced Materials Research 225-226 (April 2011): 223–27. http://dx.doi.org/10.4028/www.scientific.net/amr.225-226.223.

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OMR (Optical Music Recognition) is a technology for digital musical score image processing and recognition by computer, which has broad applications in the digital music library, contemporary music education, music theory, music automatic classification, music and audio sync dissemination and etc. This paper first has a brief description of OMR research and focuses on describing the research of Chinese OMR literature, it represents the research status and results in China, then the paper pointes out that the target of OMR research in China must tend to Chinese traditional musical score image p

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Magnusson, Thor. "Algorithms as Scores: Coding Live Music." Leonardo Music Journal 21 (December 2011): 19–23. http://dx.doi.org/10.1162/lmj_a_00056.

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The author discusses live coding as a new path in the evolution of the musical score. Live-coding practice accentuates the score, and whilst it is the perfect vehicle for the performance of algorithmic music it also transforms the compositional process itself into a live event. As a continuation of 20th-century artistic developments of the musical score, live-coding systems often embrace graphical elements and language syntaxes foreign to standard programming languages. The author presents live coding as a highly technologized artistic practice, shedding light on how non-linearity, play and ge

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