Music Representation Issues, Techniques, and Systems

Dannenberg, Roger B.

doi:10.2307/3680940

Cited by 75 publications

(50 citation statements)

References 35 publications

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“…The approach of each system influences its underlying musical ontology and the design of its musical representation. While computer systems generally demand a formal and precise representation of the data upon which they operate, the lack of consensus on what music is and how it is structured contributes to a "challenging" array of representational problems [10]. These problems are further complicated by the multidimensional nature of musical information and the requirement to represent task related viewpoints of musical data across the tangle of relationships that exist between various musical elements and dimensions.…”

Section: Introductionmentioning

confidence: 99%

Symmetric composition of musical concerns

Hill

Holland

Laney

2006

Proceedings of the 5th International Conference on Aspect-Oriented Software Development

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Aspect-oriented programming (AOP) describes a range of techniques that enable the separation, organisation and composition of various programming concerns that cannot be adequately encapsulated using the principal decomposition mechanisms available to modern programming languages.Naturally, most AOP-related research is focussed on its application to the development of computer software. However, we believe that it is worthwhile considering whether AOP and cognate techniques might be usefully adapted as a means for an end-user to organise, represent and compose information in computer systems that support application domains in which scattering and tangling are present.Music is notoriously rich in deeply tangled relationships. Moreover, there is no universally accepted representation of music that simultaneously represents all dimensions of interest to the composer.In this paper we describe Aspect Oriented Music Representation, an approach to the organisation, representation and composition of musical materials based on MDSOC. Our approach extends MDSOC by adding a dynamic hyperspace and by allowing users to write detailed composition expressions using an extensible set of compositors. We introduce the concept of composition history, enabling symmetric composition to be related to joinpoints, demonstrating a way to combine symmetric and asymmetric aspect approaches.

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Section: Introductionmentioning

confidence: 99%

Symmetric composition of musical concerns

Hill

Holland

Laney

2006

Proceedings of the 5th International Conference on Aspect-Oriented Software Development

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“…It also includes chapters regarding issues (Selfridge-Field 1997b) and guidelines (Halperin 1997) for musical codes. Dannenberg (1993) provides an fairly exhaustive overview regarding music representation. As well, there are at least two good indices of musical codes available on the internet (Castan 2000, Mounce 2000.…”

Section: Resourcesmentioning

confidence: 99%

Selected Research in Computer Music

Droettboom¹

2017

Preprint

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This thesis describes three interrelated projects that cut across the author's interests in musical information representation and retrieval, programming language theory, machine learning and human/computer interaction.I. Optical music recognition. This first part introduces an optical music interpretation (OMI) system that derives musical information from the symbols on sheet music.The first chapter is an introduction to OMI's parent field of optical music recognition (OMR), and to the present implementation as created for the Levy project.It is important that OMI has a representation standard in which to create its output. Therefore, the second chapter is a somewhat tangential but necessary study of computer-based musical representation languages, with particular emphasis on GUIDO and Mudela.The third and core chapter describes the processes involved in the present optical music interpretation system. While there are some details related to its implementation in the Python programming language, most of the material involves issues surrounding music notation rather than computer programming.The fourth chapter demonstrates how the logical musical data generated by the OMI system can be used as part of a musical search engine.II. Tempo extraction. The second part presents a system to automatically obtain the tempo and rubato curves from recorded performances, by aligning them to strict-tempo MIDI renderings of the same piece of music. The usefulness of such a system in the context of current musicological research is explored.III. Realtime digital signal processing programming environment. Lastly, a portable and flexible system for realtime digital signal processing (DSP) is presented. This system is both easyto-use and powerful, in large part because it takes advantage of existing mature technologies. This framework provides the foundation for easier experimentation in new directions in audio and video processing, including physical modeling and motion tracking.iii

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“…The problems that an automatic system for music formatting has to face with during the insertion and positioning of symbols in a music score have been outlined in (Byrd, 1988), (Gourlay, 1986), (Gourlay, 1986), (Parrish, 1987), (Bellini, 2001). In the above-mentioned reports, several aspects and exceptions of music notation have been considered and commented.…”

Section: Introductionmentioning

confidence: 99%

“…The direction of the stem, the presence of slurs and of other possible note markers, the positioning of fingering, bowing, etc., depends on the position of the symbols in the neighborhoods. Relevant studies on music formatting processes are presented in (Roush, 1988), (Parrish, 1987), (Bellini, 2001), (Dannenberg, 1986), (Wolff, 1977). This article presents the solutions adopted by the formatting engine of the Music editor called WEDELMUSIC (Bellini, 2003).…”

Section: Introductionmentioning

confidence: 99%

Automatic formatting of music sheets through MILLA rule-based language and engine

Bellini

Bruno

Nesi

2005

Journal of New Music Research

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Automated music formatting helps composers and copyists to speed up the process of music score editing by facilitating complex evaluations needed to write correct music sheets in terms of symbol positioning, justification, etc. Delegating this activity to the computer allows the composer to increase the efficiency by letting him/her concentrate on more creative aspects. Music formatting is one of the most relevant problems of programs for music notation editing. Several written and nonwritten rules are typically applied by music engravers and composers. In this paper, an approach for formalizing formatting rules and the related tools are presented. The approach is based on insertion, positioning and priority rules and on the associated conditions for their activation. Conditions and rules formalized in the proposed approach are automatically executed by a formatting engine called MILLA (Music Intelligence Formatting Language). The Open Source and free distributed WEDELMUSIC editor (www.wedelmusic.org) is based on MILLA. The approach is presented together with several examples.

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Music Representation Issues, Techniques, and Systems

Cited by 75 publications

References 35 publications

Symmetric composition of musical concerns

Symmetric composition of musical concerns

Selected Research in Computer Music

Automatic formatting of music sheets through MILLA rule-based language and engine

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