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Articoli di riviste sul tema "MIDI"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Swensen, Cole. "midi." Vacarme 25, no. 4 (2003): 88. http://dx.doi.org/10.3917/vaca.025.0088.

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2

Guérin, Michel. "Midi." La pensée de midi N° 1, no. 1 (2000): 183–88. http://dx.doi.org/10.3917/lpm.001.0183.

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3

Cavalcanti, Maria Cláudia Reis, Marcelo Trannin Machado, Alessandro de Almeida Castro Cerqueira, Nelson Sampaio Araujo Júnior, and Geraldo Xexéo. "MIDIZ: content based indexing and retrieving MIDI files." Journal of the Brazilian Computer Society 6, no. 2 (1999): 00. http://dx.doi.org/10.1590/s0104-65001999000300002.

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4

Bernardini, Nicola, and Gareth Loy. "Whither MIDI?" Computer Music Journal 11, no. 1 (1987): 9. http://dx.doi.org/10.2307/3680167.

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5

Czeiszperger, Michael, and Stanley Jungleib. "General MIDI." Computer Music Journal 20, no. 3 (1996): 81. http://dx.doi.org/10.2307/3680828.

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6

de Laubier, Serge. "MIDI Formers." Computer Music Journal 21, no. 1 (1997): 39. http://dx.doi.org/10.2307/3681215.

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7

Guillon, Jean-Marie. "Le Midi." Les Cahiers de l'Institut d'Histoire du Temps Présent 27, no. 1 (1994): 103–12. http://dx.doi.org/10.3406/ihtp.1994.2285.

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8

Broecker, Régine, and Robert Lequément. "Midi-Pyrénées." Archéologie du Midi médiéval 3, no. 1 (1985): 159–62. http://dx.doi.org/10.3406/amime.1985.1108.

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9

Barrere, Michel. "Midi-Pyrénées." Archéologie du Midi médiéval 4, no. 1 (1986): 180–84. http://dx.doi.org/10.3406/amime.1986.1514.

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10

Roumain, Jacques. "Midi/Noon." Callaloo 23, no. 4 (2000): 1385. http://dx.doi.org/10.1353/cal.2000.0222.

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11

Dautremer, Rébecca. "Midi pile." Ortho Magazine 27, no. 154 (2021): 30. https://doi.org/10.1016/s1262-4586(21)00085-6.

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12

Pickstone, Edwin, Paul Maguire, and Frances Robertson. "Monotype MIDI." Book 2.0 14, no. 1 (2024): 169–85. https://doi.org/10.1386/btwo_00109_7.

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Abstract (sommario):

This interview examines the creative research undertaken by Edwin Pickstone and Paul Maguire, in conversation with Frances Robertson. Edwin and Paul’s exploration of how ‘text events’ can become ‘sound events’ came from an initial starting point that considered the history of print technology and graphic design within circuits of knowledge and invention. Their collaboration started with the Glasgow School of Art (GSA), School of Design Research Cluster project The Visible Word, based in GSA’s Caseroom (Letterpress collection), and has run from June 2022. This interview offers a commentary on w

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13

Lui, S., A. Horner, and L. Ayers. "MIDI to SP-MIDI Transcoding Using Phrase Stealing." IEEE Multimedia 13, no. 2 (2006): 52–59. http://dx.doi.org/10.1109/mmul.2006.35.

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14

Jiang, Zhe, Shuyu Li, and Yunsick Sung. "Enhanced Evaluation Method of Musical Instrument Digital Interface Data based on Random Masking and Seq2Seq Model." Mathematics 10, no. 15 (2022): 2747. http://dx.doi.org/10.3390/math10152747.

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With developments in artificial intelligence (AI), it is possible for novel applications to utilize deep learning to compose music by the format of musical instrument digital interface (MIDI) even without any knowledge of musical theory. The composed music is generally evaluated by human-based Turing test, which is a subjective approach and does not provide any quantitative criteria. Therefore, objective evaluation approaches with many general descriptive parameters are applied to the evaluation of MIDI data while considering MIDI features such as pitch distances, chord rates, tone spans, drum

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15

Fitriani, Tri Sat, and Asep Saepudin. "MIDI SEBAGAI INOVASI DAN ALTERNATIF MUSIK IRINGAN TARI DI MASA PANDEMI." Melayu Arts and Performance Journal 5, no. 1 (2022): 85. http://dx.doi.org/10.26887/mapj.v5i1.2518.

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This paper discusses MIDI innovation for dance accompaniment needs. MIDI or Musical Instrument (with) Digital Interface, is a revolution in the development of music. Presentation of dance accompaniment using MIDI has several advantages in a technological update. MIDI innovations in this study are discussed using descriptive analysis methods. The dance accompaniment in question is a dance accompaniment that usually uses gamelan devices can be denoted in software in a system called MIDI. This topic is taken from the phenomenon that occurs in the Yogyakarta ISI Dance Department. With MIDI, a comp

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16

Saez, Agatha C., Monika M. Manser, Nick Andrews, and Peter L. Chiodini. "Comparison between the Midi Parasep and Midi Parasep Solvent Free (SF) faecal parasite concentrators." Journal of Clinical Pathology 64, no. 10 (2011): 901–4. http://dx.doi.org/10.1136/jcp.2011.090639.

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AimTo compare the recovery of parasites in faecal samples using the Midi Parasep with ethyl acetate and Midi Parasep Solvent Free (SF) faecal parasite concentrators.Methods23 preserved and 11 fresh faecal samples were microscopically examined for the presence of parasites using the Midi Parasep concentrator with ethyl acetate centrifuged for 1 and 3 min and the Midi Parasep SF concentrator.ResultsThe Midi Parasep SF faecal parasite system recovered significantly fewer ova and cysts and resulted in a notably larger deposit than the Midi Parasep concentrator with ethyl acetate.ConclusionsParasit

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17

Owens, Robert J., and Ed Pollard. "MIDI Magic MIDI-to-Tape Interface for IBM PCs." Computer Music Journal 14, no. 3 (1990): 96. http://dx.doi.org/10.2307/3679974.

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18

Järpe, Eric, and Mattias Weckstén. "Velody 2—Resilient High-Capacity MIDI Steganography for Organ and Harpsichord Music." Applied Sciences 11, no. 1 (2020): 39. http://dx.doi.org/10.3390/app11010039.

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A new method for musical steganography for the MIDI format is presented. The MIDI standard is a user-friendly music technology protocol that is frequently deployed by composers of different levels of ambition. There is to the author’s knowledge no fully implemented and rigorously specified, publicly available method for MIDI steganography. The goal of this study, however, is to investigate how a novel MIDI steganography algorithm can be implemented by manipulation of the velocity attribute subject to restrictions of capacity and security. Many of today’s MIDI steganography methods—less rigorou

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19

De Li, De Li, Jiazheng Gong De Li, Zhaolong Liu Jiazheng Gong, and Xun Jin Zhaolong Liu. "Research on Copyright Protection Technology based on MIDI Music Structural Features." 電腦學刊 34, no. 2 (2023): 053–68. http://dx.doi.org/10.53106/199115992023043402005.

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<p>Due to the extensive use of Musical Instrument Digital Interface (MIDI) music in education, entertainment and business, copyright infringements of MIDI music are increasing rapidly. The low robustness of existing MIDI music watermarking is the main problem. Therefore, this paper proposes two novel MIDI music watermarking algorithms to comprehensively protect the copyright of MIDI music. We first propose a dual threshold audio watermarking algorithm based on MIDI note time difference and velocity value. It extracts a main melody audio track of MIDI music through a Ho-Kashyap (H-K) algo

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20

West, John D., Graham Fisher, John F. Loutit, Michael J. Marshall, Norman W. Nisbet, and V. Hugh Perry. "A new allele of microphthalmia induced in the mouse: microphthalmia - defective iris (midi)." Genetical Research 46, no. 3 (1985): 309–24. http://dx.doi.org/10.1017/s0016672300022801.

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SUMMARYA new allele of microphthalmia (mi) in the mouse was discovered among the progeny of a male that had been treated with the potent mutagen ethylnitrosourea. Homozygotes have white coats, mildly defective bone resorption and small eyes (about 60% of the normal size) with very little pigmentation. The iris and retina are abnormal, there is no vitreous body and iris pigmentation is restricted to a rim around the pupil. No haematopoietic defect was detected. Genetic studies showed that the mutation is linked to lurcher (Lc) on chromosome 6 and crosses with Miwh/ + and mi/ + mice indicate tha

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21

Shen, Hung-Che. "Building a Japanese MIDI-to-Singing song synthesis using an English male voice." MATEC Web of Conferences 201 (2018): 02006. http://dx.doi.org/10.1051/matecconf/201820102006.

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This work reports development of a MIDI-to-Singing song synthesis that will produce audio files from MIDI data and arbitrary Romaji lyrics in Japanese. The MIDI-to-Singing system relies on the Flinger (Festival singer) for singing voice synthesis. Originally, this MIDI-to-Singing system was developed by English. Based on some Japanese pronunciation rules, a Japanese MIDI-to-Sing synthesis system was developed and derived. For a language transfer like Festival synthesized singing, two major tasks are the modifications of a phoneset and a lexicon. Originally, MIDI-to-Sing song synthesis can crea

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22

Roads, Curtis, and Craig Anderton. "MIDI for Musicians." Computer Music Journal 11, no. 3 (1987): 52. http://dx.doi.org/10.2307/3679740.

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23

Rona, Jeff. "Proposed MIDI Extension." Computer Music Journal 15, no. 3 (1991): 15. http://dx.doi.org/10.2307/3680761.

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24

Assoun, Paul-Laurent. "Le midi passionné." Champ psy 57, no. 1 (2010): 29. http://dx.doi.org/10.3917/cpsy.057.0029.

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25

Blackman, Jaimie M. "The Midi Potential." Music Educators Journal 73, no. 4 (1986): 29. http://dx.doi.org/10.2307/3397900.

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26

Futamase, Tsuyoshi. "MIDI Development Story." Journal of the Institute of Image Information and Television Engineers 52, no. 12 (1998): 1791–93. http://dx.doi.org/10.3169/itej.52.1791.

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27

Fernández, Roberto G. "Dans L'Apres‐Midi." Review: Literature and Arts of the Americas 25, no. 45 (1991): 14–16. http://dx.doi.org/10.1080/08905769108594319.

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28

COLE, BRUCE. "MIDI and communality." Organised Sound 1, no. 1 (1996): 51–54. http://dx.doi.org/10.1017/s1355771896000179.

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It is rare to see music and technology being used in combination in therapy and special education. This article is an account of work in a special school as part of a festival of popular music. The style of the music was dance/rave. This was made accessible using a specialised range of MIDI devices to enable students with physical and learning disabilities to participate. There are many benefits to be derived from studying popular music. In special education this can help with physical coordination and social skills. Most important, young people with special needs are given access to youth cul

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29

Groff, Warren R. "MIDI controller pedalboard." Journal of the Acoustical Society of America 120, no. 3 (2006): 1177. http://dx.doi.org/10.1121/1.2356005.

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30

Airy, Samuel, and Judy M. Parr. "MIDI, Music and Me: Students' Perspectives on Composing with MIDI." Music Education Research 3, no. 1 (2001): 41–49. http://dx.doi.org/10.1080/14613800020029941.

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31

Xia, Dan. "Analysis of MIDI Audio Files Based on Method of Information Quantity Estimation." Applied Mechanics and Materials 733 (February 2015): 838–41. http://dx.doi.org/10.4028/www.scientific.net/amm.733.838.

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In order to protect the security of information networks, a dedicated MIDI audio steganalysis algorithm is proposed. The least significant bit embedding scheme in MIDI audio is discussed, and the parameter of music velocity is picked up, and the steganalysis in MIDI audio based on entropy estimation is analyzed. Experiments show that when embedded rate is high, FPR and FPR are all slow, and the entropy estimation could be taken as a dedicated MIDI audio steganalysis algorithm.

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32

Yang, Kai. "Midi-Lab, A Powerful Visual Basic Program for Creating Midi Music." International Journal of Software Engineering & Applications 3, no. 4 (2012): 1–12. http://dx.doi.org/10.5121/ijsea.2012.3401.

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33

Mani, Mr. Tanmoy. "The Evolution of Music Production: Midi Technology's Ascendancy over Acoustic Instruments." International Journal of Advance and Applied Research 4, no. 36 (2023): 20–25. https://doi.org/10.5281/zenodo.10334074.

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<strong>Abstract</strong>The article explores the profound impact of MIDI (Musical Instrument Digital Interface) technology on modern music production and its gradual integration into the creative process, leading to the transformation of the industry. Since its inception in the early 1980s, MIDI has revolutionised music production by providing unparalleled versatility, convenience, and creative potential. It has severed the connection between instrument and sound generation, allowing musicians to connect MIDI controllers to a vast array of virtual instruments and software synthesizers. This v

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34

Palmieri, Laura, Maxime Ferrand, Ai Vu Hong, Isabelle Richard, and Sonia Albini. "In Silico Structural Prediction for the Generation of Novel Performant Midi-Dystrophins Based on Intein-Mediated Dual AAV Approach." International Journal of Molecular Sciences 25, no. 19 (2024): 10444. http://dx.doi.org/10.3390/ijms251910444.

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Duchenne Muscular Dystrophy (DMD) is a pediatric disorder characterized by progressive muscle degeneration and premature death, and has no current cure. The current, most promising therapeutic avenue is based on gene replacement mediated by adeno-associated viruses (AAVs) using a shortened, but still functional, version of dystrophin, known as micro-dystrophin (µDys), to fit AAV capacity. The limited improvements observed in clinical trials suggest a sub-optimal performance of µDys in the human context that could be due to the lack of key domains in the protein. Therefore, expressing larger dy

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35

Purwacandra, Pandan Pareanom. "Penggunaan Bahasa MIDI Dalam Pembuatan Jinggle SPBU." Journal of Animation & Games Studies 2, no. 1 (2017): 27. http://dx.doi.org/10.24821/jags.v2i1.1412.

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MIDI can process a number of sound into one software including types of instrument that can be produced dan provided by a digital music device or can be combined some or all instruments into one application, so the efficiency of the sound can be produced by a well-managed monitoring and the quality of voice clarity can be obtained in making and or editing. This study is conducted in order to create a Jingle in a gas station in Merbung, Klaten. By using MIDI technology, the jingle produced will be cheaper but still qualified. Additionally, jingle created via MIDI applications can be easily edit

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36

Тертичний, Дмитро, та Надія Колос. "МОДЕЛЮВАННЯ ГРИ НА ФОРТЕПІАНО З ВИКОРИСТАННЯМ ГЕНЕРАТИВНО- ЗМАГАЛЬНОЇ МЕРЕЖІ". Grail of Science, № 35 (25 січня 2024): 207–9. http://dx.doi.org/10.36074/grail-of-science.19.01.2024.037.

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Метою даної роботи є створення системи штучного інтелекту, яка здатна генерувати гру на фортепіано в форматі MIDI, достатньо реалістичну та музично забарвлену. Основою для генерації, тобто вхідними даними системи, є нотне подання бажаної мелодії в форматі MIDI. Отримавши формальний нотний запис певної мелодії, система ШІ здатна згенерувати дані MIDI-формату, які будуть моделювати властивості гри живої людини на фортепіано – вільне виконання, тембральні та динамічні властивості гри тощо.

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37

Tan, Jin Jack, Jiun Cai Ong, Kin Keong Chan, Kam Hing How, and Jee Hou Ho. "Development of a Portable Automated Piano Player CantaPlayer." Applied Mechanics and Materials 284-287 (January 2013): 2037–43. http://dx.doi.org/10.4028/www.scientific.net/amm.284-287.2037.

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This paper describes the development of a low cost, compact and portable automated piano player CantaPlayer. The system accepts digital MIDI (Musical Instrument Digital Interface) files as input and develops pushing actions against piano keys which in turn produces sounds of notes. CantaPlayer uses Pure Data, an audio processing software to parse MIDI files and serve as user interfaces. The parsed information will be sent to Arduino, an open source microcontroller platform, via serial communication. The Arduino I/O pins will be triggered based on the information from Pure Data of which connect

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38

Pusung, Juaniken Rachel Emmanuella, I. Wayan Suweca, and Wahyu Sri Wiyati. "SENJA: KOMPOSISI MUSIK POP SENJA." MELODIOUS : JOURNAL OF MUSIC 1, no. 1 (2022): 28–42. http://dx.doi.org/10.59997/melodious.v1i1.1793.

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Purpose: In the composition of a pop song entitled Senja, cultivators were inspired to create a pop music composition using the help of MIDI sequencer and audio effect processor. MIDI and Sequencer are two different things but can work together with each other that can be used in the recording process or the production and presentation of a work of music. Research method: The ability to compose ideas and be able to hear audio replayed quickly allows composers to experiment with the files. Results and discussion: Because MIDI is a collection of commands that make sound, MIDI circuits can be man

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39

Moore, F. Richard. "The Dysfunctions of MIDI." Computer Music Journal 12, no. 1 (1988): 19. http://dx.doi.org/10.2307/3679834.

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40

Czeiszperger, Michael, and Joseph Rothstein. "MIDI: A Comprehensive Introduction." Computer Music Journal 17, no. 4 (1993): 75. http://dx.doi.org/10.2307/3680547.

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41

Toiviainen, Petri. "An Interactive MIDI Accompanist." Computer Music Journal 22, no. 4 (1998): 63. http://dx.doi.org/10.2307/3680894.

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42

Blount, Gilbert L., Charlotte G. Crockett, Joseph Rothstein, and Francis Rumsey. "MIDI: A Comprehensive Introduction." Notes 49, no. 4 (1993): 1410. http://dx.doi.org/10.2307/899365.

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43

Bousseyroux, Michel. "Après-midi Samuel Beckett." Champ lacanien N° 26, no. 1 (2022): 179–80. http://dx.doi.org/10.3917/chla.026.0179.

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44

Poumarède, Jacques. "Préhistoire de Midi-Pyrénées." Revue géographique des Pyrénées et du Sud-Ouest 62, no. 3 (1991): 245–64. http://dx.doi.org/10.3406/rgpso.1991.3254.

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45

Lemaitre, Jean-Loup. "Les cathédrales du Midi." Revue d'histoire de l'Église de France 81, no. 206 (1995): 301–11. http://dx.doi.org/10.3406/rhef.1995.1190.

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46

Ego, Renaud, Thierry Fabre, and Michel Guérin. "La bibliothèque de midi." La pensée de midi N° 5-6, no. 2 (2001): 206–22. http://dx.doi.org/10.3917/lpm.005.0206.

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Ego, Renaud, Thierry Fabre, and Michel Guérin. "La bibliothèque de midi." La pensée de midi N° 4, no. 1 (2001): 176–90. http://dx.doi.org/10.3917/lpm.004.0176.

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48

Fabre, Thierry. "La bibliothèque de midi." La pensée de midi N° 26, no. 4 (2008): 148–98. http://dx.doi.org/10.3917/lpm.026.0148.

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49

Fabre, Thierry, and Michel Guérin. "La bibliothèque de midi." La pensée de midi N° 3, no. 3 (2000): 144–64. http://dx.doi.org/10.3917/lpm.003.0144.

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50

Klompkes, Geoffroy. "La pause de midi." La Revue Nouvelle N° 4, no. 4 (2020): 73–75. http://dx.doi.org/10.3917/rn.204.0073.

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