Relevant bibliographies by topics / Musical tempo

Contents

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

Academic literature on the topic 'Musical tempo'

Author: Grafiati
Published: 11 March 2023
Last updated: 31 July 2025

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Journal articles on the topic "Musical tempo"

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Iwanaga, Makoto, and Maki Tsukamoto. "Preference for Musical Tempo Involving Systematic Variations of Presented Tempi for Known and Unknown Musical Excerpts." Perceptual and Motor Skills 86, no. 1 (1998): 31–41. http://dx.doi.org/10.2466/pms.1998.86.1.31.

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Previous studies have indicated inconsistently that preferred tempo was moderate or fast. The basis for inconsistency might be differences in methods, i.e., differences in tempo operation and subjects' experience of listening to musical pieces. The present study examined the preference for tempo using known and unknown melodies which were presented at varied tempi systematically. 119 undergraduates not majoring in music were subjects, divided into three subgroups, slow, medium, and fast music groups according to tempi designated by composers. Subjects rated items about Perceived Activity and a
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Tamir-Ostrover, Hila, and Zohar Eitan. "Higher is Faster." Music Perception 33, no. 2 (2015): 179–98. http://dx.doi.org/10.1525/mp.2015.33.2.179.

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While determining an appropriate tempo is crucial to music performers, composers and listeners, few empirical studies have investigated the musical factors affecting tempo choices. In two experiments we examined how aspects of musical pitch affect tempo choice, by asking participants (musically trained and untrained) to adjust the tempi of melodic sequences varying in pitch register and pitch direction, as well as sequences typically associated with specific registers in common period music. In Experiment 1, faster tempi were assigned to higher registers. Specific melodic direction (rise vs. f
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Vigl, Julia, Francesca Talamini, Andreas Feller, Sonja Gerstgrasser, and Heike Henning. "Accuracy and Stability of Musical Tempo Memory and the Role of Musical Expertise." Music Perception: An Interdisciplinary Journal 41, no. 1 (2023): 15–35. http://dx.doi.org/10.1525/mp.2023.41.1.15.

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Previous studies have demonstrated that musical tempo memory, as the ability to recall a musical tempo without an external reference, is highly accurate. However, little is known about the stability of tempo memory for different genres and reproduction methods over time, and the factors that may influence them. In two longitudinal studies conducted over a 15-day period, we examined the accuracy and stability of musical tempo memory in individuals with different levels of music training. Specifically, we measured tempo memory every three days, and explored various factors including physiologica
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McKinney, Martin F., and Dirk Moelants. "Ambiguity in Tempo Perception: What Draws Listeners to Different Metrical Levels?" Music Perception 24, no. 2 (2006): 155–66. http://dx.doi.org/10.1525/mp.2006.24.2.155.

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The distribution of listeners’ perceived tempi across large collections of music has been modeled previously by a resonance function with a peak near the “preferred tempo” of 120 beats per minute (BPM) [Van Noorden and Moelants, J. New Music Res., 28, 43–66]. Here, through a series of experiments in which listeners were asked to tap to the most salient pulse of musical excerpts,we examined distributions of tapped tempi from single musical excerpts to see if the global resonance of preferred tempo is dependent on musical content. Results show that for some musical excerpts, the distribution of
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Septianto, Felix. "“Chopin” effect? An exploratory study on how musical tempo influence consumer choice of drink with different temperatures." Asia Pacific Journal of Marketing and Logistics 28, no. 5 (2016): 765–79. http://dx.doi.org/10.1108/apjml-11-2015-0182.

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Purpose The purpose of this paper is to explore the effect of musical tempo on consumer choice of tea in different temperatures. Design/methodology/approach Across two studies, participants were asked to listen to several musical stimuli with different tempi (i.e. slow or fast). Then, they were asked to evaluate and choose one drink (i.e. iced tea or hot tea). Findings Results suggest that consumers who listen to fast (slow) tempo music are more likely to choose iced (hot) tea. This effect is robust across different musical modes (i.e. major or minor) (Study 1). However, this musical tempo eff
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Oakes, Steve. "Musical tempo and waiting perceptions." Psychology and Marketing 20, no. 8 (2003): 685–705. http://dx.doi.org/10.1002/mar.10092.

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Repp, Bruno H., W. Luke Windsor, and Peter Desain. "Effects of Tempo on the Timing of Simple Musical Rhythms." Music Perception 19, no. 4 (2002): 565–93. http://dx.doi.org/10.1525/mp.2002.19.4.565.

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We investigated whether and how the timing of musical rhythms changes with tempo. Twelve skilled pianists played a monophonic eight-bar melody in 21 different rhythmic versions at four different tempi. Within bars, the rhythms represented two isochronous patterns and all possible ordered pairs and triplets of different note values with ratios from the set {3, 2, 1}. The three-note rhythms also occurred in each of two meters (3/4 and 6/8). Significant deviations from the notated interval ratios were observed in performances of most rhythms, even at the slowest tempo. The observed ratios of the
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Bérces, Emese. "Terminological examination of musical tempo designations." Magyar Terminológia 5, no. 1 (2012): 79–87. http://dx.doi.org/10.1556/materm.5.2012.1.7.

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Hikiji, Rose Satiko Gitirana. "Música para matar o tempo intervalo, suspensão e imersão." Mana 12, no. 1 (2006): 151–78. http://dx.doi.org/10.1590/s0104-93132006000100006.

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Discuto neste artigo algumas relações da música com o tempo, em especial a relação entre as temporalidades dos grupos de crianças e jovens que pesquisei e certas propriedades do tempo da prática musical. Na pesquisa com alunos de um projeto governamental de ensino musical (Projeto Guri/ São Paulo), ouvi como principal justificativa para a procura pela música, a necessidade de "matar o tempo". Na perspectiva do senso comum, o tempo "ocioso" é um tempo perigoso. Para pais e proponentes, é preciso "ocupar o tempo" das crianças e jovens, é preciso "tirá-los da rua". Analiso aqui o processo de atri
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Trochidis, Konstantinos, and Emmanuel Bigand. "Investigation of the Effect of Mode and Tempo on Emotional Responses to Music Using EEG Power Asymmetry." Journal of Psychophysiology 27, no. 3 (2013): 142–48. http://dx.doi.org/10.1027/0269-8803/a000099.

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The combined interactions of mode and tempo on emotional responses to music were investigated using both self-reports and electroencephalogram (EEG) activity. A musical excerpt was performed in three different modes and tempi. Participants rated the emotional content of the resulting nine stimuli and their EEG activity was recorded. Musical modes influence the valence of emotion with major mode being evaluated happier and more serene, than minor and locrian modes. In EEG frontal activity, major mode was associated with an increased alpha activation in the left hemisphere compared to minor and
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Dissertations / Theses on the topic "Musical tempo"

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Copini, Guilherme de Cesaro 1985. "Musica espectral = o tempo musical conforme Gerard Grisey." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283993.

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Orientador: Silvio Ferraz Mello Filho<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-15T06:08:20Z (GMT). No. of bitstreams: 1 Copini_GuilhermedeCesaro_M.pdf: 72399274 bytes, checksum: b14afa1acbdd94ff753cf3f23123d8d2 (MD5) Previous issue date: 2010<br>Resumo: A música é uma arte temporal e seu principal material, o som, só pode existir e ser percebido quando a dimensão tempo é considerada. Assim, acredita-se que a discussão acerca da relação som-tempo na música é importante para o compositor contemporâneo. Gérard Grise
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Socha, Eduardo. "Tempo musical em Theodor W. Adorno." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-12012016-125616/.

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A partir da constatação dos diversos modos de formalização da experiência temporal na música do século 20, pretende-se analisar a consolidação do conceito de tempo musical no pensamento de Theodor W. Adorno. O escopo adotado será sua crítica ao serialismo pós- Webern, vinculada ao debate com os compositores da Escola de Darmstadt nas décadas de 1950 e 60, e sobre a qual operam seus conceitos de material e música informal. Um duplo propósito orienta a tese. Primeiramente, trata-se de esclarecer os referenciais do conceito de tempo que Adorno mobiliza em seus escritos musicais, tomando por base
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Herrlein, Julio Cesar da Silva. "Uma forma de sentir o tempo : investigação sobre temporalidades em um portfolio de composições." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/88683.

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“Uma forma de sentir o tempo” é um ciclo de composições e também o título do recital no qual estas composições foram apresentadas. Neste trabalho, além das partituras e dos registros audiovisuais, tratamos de uma primeira investigação sobre o tempo, sua importância no processo composicional apresentado no portfolio, bem como sua caracterização filosófico-musical. A partir da reflexão sobre o tempo e sua natureza, distinguimos duas formas de temporalidades: a temporalidade subjetiva, ligada à forma qualitativa, particular e heterogênea de “sentir o tempo”; e a temporalidade objetiva, que lida c
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Reed, Rasmus. "Tempo and tempo variation in musical performance : perception, memory and evaluation." Thesis, University of Sheffield, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434601.

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Demarchi, Paulo Cesar. "Fases da preparação da obra Nih Nik do compositor Chico Mello." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/22335.

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Fortunato, Catarina Isabel Brás Serra de Almeida. "Tempo musical na interpretação de Préludes II de Claude Debussy." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/7554.

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Mestrado em Música<br>Este trabalho propõe-se estudar o tempo musical, tendo em conta a forma como é indicado e explorado, no seio da obra para piano Préludes II de Claude Debussy. Tal investigação comporta três perspectivas que se interligam para a definição de resultados: a manifestada pelo compositor na partitura; a tecida por autores, numa perspectiva analítica; e a comprovada por gravações escolhidas realizadas por intérpretes criteriosamente seleccionados.<br>This work proposes to study musical time, given the way it is displayed and explored within the work Préludes II for piano b
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Fernandes, Junior Antonio Carlos Lopes 1976. "Contribuições ao problema de extração de tempo musical." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/260786.

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Orientadores: Furio Damiani, Romis Ribeiro de Faissol Attux<br>Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Engenharia Elétrica e de Computação<br>Made available in DSpace on 2018-08-27T01:42:11Z (GMT). No. of bitstreams: 1 FernandesJunior_AntonioCarlosLopes_D.pdf: 3251957 bytes, checksum: 7a047b751489da833ab7c5efd9cd86ee (MD5) Previous issue date: 2015<br>Resumo: A deteção de tempo em um sinal musical é uma tarefa muito importante em diversas aplicações. A presente tese apresenta os resultados da detecção de andamento usando uma nova abordagem baseada na extração de at
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César, Marina Maluli. "O tempo na interpretação musical: uma escuta tensiva." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-04042013-125624/.

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Este trabalho tem como fundamentação teórica a semiótica de linha francesa e seus recentes desenvolvimentos tensivos. Tomamos como objeto de nosso estudo as variações de ritmo e andamento presentes em um texto sonoro, pela abordagem do plano de expressão musical. O objetivo deste trabalho consiste em compreender como tais possibilidades discursivas se articulam durante a realização da obra por um intérprete, a partir das indicações presentes na partitura. Após considerações iniciais sobre o texto e o intertexto musical, cuja finalidade é determinarmos o modo como estas potencialidades são mani
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Lucas, João Paulo Vieira Martins. "Criação musical e coreográfica em colaboração : tempo, experiência, alteridade." reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21993.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-graduação em Arte, 2016.<br>Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-06-02T18:21:27Z No. of bitstreams: 1 2016_JoãoPauloVieiraMartinsLucas.pdf: 3570326 bytes, checksum: d3fc17e8064ad1f550a629f5d20ae0a2 (MD5)<br>Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-12-20T14:14:04Z (GMT) No. of bitstreams: 1 2016_JoãoPauloVieiraMartinsLucas.pdf: 3570326 bytes, checksum: d3fc17e8064ad1f550a629f5d20ae0a2 (MD5)<br>Made available in DSpace on 2016-12-20T14
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Toffolo, Rael Bertarelli Gimenes. "As redes harmônicas de Pousseur aplicadas à composição musical em tempo real /." São Paulo, 2014. http://hdl.handle.net/11449/108808.

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Orientador: Florivaldo Menezes Filho<br>Banca: Maurício Funcia de Bonis<br>Banca: Jônatas Manzolli<br>Banca: Fernando Henrique de Oliveira Iazzetta<br>Banca: Marcus Alessi Bittencourt<br>Resumo: A música em tempo real tem se tornado um gênero da música eletroacústica cada vez mais explorado pelos compositores da atualidade. As formas de interação entre a dimensão instrumental e a eletroacústica são um dos principais aspectos investigados por todos que se dedicam ao gênero. Na relação de interação entre instrumentistas e a dimensão eletroacústica, devem-se considerar quais são as informações ca
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Books on the topic "Musical tempo"

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Gleich, Clemens von. Bach tempo guide: With 200 practical exercises. Göteborg Organ Art Center, 2002.

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Abravaya, Ido. On Bach's rhythm and tempo. Bärenreiter, 2006.

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Sachs, Curt. Rhythm and tempo: A study in music history. Columbia University Press, 1988.

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Gleich, Clemens von. Mozart, Takt und Tempo: Neue Anregungen zum Musizieren. E. Katzbichler, 1993.

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Richard, Hudson. Stolen time: The history of tempo rubato. Clarendon Press, 1997.

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Nater, Walter. Viell zu geschwinde!: Anleitung zur richtigen Umsetzung der Metronomzahlen und der Ausführungsvorschriften der vorromantischen Musik. Musikverlag Pan, 1993.

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Internationale, Wissenschaftliche Arbeitstagung zu Fragen der Aufführungspraxis und Interpretation der Musik des 18 Jahrhunderts (23rd 1995 Michaelstein Germany). Tempo, Rhythmik, Metrik, Artikulation in der Musik des 18. Jahrhunderts: XXIII. Internationale Wissenschaftliche Arbeitstagung zu Fragen der Aufführungspraxis und Interpretation der Musik des 18. Jahrhunderts, Michaelstein, 16.-bis 18. Juni 1995. Stiftung Kloster Michaelstein, 1998.

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Protani, Diego. Sulle labbra del tempo: Area tra musica, gesti ed immagini. LFA Publisher, 2017.

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Hervé, Lacombe, Conservatoire national de région de Metz., and Université de Metz, eds. Le mouvement en musique a l'époque baroque. Editions Serpenoise, 1996.

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Matou*sek, Vlastislav. Rytmus a *cas v etnické hudb*e. TOGGA, 2003.

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Book chapters on the topic "Musical tempo"

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Desmond, Karen. "24. Tempus, Tempo, and Insular Semibreves." In Epitome musical. Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.em-eb.5.132717.

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Murakami, Masashi, Takashi Sakamoto, and Toshikazu Kato. "Music Retrieval and Recommendation Based on Musical Tempo." In Advances in Intelligent Systems and Computing. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94944-4_39.

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Grachten, Maarten, Josep Lluís Arcos, and Ramon López de Mántaras. "TempoExpress, a CBR Approach to Musical Tempo Transformations." In Lecture Notes in Computer Science. Springer Berlin Heidelberg, 2004. http://dx.doi.org/10.1007/978-3-540-28631-8_44.

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Kostrzewa, Daniel, and Marek Zabialowicz. "Tempo and Time Signature Detection of a Musical Piece." In Computational Science – ICCS 2023. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-35995-8_48.

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Rimas, Juozas, and Juozas Rimas Jr. "Something About Rhythm." In Etudes on the Philosophy of Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_9.

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AbstractThe concept of rhythm is compared with bar, meter, cadence (G. Hegel, F. Couperin) and tempo (W. Landowska). Rhythmic organisation can be seen in ancient poetic composition. Melodic rhythm expresses the true accents of the music. Also, there is a demonstration of the energetic quality of musical movement illustrated by a recording of Rondino by Jean Sibelius (Op. 81, No. 2) for oboe and piano, with the author playing oboe.
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Rimas, Juozas, and Juozas Rimas Jr. "Some Principles of Baroque Aesthetics Which Are Important for Musical Expression." In Etudes on the Philosophy of Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_5.

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AbstractOne of the most important prerequisites for the formation of the Baroque style of music was the desire to revive the art of ancient rhetoric, which has the following similarities with music: (1) the sonic nature of the realisation (the perception of the expression through hearing); (2) the processual nature (becoming in a particular segment of time); (3) the emotional nature (the aim of arousing affects); (4) common elements of both languages (verbal and musical): tempo, rhythm, accentuation, articulation, pauses, timbre, intonation and so forth. Mention of R. Descartes’ Compendium of
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Arcos, Josep Lluís, Maarten Grachten, and Ramon López de Mántaras. "Extracting Performers’ Behaviors to Annotate Cases in a CBR System for Musical Tempo Transformations." In Case-Based Reasoning Research and Development. Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/3-540-45006-8_5.

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Nakahara, Naoto, Koji Miyazaki, Hajime Sakamoto, Takashi X. Fujisawa, Noriko Nagata, and Ryohei Nakatsu. "Dance Motion Control of a Humanoid Robot Based on Real-Time Tempo Tracking from Musical Audio Signals." In Lecture Notes in Computer Science. Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04052-8_4.

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Mazzola, Guerino. "Tempo Curves." In Computational Music Science. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11838-8_6.

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McAuley, J. Devin. "Tempo and Rhythm." In Music Perception. Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-6114-3_6.

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Conference papers on the topic "Musical tempo"

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Fang, Yang-Sheng, Yee-Pien Yang, and Ren-Wei Cai. "Dancing with a Powered Wheelchair Driven by Rim Motors and Music Tempo Recognition." In IECON 2024 - 50th Annual Conference of the IEEE Industrial Electronics Society. IEEE, 2024. https://doi.org/10.1109/iecon55916.2024.10905521.

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Souza, Mila Soares de Oliveira de, Pedro Nuno de Souza Moura, and Jean-Pierre Briot. "Tempo estimation via neural networks - a comparative analysis." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19420.

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This paper presents a comparative analysis on two artificial neural networks (with different architectures) for the task of tempo estimation. For this purpose, it also proposes the modeling, training and evaluation of a B-RNN (Bidirectional Recurrent Neural Network) model capable of estimating tempo in bpm (beats per minutes) of musical pieces, without using external auxiliary modules. An extensive database (12,333 pieces in total) was curated to conduct a quantitative and qualitative analysis over the experiment. Percussion-only tracks were also included inthe dataset. The performance of the
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Navarro, Jordan, and Emanuelle Reynaud. "Impact of Music Tempo on Simulated Driving Performance." In Applied Human Factors and Ergonomics Conference. AHFE International, 2021. http://dx.doi.org/10.54941/ahfe100706.

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It is known that drivers often listen to music when they are in their vehicle. Listening to music while driving can impact drivers’ behaviours in several ways, through emotion induction or arousal changes for instance. It has already been shown that various musical tracks with different tempos (i.e. the music pace) can impair drivers’ performances (Brodsky, 2002). The current study focused on the impact of music tempo on vehicular control by using the same music track played at different tempos. Four experimental conditions associated with four different versions of the same track, differing o
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Aline, Hufschmitt, Cardon Stephane, and Jacopin Eric. "Can Musical Tempo Makes Tetris Game Harder?" In 2020 IEEE Conference on Games (CoG). IEEE, 2020. http://dx.doi.org/10.1109/cog47356.2020.9231593.

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Nastas, Natalia, Valeriu Filipov, Igor Arsene, and Ecaterina Lungu. "The methodology efficiency of intensifying the instructional-educational process in the physical education lessons with the help of functional music in doing homework." In The International Scientific Congress "Sports. Olimpysm. Health". SOH 2023. 8th Edition. The State University of Physical Education and Sport, 2025. https://doi.org/10.52449/soh23.38.

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Actuality. The musical support becomes a beneficial and rational factor for carrying out the motor activity. Positive emotions as a result of using music in the activity carried out contribute to a large extent to avoiding the feeling of overfatigue, conditioning the increase in work capacity. The use of functional music as a psycho-pedagogical factor requires students to possess an artistic sense, but also a special training of the physical education teacher. The teacher must be competent in the selection of exercises, music, sports inventory (gymnastics rope, hoop, various weight objects, st
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Silva, Douglas, Lucas Zampar, Felipe Rodrigues, and Cláudio Gomes. "COUT-e e práticas itinerantes durante 2020 e 2021." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19464.

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Este artigo apresenta ações em andamento e finalizadas pelo grupo itinerante de COmputacão mUsical e Tecnologias Emergentes (COUT-E) da Universidade Federal do Amapá (UNIFAP) durante o período de 2020 e 2021. Comenta-se sobre os projetos Handy Hear, CongAr, Acalma-te, classificação de ritmos populares da amazônia e sincronização rítmica entre fontes distintas em tempo real.
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Padyana, Mahesha, and Bindu A. Thomas. "Musical metronome with tempo detection, synchronizer and gesture processing." In 2014 International Conference on Information Communication and Embedded Systems (ICICES). IEEE, 2014. http://dx.doi.org/10.1109/icices.2014.7034155.

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F. Paiva, Lucas, Hugo G. Lopes, Leonardo B. Felix, and Rodolpho V. A. Neves. "Estimação do compasso musical do forró utilizando rede perceptron multicamadas." In Congresso Brasileiro de Automática - 2020. sbabra, 2020. http://dx.doi.org/10.48011/asba.v2i1.1331.

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Por meio da Lei No 13.409 de 2016, que altera a "Lei das Cotas" (Lei No 12.711 de 2012), tem-se a reserva de vagas para pessoas surdas no ensino superior, garantindo maior acesso desses estudantes à universidade. Ao mesmo tempo, há uma forte presenca do forró na cultura universitária. O forró é marcado por instrumentos de percussão, como o triângulo e a zabumba, e por compassos musicais que ditam a velocidade de movimento da dança. Visando a inclusãodo público surdo em atividades culturais envolvendo o forró, este trabalho propõe estimar o tempo de compasso musical em músicas de forró utilizan
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Wu, Fu-Hai Frank, and Jyh-Shing Roger Jang. "A supervised learning method for tempo estimation of musical audio." In 2014 22nd Mediterranean Conference of Control and Automation (MED). IEEE, 2014. http://dx.doi.org/10.1109/med.2014.6961438.

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Gomes, Cláudio. "Acalma-te: resultados de composição automática e iterativa para relaxamento." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19446.

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A música é uma forma de expressão invisível, não palpável e ainda maleável tornando-se difícil a tarefa de descrevê-la, rotulá-la ou construí-la. A base de qualquer música é composta por o ritmo, melodia e harmonia. Este trabalho apresenta uma composição intitulada de Acalma-te, resultado do projeto experimental de geração de músicas para relaxamento. O compositor informa, tonalidades, bpm, quantidade e tipo de estrofes e quantidade de faixas. Pode-se acompanhar o resultado em tempo real permitindo interatividade para mudanças de tonalidades, bpm e qualquer outra simbologia nec
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