Tracking Piano Tone from Music File for Digital Keyboard

2016 ◽  
Author(s):  
Chang-Yong Lee ◽  
Young-Hyung Kim ◽  
Jong-Tae Sung ◽  
Yong-Hwan Lee
Keyword(s):  
Music File

‘Modulation’ by Richard Powers: Digital sound, compression and the short story

2021 ◽  
Vol 11 (1-2) ◽  
pp. 161-176
Author(s):  
Michael Hedges
Keyword(s):  
Data Compression ◽  
Short Story ◽  
Original Music ◽  
Richard Powers ◽  
Recording Industry ◽  
File Size ◽  
Cultural Artifact ◽  
Use Of Data ◽  
Music File ◽  
Digital Sound

This article presents a reading of ‘Modulation’ (2008) by Richard Powers. Firstly, I consider the short story’s representation of the MP3 music file, specifically its effects on how music is circulated and stored, as well as how it sounds. These changes are the result of different processes of compression. The MP3 format makes use of data compression to reduce the file size of a digital recording significantly. Such a loss of information devises new social and material relations between what remains of the original music, the recording industry from which MP3s emerged and the online markets into which they enter. I argue that ‘Modulation’ is a powerful evocation of a watershed moment in how we consume digital sound: what Jonathan Sterne has termed the rise of the MP3 as ‘cultural artifact’. I contend that the short story, like the MP3, is also a compressed manner of representation. I use narrative theory and short story criticism to substantiate this claim, before positioning ‘Modulation’ alongside Powers’s novels of information. I conclude by suggesting that ‘Modulation’ offers an alternative to representing information through an excess of data. This article reads Powers’s compressed prose as a formal iteration of the data compression the story narrates.

The Big Bumpy Shift: Digital Music via Mobile Internet (originally published in December 2000)

First Monday ◽  
2005 ◽  
Author(s):  
Daniel P. Dolan
Keyword(s):  
United States ◽  
File Sharing ◽  
The United States ◽  
Mobile Internet ◽  
Mobile Telephone ◽  
Digital Music ◽  
Special Issue ◽  
Internet Technologies ◽  
Mobile Telephones ◽  
Music File

This paper is included in the First Monday Special Issue: Music and the Internet, published in July 2005. Special Issue editor David Beer asked authors to submit additional comments regarding their articles. When I wrote this essay in late 2000, mobile Internet services via mobile telephone in Japan were booming. Meanwhile, young music lovers in the United States were enjoying a frenzy of music file sharing via personal computer. My central question was this: Would these two trans-pacific trends morph into a huge global mobile music phenomenon? I predicted in my essay that digital music over mobile telephones would indeed be very big, but that due to potholes and blind corners this inevitable ride would be difficult: the big bumpy shift. Looking back five years later, for Japan the shift to mobile Internet music has been big, but for the United States it has been bumpy. The key differences are (1) Japan’s 84 million mobile Internet users; (2) Japan’s lead in mobile telephone technology; and (3) Japan’s telecoms, music labels and third party developers quickly agreed to cooperate on ring tone services. But ring tones are yesterday. The future is full-song file downloads to mobile telephones. Already in Japan, one million full-song (AAC+) files per month have been downloaded since November 2004—and that is only for KDDI, one of Japan’s three major carriers. Now that is big. The promise and rise of mobile Internet technologies and markets will be remembered as one of the most profound global information technology developments of the next few years. Mobile Internet technologies and practical applications necessary for widespread public use are advancing rapidly in Japan and are likely to catch on quickly in other countries. The remarkable adoption of mobile Internet in Japan and the popularity of digital music file sharing services such as Napster in the United States create a situation in which powerful synergies are possible between these two fundamental forces. Digital music via mobile Internet creates attractive opportunities for music artists, music consumers, entrepreneurs, and major music labels facing an uncertain future for music industry distribution practices. The realization of such opportunities depends not only on technological and business innovations, but also on the willingness among all parties involved to collaborate in equitable and valuable ways.

scholarly journals Real-Time Optical Music Recognition System for Dulcimer Musical Robot

2019 ◽  
Vol 23 (4) ◽  
pp. 782-790
Author(s):  
Zhe Xiao ◽  
Xin Chen ◽  
Li Zhou ◽  
◽  
◽  
...  
Keyword(s):  
Structural Analysis ◽  
Real Time ◽  
Electronic Music ◽  
Recognition Rate ◽  
Recognition System ◽  
Shape Model ◽  
Optical Music Recognition ◽  
Time Performance ◽  
Music Recognition ◽  
Music File

Traditional optical music recognition (OMR) is an important technology that automatically recognizes scanned paper music sheets. In this study, traditional OMR is combined with robotics, and a real-time OMR system for a dulcimer musical robot is proposed. This system gives the musical robot a stronger ability to perceive and understand music. The proposed OMR system can read music scores, and the recognized information is converted into a standard electronic music file for the dulcimer musical robot, thus achieving real-time performance. During the recognition steps, we treat note groups and isolated notes separately. Specially structured note groups are identified by primitive decomposition and structural analysis. The note groups are decomposed into three fundamental elements: note stem, note head, and note beams. Isolated music symbols are recognized based on shape model descriptors. We conduct tests on real pictures taken live by a camera. The tests show that the proposed method has a higher recognition rate.

scholarly journals Performance analysis of mobile applications developed with different programming tools

2019 ◽  
Vol 252 ◽  
pp. 05022
Author(s):  
Jakub Smołka ◽  
Bartłomiej Matacz ◽  
Edyta Łukasik ◽  
Maria Skublewska-Paszkowska
Keyword(s):  
Performance Analysis ◽  
Mobile Applications ◽  
Access Time ◽  
Preparation Time ◽  
Image Conversion ◽  
Entire List ◽  
Programming Tools ◽  
Android System ◽  
Overall Performance ◽  
Music File

This study examines the efficiency of certain software tasks in applications developed using three frameworks for the Android system: Android SDK, Qt and AppInventor. The results obtained using the Android SDK provided the benchmark for comparison with other frameworks. Three test applications were implemented. Each of them had the same functionality. Performance in the following aspects was tested: sorting a list of items using recursion by means of the Quicksort algorithm, access time to a location from a GPS sensor, duration time for reading the entire list of phone contacts, saving large and small files, reading large and small files, image conversion to greyscale, playback time of a music file, including the preparation time. The results of the Android SDK are good. Unexpectedly, it is not the fastest tool, but the time for performing most operations can be considered satisfactory. The Qt framework is overall about 34% faster than the Android SDK. The worst in terms of overall performance is the AppInventor: it is, on average, over 626 times slower than Android SDK.

scholarly journals Music Generation Based on Convolution-LSTM

2018 ◽  
Vol 11 (3) ◽  
pp. 50 ◽  
Author(s):  
Yongjie Huang ◽  
Xiaofeng Huang ◽  
Qiakai Cai
Keyword(s):  
Short Term Memory ◽  
Time Domain Analysis ◽  
Domain Analysis ◽  
Frequency Domain Analysis ◽  
Musical Score ◽  
Short Term ◽  
Music Generation ◽  
Long Short Term Memory ◽  
Music File ◽  
Score Matrix

In this paper, we propose a model that combines Convolutional Neural Network (CNN) and Long Short-Term Memory (LSTM) for music generation. We first convert MIDI-format music file into a musical score matrix, and then establish convolution layers to extract feature of the musical score matrix. Finally, the output of the convolution layers is split in the direction of the time axis and input into the LSTM, so as to achieve the purpose of music generation. The result of the model was verified by comparison of accuracy, time-domain analysis, frequency-domain analysis and human-auditory evaluation. The results show that Convolution-LSTM performs better in music genertaion than LSTM, with more pronounced undulations and clearer melody.

scholarly journals Music Cryptography based on Carnatic Music

2019 ◽  
Vol 9 (1) ◽  
pp. 5107-5114
Keyword(s):  
Classical Music ◽  
Secret Message ◽  
Musical Note ◽  
Carnatic Music ◽  
Novel Approach ◽  
Opinion Score ◽  
English Alphabet ◽  
Ancient Times ◽  
Music File ◽  
Music Clip

Music and cryptography have been linked to one another since ancient times. The idea of replacing plaintext letters with music notes and sending the music file to receiver, is not new. But such replacements sometimes result in music clips which are not pleasant to listeners and thereby leading to the music clip gaining unnecessary extra attention. Most of the works done in this area, fail to ensure the generation of a music clip that invariably conforms to any particular form of music. Melody of the music clip is neglected. In order to address this issue, current paper proposes a novel approach for sharing a secret message based on concepts of Carnatic Classical Music. The method proposed here aims at converting a message in textual format to a music clip before sending it to the receiver. Receiver can then decrypt that message using the knowledge of range of frequency values associated with each musical note also called as 'swara' in Carnatic Classical Music. Each plaintext character from English alphabet is replaced by different combinations of swaras. The set of swaras mapped to each plaintext character is so chosen that the final music file produced as the output of encryption always conforms to a melodic form ('Raga') governed by the framework of Carnatic Classical Music. Ten subject matter experts in the field of Carnatic music have given their opinion about the conformance of these music clips to specified ragas. Also, Mean Opinion Score (MOS) of 25 listeners has been tabulated to test and verify the melodic aspect of these music clips.

Covering music file-sharing and the future of innovation

First Monday ◽  
2006 ◽  
Author(s):  
Adrienne Russell
Keyword(s):  
New York ◽  
Los Angeles ◽  
New Media ◽  
New York Times ◽  
File Sharing ◽  
Los Angeles Times ◽  
Online Music ◽  
Alternative Sources ◽  
Music File ◽  
Mainstream Press

This paper explores the coverage of file–sharing from before the RIAA/Napster trial of 2000, drawing on interviews with journalists from the New York Times, Wired, Salon and the Los Angeles Times and on analysis of their stories and columns of opinion. It argues the file–sharing story saw “establishment” journalists unapologetically move away from long–established norms of journalism — by relying on alternative sources and by frankly including their own points of view, for example. The course of the stories these journalists produced points to the tensions that continue to mount in the new–media news landscape and to the forces that shape stories in the mainstream press. For more than a decade U.S. journalists lingered on the margins of profound questions about the limits of freedom under the rule of the market. Yet, with the emergence of the recording industry into the online music scene, journalists backed off, leaving the questions they raised unanswered and the larger issues behind the questions mostly unaddressed.

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