Automatic Polyphonic Music Composition Using the EMILE and ABL Grammar Inductors

Advancement in deep neural networks have made it possible to compose music that mimics music composition by humans. The capacity of deep learning architectures in learning musical style from arbitrary musical corpora have been explored in this paper. The paper proposes a method for generated from the estimated distribution. Musical chords have been extracted for various instruments to train a sequential model to generate the polyphonic music on some selected instruments. We demonstrate a simple method comprising a sequential LSTM models to generate polyphonic music. The results of the model evaluation show that generated music is pleasant to hear and is similar to music played by humans. This has great application in entertainment industry which enables music composers to generate variety of creative music.

Download Full-text

Improvised Embellishment in the Performance of Renaissance Polyphonic Music

Journal of the American Musicological Society ◽

10.1525/jams.1951.4.1.03a00010 ◽

1951 ◽

Vol 4 (1) ◽

pp. 3-19

Author(s):

Imogene Horsley

Keyword(s):

Polyphonic Music

Download Full-text

Rule-Based and Genetic Algorithm for Automatic Gamelan Music Composition

International Review on Modelling and Simulations (IREMOS) ◽

10.15866/iremos.v10i3.11479 ◽

2017 ◽

Vol 10 (3) ◽

pp. 202

Author(s):

Khafiizh Hastuti ◽

Azhari Azhari ◽

Aina Musdholifah ◽

Rahayu Supanggah

Keyword(s):

Genetic Algorithm ◽

Music Composition ◽

Rule Based

Download Full-text

Babbitt’s Beguiling Surfaces, Improvised Inside; Part III: Opportunities

10.30535/smtv.5.3 ◽

2019 ◽

Vol 5 (3) ◽

Author(s):

Joshua Banks Mailman

Keyword(s):

Music Composition ◽

Jazz Improvisation ◽

The Third ◽

Partial Orderings ◽

Compositional Structures ◽

Surface Patterns ◽

Inside Part ◽

Musical Activities

Babbitt’s relatively early composition Semi-Simple Variations (1956) presents intriguing surface patterns that are not determined by its pre-compositional plan, but rather result from subsequent “improvised” decisions that are strategic. This video (the third of a three-part video essay) considers Babbitt’s own conversational pronouncements (in radio interviews) together with some particulars of his life-long musical activities, that together suggest uncanny affiliations to jazz improvisation. As a result of Babbitt’s creative reconceptualizing of planning and spontaneity in music, his pre-compositional structures (partial orderings) fit in an unexpected way into (or reformulate) the ecosystem relating music composition to the physical means of its performance.

Download Full-text