An exploration of the application of computer music production software in music composition

Author(s):  
Liang Liang ◽  
Jie Liu
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.


Author(s):  
Peter Pabon ◽  
David M. Howard ◽  
Sten Ternström ◽  
Malte Kob ◽  
Gerhard Eckel

This chapter, through examining several emerging or continuing areas of research, serves to look ahead at possible ways in which humans, with the help of technology, may interact with each other vocally as well as musically. Some of the topic areas, such the use of the Voice Range Profile, hearing modeling spectrography, voice synthesis, distance masterclasses, and virtual acoustics, have obvious pedagogical uses in the training of singers. Others, such as the use of 3D printed vocal tracts and computer music composition involving the voice, may lead to unique new ways in which singing may be used in musical performance. Each section of the chapter is written by an expert in the field who explains the technology in question and how it is used, often drawing upon recent research led by the chapter authors.


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.


2000 ◽  
Vol 5 (3) ◽  
pp. 149-157 ◽  
Author(s):  
IAN WHALLEY

Based on a composer's psycho-acoustic imagination or response to music, system dynamics modelling and simulation tools can be used as a scoring device to map the structural dynamic shape of interest of computer music compositions. The tools can also be used as a generator of compositional ideas reflecting thematic juxtaposition and emotional flux in musical narratives. These techniques allow the modelling of everyday narratives to provide a structural/metaphorical means of music composition based on archetypes that are shared with wider audiences. The methods are outlined using two examples.


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