MIDI

MIDI Toolbox provides a set of Matlab functions, which together have all the necessary machinery to analyze and visualize MIDI data. The development of the Toolbox has been part of ongoing research involved in topics relating to musical data- mining, modelling music perception and decomposing the data for and from perceptual experiments. Although MIDI data is not necessarily a good representation of music in general, it suffices for many research questions dealing with concepts such as melodic contour, tonality and pulse finding. These concepts are intriguing from the point of view of music perception and the chosen representation greatly affects the way these issues can be approached. MIDI is not able to handle the timbre of music and therefore it unsuitable representation for a number of research questions (for summary, see Hewlett and Selfridge-Field, 1993-94, p. 11-28). All musical signals may be processed from acoustic representation and there are suitable tools available for these purposes (e.g. IPEM toolbox, Leman et al., 2000). However, there is a body of essential questions of music cognition that benefit from a MIDI-based approach. MIDI does not contain notational information, such as phrase and bar markings, and neither is that information conveyed in explicit terms to the ears of music listeners. Consequently, models of music cognition must infer these musical cues from the pitch, timing and velocity information that MIDI provides. Another advantage of the MIDI format is that it is extremely wide-spread among the research community as well as having a wider group of users amongst the music professionals, artists and amateur musicians. MIDI is a common file format between many notation, sequencing and performance programs across a variety of operating systems. Numerous pieces of hardware exist that collect data from musical performances, either directly from the instrument (e.g. digital pianos and other MIDI instruments) or from the movements of the artists (e.g. motion tracking of musician’s gestures, hand movements etc.). The vast majority of this technology is based on MIDI representation. However, the analysis of the MIDI data is often developed from scratch for each research question. The aim of MIDI Toolbox is to provide the core representation and functions that are needed most often. These basic tools are designed to be modular to allow easy further development and tailoring for specific analysis needs. Another aim is to facilitate efficient use and to lower the “threshold of practicalities”. For example, the Toolbox can be used as teaching aid in music cognition courses.

Este artigo apresenta o projeto de um núcleo básico de hardware para controle via MIDI. O hardware em questão é um circuito eletrônico baseado em microcontrolador, dotado de portas de MIDI e de USB e capaz de gerenciar vários sinais digitais e analógicos vindos de dispositivos de entrada (chaves e potenciômetros). Graças à sua arquitetura modular, utilizando o mesmo hardware central é possível implementar diferentes tipos de equipamentos controladores MIDI, para diversas aplicações diferentes, tais como teclados musicais, controladores de software de gravação, dentre outros.

This article describes coordination between computer made music and stage lights device. At the input this device communicates via MIDI and USB protocols. At the output is managing tension. Its value is affected by pulse-width modulation. This modulation value is given to value of the third byte in MIDI message. This value is sound power of control note. There is device is connected as one of USB interfaces at the input. There is device is connected to power transformation device on output. There are lights and fountains are connected to power transformation device as ending equipment.

First draft of specifications for a software that produces a fundamental-variable, user-controlled, Harmonic Series-based tone-scale. The Mechanism allows the user to play the tones of the Harmonic Series of whatever fundamental tone/pitch. The user can play the tones alone (monophonic) or together (polyphonic). It can re-tune MIDI instruments and eventually Controlled Voltage devices.

Jack Ox is the visual artist half of a collaborative team consisting of herself and David Britton, programmer. She will talk about the development of their virtual reality immersive project called “The 21st C. Virtual Color Organ” The Organ is an instrument which can visualize multiple musical compositions. It can be outfitted with separate color and image systems, depending on the different needs of various compositions. Ox will describe “Im Januar am Nil”, composed by Clarence Barlow, a computer assisted composition based mathematically on a 2 dimensional spiral and played by chamber orchestra. She will also talk about the in progress collaboration with Alvin Curran to be called “Gridjam “. This piece will be performed by geographically separated musicians inside their own immersive environment over the AccessGrid.

This paper presents a general framework for synchronising motion curves to music in computer animation. Motions are locally modified using perceptual cues extracted from the music. The key to this approach is the use of standard music analysis techniques on complementary MIDI and audio representations of the same soundtrack. These musical features then guide the motion editing process. It allows

An installation to perform Ballet mécanique, one of the most notorious works of the early 20th century, using acoustic instruments entirely under computer control, was constructed at the National Gallery of Art in Washington, DC to accompany a major exhibit on Dadaist art.

Using Lilypond typesetting software, you can write publication-grade music scores. The input for Lilypond is a text file that can be written once and then transferred to SAS® for patterned repetition, so that you can cycle through patterns that occur in music. The author plays a sequence of notes and then writes this into Lilypond code. The sequence starts in the key of C with only a two-note sequence. Then the sequence is extended to three-, four-, then five-note sequences, always contained in one octave. SAS is then used to write the same code for all other eleven keys and in seven scale modes. The method is very simple and not advanced programming. Lookup files are used in the programming, demonstrating efficient lookup techniques. The result is a lengthy book or exercise for practicing music in a PDF file, and a sound source file in midi format is created that you can hear. This method shows how various programming languages can be used to write other programming languages..

Atualmente, ao que sabemos, não existem muitas ferramentas musicais que possam
ajudar estudantes de música, principalmente da área de regência, a transmitir a sua visão artística e técnica da obra à execução computadorizada. Por isso, há a necessidade de criar ferramentas computacionais onde a sensibilidade e conhecimentos do usuário sobre a obra possam ser implementados, simultaneamente, à execução da música, gerando um resultado
sonoro desejado em tempo real.
BALDÉ (2008) desenvolveu um software utilizando tecnologia Bluetooth para a
manipulação de informações e valores de diversos sensores com a finalidade de exploração de novos sons e música experimental. No entanto, este software não é específico para promover a interpretação musical e sua aquisição não é acessível à grande maioria dos estudantes que buscam o aperfeiçoamento da técnica de instrumentos de percussão.
Recentemente surgiram algumas interfaces gestuais comerciais tais como o controle remoto do videogame Wii (o Wiimote), lançado em 2006, o qual barateou o custo e o acesso para a utilização artística de tais sensores. Com o uso de tais sensores, é possível capturar os gestos de interpretes; não apenas músicos, mas também de outras áreas artísticas, como: dança, teatro, artes plásticas, e utilizá-los afim de proporcionar a interatividade de discursos artísticos multimodais.
MALLOCH, J. e WANDERLEY M. M. desenvolveram recentemente uma família de
instrumentos virtuais chamados “T-Stick”, os quais são compostos por um hardware dedicado o qual envia sinais para um computador, que por sua vez possui um software (Max/MSP) para gerar múltiplos timbres.
Paralelamente, XENIA, P., ERIKA, D. e STEWART, A., criaram um projeto de
“orquestra digital”, a qual integra diversos instrumentos virtuais e executa um repertório próprio, encomendando suas obras a compositors contemporâneos.
KIEFER, C., COLLINS, N. e FITZPATRICK, G. publicaram um trabalho chamado
“HCI Methodology For Evaluating Musical Controllers”, no qual é discutido alguns exemplos de “interfaces homem-máquina” no âmbito da música, visando controlar e modificar sons computadorizados através de gestos do usuário.
No projeto encaminhado inicialmente, foi proposto criar uma interface computadorizada que pudesse coletar os gestos do usuário e que, a partir deles, controlasse a geração do som de um instrumento musical de percussão escolhido previamente pelo usuário.
Para isso, foi pensando inicialmente em usar um conjunto de ferramentas
computacionais como protocolo MIDI, protocolo Bluetooth, controle Wiimote e um campo de infravermelho ao redor do usuário.
Esse trabalho tem como diferencial criar uma interface de baixo custo para que seja
acessível a todos os estudantes e profissionais de música. Além disso, essa nova interface se propõe a criar novos algoritmos de interpretação de gestos, a fim de que o usuário possa utilizá-la da mesma forma que utiliza um instrumento de percussão real, sem grande necessidade de adaptação de técnica ou de gesto. O funcionamento da interface é detalhado nas seções que se seguem.

We present Audiopad, an interface for musical performance that aims to combine the modularity of knob based control- lers with the expressive character of multidimensional track- ing interfaces. The performer's manipulations of physical pucks on a tabletop control a real-time synthesis process. The pucks are embedded with LC tags that the system tracks in two dimensions with a series of

Digital instruments come to be used in Desk Top Music (DTM), live performance, etc. These performances are recorded as digital contents, and circulated actively through network and electronic media. Digital Water mark technology paid much attention to solve the problem of illegal distribution & duplication when the digital contents are spread over electronic media. In this paper, we focus on a sound synthesized process in digital instruments, and propose a audio watermarking based on wavetable switching method. Certain watermarks are embedded in wavetables that are included in our digital instruments, and the insertion of secret messages is actualized with wavetable switching. Additionally, embedded watermarks can be extracted from the acoustic signal. The proposed method is able to achieve a real-time watermark, i.e., both musical performance and the insertion of watermark can be actualized.

Composición algorítmica de música mediante herramientas de complejidad. La presentación no incluye pensamiento complejo, pues éste ha demostrado no servir para esos fines (o para algún otro propósito de carácter algorítmico).

Algunos algoritmos han demostrado ser casi tan buenos o tan malos como ciertos compositores humanos. De algunos se sabe que han superado la prueba de Turing, mientras que unos cuantos humanos no han podido hacerlo. Garantizo que unas pocas músicas fractales (usualmente fractales de Gingerbread o sistemas de Lindenmayer) pueden llegar a sonar como músicas humanas con ciertas inflexiones culturales, como p.ej. ragas. No toda la música algorítmica suena necesariamente artificial.

Se han experimentado diversos algotimos (por lo común recursivos) para modelar, describir y a veces explicar la música humana (o la música en general),

Igual que he procurado hacer con las gramáticas generativas de texto (disponibles en https://www.academia.edu/60807649/Cuatro_imperativos_metodol%C3%B3gicos_para_una_futura_pedagog%C3%ADa_de_la_complejidad) a medida que vaya refinando esta presentación trataré que los algoritmos de música y complejidad se pueden ejecutar en este mismo contexto.

Sobre (etno)música y complejidad puede leerse aquí mismo Antropología de la Música: De los géneros tribales a la globalización, Volumen II (2006) ( https://www.academia.edu/54897673/Antropolog%C3%ADa_de_la_M%C3%BAsica_De_los_g%C3%A9neros_tribales_a_la_globalizaci%C3%B3n_Volumen_II_2006_)

This article describes device for managing any equipment via managing voltage. At the input this device communicates via MIDI and USB protocols. At the output is pulse width modulation. This modulation value is given to value of the third byte in MIDI message. This value is sound power of operative note. There is device is connected as one of USB interfaces at the input. There is device is connected to power transformation device on output. There are PWM managing devices connected as ending equipment.

The paper focuses on the issue of making the music composition process automatic that can be placed within the frames of machine learning. In the work the author presents methods for algorithmic composition based on human-defined compose rules and rules extracted from sample music. Moreover, author’s algorithmic composition system is presented in which the composition process is modelled as a states sequence, where states describe selected parameters of a music pattern.

For human–computer interaction, most devices use the fingers, sometimes the whole hand. And short of organ pedals, the fingers remain the primary source of triggering musical instrument digital interface (MIDI) synthesizers. This project offers an alternative in using the color intensity and hue controlled through objects manipulated or worn as clothing or ornament by the human body, as detected by a camera across the several zones of the video image. The method is explained in this report, along with pitfalls, perturbations, as well as performance and paradigm.

ABSTRACT The aim of this work is to propose four methods for composer classification in symbolic data based on melodies making use of the Prediction by Partial Matching (PPM) algorithm, and also to propose data modeling inspired on psycho physiological aspects. Rhythmic and melodic elements are combined instead of using only melody or rhythm alone. The models consider the perception of pitch changing and note durations articulations then the models are used to classify melodies. On the evaluation of our approach, we applied the PPM method on a small set of monophonic violin melodies of five composers in order to create models for each composer. The best accuracy achieved was of 86%, which is relevant for a problem domain that by now can be considered classic in MIR.

This paper describes a minimally immersive interactive system for visualization of multivariate volumetric data. The system, SFA, uses glyph-based volume rendering which does not suffer the initial costs of isosurface rendering or voxel-based volume rendering, while offering the capability of viewing the entire volume. Glyph rendering also allows the simultaneous display of multiple data values per volume location. Two-handed interaction using three-space magnetic trackers and stereoscopic viewing are combined to produce a minimally immersive volumetric visualization system that enhances the user's three-dimensional perception of the data. We describe the usefulness of this system for visualizing volumetric scalar and vector data. SFA allows the three-dimensional volumetric visualization, manipulation, navigation, and analysis of multivariate, time-varying volumetric data, increasing the quantity and clarity of the information conveyed from the visualization system. 1 INTRODUCT...

The aim of this work is to propose four methods
for composer classification in symbolic data based on melodies
making use of the Prediction by Partial Matching (PPM)
algorithm, and also to propose data modeling inspired on
psychophysiological aspects. Rhythmic and melodic elements
are combined instead of using only melody or rhythm alone.
The models consider the perception of pitch changing and note
durations articulations then the models are used to classify
melodies. On the evaluation of our approach, we applied the
PPM method on a small set of monophonic violin melodies of
five composers in order to create models for each composer.
The best accuracy achieved was of 86%, which is relevant for
a problem domain that by now can be considered classic in
MIR.

The effectiveness of a learning task depends on data complexity (class overlap, class imbalance, irrelevant features, etc.). When more than one complexity factor appears, two or more preprocessing techniques should be applied. Nevertheless, no much effort has been devoted to investigate the importance of the order in which they can be used. This paper focuses on the joint use of feature reduction and balancing techniques, and studies which could be the application order that leads to the best classification results. This analysis was made on a specific problem whose aim was to identify the melodic track given a MIDI file. Several experiments were performed from different imbalanced 38-dimensional training sets with many more accompaniment tracks than melodic tracks, and where features were aggregated without any correlation study. Results showed that the most effective combination was the ordered use of resampling and feature reduction techniques.

Although a substantial number of research projects have addressed music information retrieval over the past three decades, the field is still very immature. Few of these projects involve complex (polyphonic) music; methods for evaluation are at a very primitive stage of development; none of the projects tackles the problem of realistically large-scale databases. Many problems to be faced are due to the nature of music itself. Among these are issues in human perception and cognition of music, especially as they concern the recognizability of a musical phrase. This paper considers some of the most fundamental problems in music information retrieval, challenging the common assumption that searching on pitch (or pitch-contour) alone is likely to be satisfactory for all purposes. This assumption may indeed be true for most monophonic (single-voice) music, but it is certainly inadequate for polyphonic (multi-voice) music. Even in the monophonic case it can lead to misleading results. The ...

ABSTRACT 1 Introduction: language revitalization as a social process This chapter seeks to introduce the idea that language revitalization move-ments are rarely, if ever, monolithic in terms of aims and ideologies; in fact, debates and conflicts tend to run through such movements, synchronically as well as diachronically. Drawing on this idea, we shall show that language is often used to express other (non-linguistic-related) types of ideas in the social world. Throughout this article, we shall characterize language revitalization as a process in which social actors compete for symbolic power (points two and three), but also for material benefits (point four). Much work has appeared lately on issues of 'language revitalization', mostly in North America but also in Europe and beyond, in Asia and Africa. Much interest has also arisen in that topic in the media, and many 'language revital-ization' movements have emerged worldwide over the past twenty years (see for instance Grinevald and Bert 2010, Austin and Sallabank 2011, for exam-ples). One concern this chapter wishes to address is the focalization of most extant works on languages rather than on speakers as social actors. Through an approach centred on social actors and social processes, our aim is to provide a first approach into the social signification of such language revitalization move-ments. This chapter posits that such significations are both global and local: global, since they draw on and contribute to a discursive network of language endangerment and language management, and local, since they inevitably arise out of local social and economic conditions. In order to explore this, we propose to look at internal debates (and, indeed, dissentions) within the Provençal lan-guage movement in Southern France, both diachronically and synchronically, in order to identify what ideological elements are at stake. Indeed, according to Blommaert: Debates are excellent linguistic-ethnographic targets. They are textual/discursive, they produce discourses and metadiscourses, and they result in a battery of texts that can be borrowed, quoted, echoed, vulgarized etc. In sum, they are moments of textual formation 212