The Application of Computer Music Production Software in Music Creation

Author(s):  
Yanfang Wang
Electronics ◽  
2021 ◽  
Vol 10 (18) ◽  
pp. 2276
Author(s):  
Jia-Lien Hsu ◽  
Shuh-Jiun Chang

With the prevalence of online video-sharing platforms increasing in recent years, many people have started to create their own videos and upload them onto the Internet. In filmmaking, background music is also one of the major elements besides the footage. With matching background music, a video can not only convey information, but also immerse the viewers in the setting of a story. There is often not only one piece of background music, but several, which is why audio editing and music production software are required. However, music editing is a professional expertise, and it can be hard for amateur creators to compose ideal pieces for the video. At the same time, there are some online audio libraries and music archives for sharing audio/music samples. For beginners, one possible way to compose background music for a video is “arranging and integrating samples”, rather than making music from scratch. As a result, this leads to a problem. There might be some gaps between samples, in which we have to generate transitions to fill the gaps. In our research, we build a transformer-based model for generating a music transition to bridge two prepared music clips. We design and perform experiments to demonstrate that our results are promising. The results are also analysed by using a questionnaire to reveal a positive response from listeners, supporting that our generated transitions conform to background music.


2000 ◽  
Vol 5 (3) ◽  
pp. 119-126 ◽  
Author(s):  
BARRY TRUAX

In some informal remarks I made at a conference in 1979, I expressed a reluctance to deal with the subject of aesthetics, which historically is a product of European philosophy and which remains a troublesome concept for contemporary music where an aesthetic term such as ‘beauty’ seems to be studiously ignored (Truax 1980). In a recent, also informal article (Truax 1999) addressed as a ‘letter to a twenty-five-year old electroacoustic composer’, I predicted that the term ‘computer music’ would probably disappear since in an age where the computer is involved in nearly all electroacoustic music production, this term, which once distinguished a type of music from that made with analogue, electronic equipment, seemed today to be impossible to define rigorously. Therefore, the concept of the ‘aesthetics of computer music’, proposed as a panel discussion topic, initially seemed to me to be doubly suspect as to its meaning.


Author(s):  
Joseph Michael Pignato

The lesson described in this chapter was originally designed for middle and high school students as part of their general music curriculum. The goal of the lesson is to create spaces for students that resemble those used by musicians outside of traditional school music contexts to simulate practical music industry experience (e.g., those environments one might find in a recording studio, in a project studio, or at a DIY music venue). This lesson encourages discovery-based learning, using common music production software, hardware, and instruments. The materials, context, and instructions will illustrate how teachers can create environments in which their students will engage, explore, discover, create, and collaborate.


2010 ◽  
Vol 45 (3) ◽  
pp. 243-248 ◽  
Author(s):  
David Keeports

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