Добірка наукової літератури з теми "Automatic musical orchestration"

The theory of composition technology is to study the basic knowledge and skills of musicology, instrumental music, composition, and composition technology, including harmony, polyphony, musical form, orchestration, and so on, and then to analyze, create, and edit music. The current theory of composition technology has resulted in the phenomenon of relatively single form. The current method is the traditional way of composing music through the creation of composers. The defect is that various elements cannot be integrated together, and the meaning of music cannot be perfectly presented. In order to solve these problems, this paper proposes the use of recurrent neural network algorithm and backpropagation algorithm in artificial intelligence algorithm. It aims to study how to innovatively integrate the composition technology theory course with the current network technology. And it utilizes recurrent neural networks in artificial intelligence to help design part of the analysis of musical characteristics, through the evaluation of the music effect generated by automatic composition. The results show that the accuracy of note prediction obtained by the automatic composition method on the basis of objective evaluation is 81.93%, 90.15%, and 92.62%, respectively, on Top1, Top2, and Top3, which basically meet the current basic requirements for composition technology theory.

We report here on the recent use of the Orchidée software by three different young composers in various compositional and instrumental contexts. Orchidée is a computer-aided orchestration environment designed to aid musicians exploring the space of instrument timbre mixtures and finding timbre combinations that fit a set of user-specified perceptual requirements. The first beta version of the software was released by the Institut de Recherche et Coordination Acoustique/Musique's (IRCAM's) Music Representations Group in 2009, after four years of intensive research, and it can already handle a small range of real-life situations, typically timbre imitation or orchestral synthesis, under instrumental constraints. Detailed examples, including score and audio excerpts, are provided.

L’orchestration est l’art de composer un discours musical en combinant les timbres instrumentaux. La complexité de la discipline a longtemps été un frein à l’élaboration d’une théorie de l’orchestration. Ainsi, contrairement à l’harmonie ou au contrepoint qui s’appuient sur de solides constructions théoriques, l’orchestration reste de nos jours encore essentiellement enseignée à travers l’observation d’exemples canoniques. Notre objectif est de développer un système d’orchestration automatique de pièce pour piano en nous appuyant sur des méthodes d’apprentissage statistique. Nous nous focalisons sur le répertoire classique, cette technique d’écriture étant courante pour des compositeurs tels que Mozart ou Beethoven qui réalisaient d’abord une ébauche pianistique de leurs pièces orchestrales. En observant une large base de donnée de pièces pour orchestre et leurs réductions pour piano, nous évaluons l'aptitude des réseaux de neurones à apprendre les mécanismes complexes qui régissent l’orchestration. La vaste capacité d’apprentissage des architectures profondes semble adaptée à la difficulté du problème. Cependant, dans un contexte orchestrale, les représentations musicales symboliques traditionnelles donnent lieu à des vecteurs parcimonieux dans des espaces de grande dimension. Nous essayons donc de contourner ces difficultés en utilisant des méthodes auto-régressives et des fonctions d’erreur adaptées. Finalement, nous essayons de développer un système capable d'orchestrer en temps réel l'improvisation d'un pianiste
Orchestration is the art of composing a musical discourse over a combinatorial set of instrumental possibilities. For centuries, musical orchestration has only been addressed in an empirical way, as a scientific theory of orchestration appears elusive. In this work, we attempt to build the first system for automatic projective orchestration, and to rely on machine learning. Hence, we start by formalizing this novel task. We focus our effort on projecting a piano piece onto a full symphonic orchestra, in the style of notable classic composers such as Mozart or Beethoven. Hence, the first objective is to design a system of live orchestration, which takes as input the sequence of chords played by a pianist and generate in real-time its orchestration. Afterwards, we relax the real-time constraints in order to use slower but more powerful models and to generate scores in a non-causal way, which is closer to the writing process of a human composer. By observing a large dataset of orchestral music written by composers and their reduction for piano, we hope to be able to capture through statistical learning methods the mechanisms involved in the orchestration of a piano piece. Deep neural networks seem to be a promising lead for their ability to model complex behaviour from a large dataset and in an unsupervised way. More specifically, in the challenging context of symbolic music which is characterized by a high-dimensional target space and few examples, we investigate autoregressive models. At the price of a slower generation process, auto-regressive models allow to account for more complex dependencies between the different elements of the score, which we believe to be of the foremost importance in the case of orchestration