A Music Representation Requirement Specification for Academia

Byrd, Donald; Isaacson, Eric J.

doi:10.1162/014892603322730497

Cited by 9 publications

(5 citation statements)

References 4 publications

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“…For instance, the language syntax of NoteAbili-tyPro has a strong dependency on MAX, the popular visual-fow programming application, and Ascograph with Antescofo 2 , a scorefollowing system where Ascograph acts as a music-oriented user interface. Ascograph interface 3 uses a piano roll user interface where each programming-event is located, the y-axis represents pitch (i.e., piano keyboard), and the x-axis represents symbolic time using a textual description (measure-beat). The Ascograph interface also has a text editor which contains the programming code instructions using Antescofo custom language.…”

Section: Musicmentioning

confidence: 99%

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Extending Music Notation as a Programming Language for Interactive Music

Martı́nez

2021

ACM International Conference on Interactive Media Experiences

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This work describes a novel approach for composing and performing interactive music by extending the traditional staf notation to the programming language domain. The proposed syntax aims to describe the interaction between humans and computers in liveelectronics music performance. Thus, both performers and machines will understand this new notation, creating a cohesive music representation for performance that is both human-readable and technology-independent. This paper starts by describing some critical issues related to live-electronics that make it challenging to build repertoire around this genre. Next, the proposed approach is detailed, along with some syntax examples. Finally, the last section describes the evaluation of the proposed approach, including a description of the software implementation and a set of short interactive-pieces.

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Section: Musicmentioning

confidence: 99%

“…In summary, besides music representation being human-readable, the syntax should be cohesive with the music-performance domain and technology-independent [3].…”

Section: Musicmentioning

confidence: 99%

Extending Music Notation as a Programming Language for Interactive Music

Martı́nez

2021

ACM International Conference on Interactive Media Experiences

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“…20 Supporting the whole spectrum of music notation situations that arise in a reasonably-sized archive is already a difficult task. This can be evidenced by the extensive catalog of requirements for music notation formats that Byrd and Isaacson [42] list for a multi-purpose digital archive of music scores. Incidentally, the same paper also mentions support for syntactically incorrect scores among the requirements, which is one of the major problems that OMR has with outputting to existing formats directly.…”

Section: Definition 2 Document Metadata Extraction Refers To a Class ...mentioning

confidence: 99%

Understanding Optical Music Recognition

Calvo-Zaragoza,

Hajič,

Pacha

2019

Preprint

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For over 50 years, researchers have been trying to teach computers to read music notation, referred to as Optical Music Recognition (OMR). However, this field is still difficult to access for new researchers, especially those without a significant musical background: few introductory materials are available, and furthermore the field has struggled with defining itself and building a shared terminology. In this tutorial, we address these shortcomings by (1) providing a robust definition of OMR and its relationship to related fields, (2) analyzing how OMR inverts the music encoding process to recover the musical notation and the musical semantics from documents, (3) proposing a taxonomy of OMR, with most notably a novel taxonomy of applications. Additionally, we discuss how deep learning affects modern OMR research, as opposed to the traditional pipeline. Based on this work, the reader should be able to attain a basic understanding of OMR: its objectives, its inherent structure, its relationship to other fields, the state of the art, and the research opportunities it affords.

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“…Although these do not preclude the manipulation of musical structures, they are not designed to facilitate this and do not generally exhibit the desirable characteristics listed above. (An outline of the requirements of such non-structural representations is given in Byrd & Isaacson (2003). )…”

Section: Previous Workmentioning

confidence: 99%

Generative structural representation of tonal music

Marsden

2005

Journal of New Music Research

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The usefulness and desirability of representation schemes which explicitly show musical structure has often been commented upon. A particular aim of music theory and analysis has been to describe and derive musical structure, and this article discusses computational systems based on this work. Six desirable properties of a structural representation are described: that it should be constructive, derivable, meaningful, decomposable, hierarchical, and generative. Previous computational work based on the generative and reductional theories of Schenker and of Lerdahl and Jackendoff is examined in the light of these properties. Proposals are made for a representational framework which promises the desirable properties. The framework shares characteristics with earlier work but does not use pure trees as a representational structure, instead allowing joining of branches in limited circumstances to make directed acyclic graphs. Important issues in developing a representation scheme within this framework are discussed, especially concerning the representation of polyphonic music, of rhythmic patterns, and of up-beats. An example is given of two alternative representations within this framework of the same segment of music used to exemplify earlier work: the opening of the theme of Mozart's piano sonata in A major, K.331.

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A Music Representation Requirement Specification for Academia

Cited by 9 publications

References 4 publications

Extending Music Notation as a Programming Language for Interactive Music

Extending Music Notation as a Programming Language for Interactive Music

Understanding Optical Music Recognition

Generative structural representation of tonal music

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