scholarly journals Classical Music Prediction and Composition by Means of Variational Autoencoders

2020 ◽  
Vol 10 (9) ◽  
pp. 3053
Author(s):  
Daniel Rivero ◽  
Iván Ramírez-Morales ◽  
Enrique Fernandez-Blanco ◽  
Norberto Ezquerra ◽  
Alejandro Pazos
Keyword(s):  
Classical Music ◽  
New Music ◽  
Musical Piece ◽  
New Model ◽  
Latent Space ◽  
Starting Point ◽  
Unseen Data ◽  
Music Representation ◽  
Random Starting Point ◽  
Small Dataset

This paper proposes a new model for music prediction based on Variational Autoencoders (VAEs). In this work, VAEs are used in a novel way to address two different issues: music representation into the latent space, and using this representation to make predictions of the future note events of the musical piece. This approach was trained with different songs of Handel. As a result, the system can represent the music in the latent space, and make accurate predictions. Therefore, the system can be used to compose new music either from an existing piece or from a random starting point. An additional feature of this system is that a small dataset was used for training. However, results show that the system is able to return accurate representations and predictions on unseen data.

scholarly journals Art as a Critique of Language: On the Continuity of the Tradition of the Avant-Garde Aesthetic in the Modern and the Postmodern

2007 ◽  
Vol 43 (2) ◽  
pp. 287-303
Author(s):  
Susanne Kogler
Keyword(s):  
20Th Century ◽  
Conceptual Knowledge ◽  
Aesthetic Experience ◽  
New Music ◽  
Avant Garde ◽  
Starting Point ◽  
Traditional Language ◽  
Art Philosophy ◽  
Language Of Music ◽  
The One

That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. “Expression is the opponent of articulating something” can be read, for instance, in Adorno’s Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: “What happens to us is by no means something which we would have controlled, programmed or conceptually apprehended beforehand”. The uneducible, conceptually unattainable is also at the centre of current art production of the 21st century. On the basis of Lyotard’s and Adorno’s positions, the article shows that one should acknowledge a constancy of the topos of art as non-conceptual knowledge on the one hand as the continuing function of a tradition defined from the philosophical aesthetics of modernity to post-modernity and orientated on the artistic avant-garde. On the other hand and beyond this a continuous line of tradition of New Music becomes clear, leading to the expressionistic avant-garde of the 20th century which represented the starting point for Adorno’s music philosophy, through Lyotard’s focus on John Cage, up to the avant-garde of New Music in the era of post modernity. Specific features of contemporary art, such as rebellion against linguistic standards, an understanding of expressivity that opposes the traditional language of music and operates on the verge of silence, as well as the utopian vision of a modified reality which aims at transcendency enable a conception of art as non-conceptual knowledge, corresponding with the positions of art philosophy in modernity and post-modernity in important points. The relevance of focusing on this line of tradition for musicology lies in the fact that it sheds new light on the musical avant-garde and its further function and, last but not least, that it opens new perspectives in understanding contemporary artistic productions.

scholarly journals COEXISTENCE OF CLASSICAL MUSIC AND GUGAK IN KOREAN CULTURE

2020 ◽  
Vol 5 ◽  
pp. 67-99
Author(s):  
So Hyun Park
Keyword(s):  
Classical Music ◽  
Traditional Music ◽  
Musical Instruments ◽  
Colonial Period ◽  
New Music ◽  
Flowering Period ◽  
Korean Culture ◽  
Korean Traditional Music ◽  
Japanese Colonial

Classical music and Korean traditional music ‘Gugak’ in Korean culture try various ways such as creating new music and culture through mutual interchange and fusion for coexistence. The purpose of this study is to investigate the present status of Classical music in Korea that has not been 200 years old during the flowering period and the Japanese colonial period, and the classification of Korean traditional music and musical instruments, and to examine the preservation and succession of traditional Gugak, new Korean traditional music and fusion Korean traditional music. Finally, it is exemplified that Gugak and Classical music can converge and coexist in various collaborations based on the institutional help of the nation. In conclusion, Classical music and Korean traditional music try to create synergy between them in Korean culture by making various efforts such as new attempts and conservation.

Making and Hearing Virtual Worlds: John Culshaw and the Art of Record Production

2007 ◽  
Vol 11 (2) ◽  
pp. 269-293 ◽  
Author(s):  
David N. C. Patmore ◽  
Eric F. Clarke
Keyword(s):  
Virtual Worlds ◽  
Classical Music ◽  
Traditional Approach ◽  
Subject Position ◽  
Sound Recording ◽  
Technical Approach ◽  
Starting Point ◽  
The Relationship ◽  
Current Paradigm ◽  
Radical Approach

A recording represents a paradoxical perceptual source: we can either attend to the sound of the medium, or to the virtual world conveyed by it, and the work of a record producer can be understood as either a process of capturing performances or one of creating virtual worlds. This paper demonstrates that the record producer John Culshaw had clear ideas about how recordings might approach the condition of a work of art, rather than being simply the trace of a moment in time. Culshaw's fundamental aesthetic and technical approach is described and illustrated with reference to a number of key recordings. Taking the relationship between sound recording and film as a starting point, and making use of the concept of subject-position, the tension between Culshaw's radical approach to the listener and traditional approach to the authority of the score is explored. Possible reasons are proposed for the abandonment of his ideas, and for the absence of a Culshaw legacy (apart from the recordings themselves). The paper ends with a brief discussion of the current paradigm for the recording of classical music, which seeks in various ways to reproduce “the live experience” in “the finest seat in the house”.

scholarly journals Improved unit hydrograph characterisation of the daily flow regime (including low flows) for the River Teifi, Wales: towards better rainfall-streamflow models for regionalisation

2002 ◽  
Vol 6 (5) ◽  
pp. 899-911 ◽  
Author(s):  
I.G. Littlewood
Keyword(s):  
Time Delay ◽  
Model Fit ◽  
Temperature Modulation ◽  
Rainfall Runoff ◽  
Unit Hydrograph ◽  
New Model ◽  
Low Flows ◽  
Starting Point ◽  
Improved Model ◽  
Pure Time Delay

Abstract. An established rainfall-streamflow modelling methodology employing a six-parameter unit hydrograph-based rainfall-runoff model structure is developed further to give an improved model-fit to daily flows for the River Teifi at Glan Teifi. It is shown that a previous model of this type for the Teifi, which (a) accounted for 85% of the variance in observed streamflow, (b) incorporated a pure time delay of one day and (c) was calibrated using a trade-off between two model-fit statistics (as recommended in the original methodology), systematically over-estimates low flows. Using that model as a starting point the combined application of a non-integer pure time delay and further adjustment of a temperature modulation parameter in the loss module, using the flow duration curve as an additional model-fit criterion, gives a much improved model-fit to low flows, while leaving the already good model-fit to higher flows essentially unchanged. The further adjustment of the temperature modulation loss module parameter in this way is much more effective at improving model-fit to low flows than the introduction of the non-integer pure time delay. The new model for the Teifi accounts for 88% of the variance in observed streamflow and performs well over the 5 percentile to 95 percentile range of flows. Issues concerning the utility and efficacy of the new model selection procedure are discussed in the context of hydrological studies, including regionalisation. Keywords: unit hydrographs, rainfall-runoff modelling, low flows, regionalisation.

Christian Reception of the ‘New-Music’ Debate in the Church Fathers and Clement of Alexandria

2018 ◽  
Vol 6 (2) ◽  
pp. 359-378
Author(s):  
Andreas Kramarz
Keyword(s):  
Classical Music ◽  
Fifth Century ◽  
New Music ◽  
Christian Faith ◽  
Church Fathers ◽  
Musical Culture ◽  
Evaluative Judgments ◽  
Clement Of Alexandria ◽  
The Church ◽  
Ultimate Principle

Abstract Evaluative judgments about musical innovations occur from the late fifth century BC in Greece and Rome and are reflected in similar discussions of Christian authors in the first centuries of the Empire. This article explores how pedagogical, theological, moral, and spiritual considerations motivate judgments on contemporary pagan musical culture and conclusions about the Christian attitude towards music. Biblical references to music inspire both allegorical interpretations and the defense of actual musical practice. The perhaps most intriguing Christian transformation of the ancient musical worldview is presented in Clement of Alexandria’s Protrepticus. Well-known classical music-myths serve here to introduce a superior ‘New Song’. Harmony, represented in the person of Christ who unites a human and a divine nature, becomes the ultimate principle of both cosmos and human nature. This conception allows music to become a prominent expression of the Christian faith and even inform the moral life of believers.

Naturalism, Involved Philosophy, and the Human Predicament

2017 ◽  
Author(s):  
Edward Kanterian
Keyword(s):  
Human Existence ◽  
Religious Epistemology ◽  
Contemporary Philosophy ◽  
Hermeneutic Circle ◽  
New Model ◽  
Human Predicament ◽  
Starting Point ◽  
Key Aspects ◽  
Religious Understanding

Scientistic naturalism is an important current in contemporary philosophy, but it offers a skewed and impoverished account of nature, human existence, and the nature of philosophy. This chapter first presents and contrasts this form of naturalism with two opposing varieties: extended and expansive naturalism. As the chapter shows, extended and especially expansive naturalism point toward a conception of philosophy as an “involved,” hermeneutic discipline, which is incompatible with scientistic naturalism. This conception of philosophy is then enriched by taking into account Cottingham’s religious epistemology of involvement and Heidegger’s elaboration of the hermeneutic circle. As it turns out, a genuinely involved approach to philosophy requires, as its starting-point, a hermeneutics of the human predicament. Key aspects of such a hermeneutics are introduced by means of Luther’s existential theology. Finally, six main points of an involved philosophy, taken as a new model of religious understanding, are formulated.

scholarly journals Extracting Lexically Divergent Paraphrases from Twitter

2014 ◽  
Vol 2 ◽  
pp. 435-448 ◽  
Author(s):  
Wei Xu ◽  
Alan Ritter ◽  
Chris Callison-Burch ◽  
William B. Dolan ◽  
Yangfeng Ji
Keyword(s):  
Latent Variable ◽  
State Of The Art ◽  
Research Community ◽  
Latent Variable Model ◽  
Variable Model ◽  
New Model ◽  
Space Model ◽  
Sentence Level ◽  
Latent Space ◽  
Feature Based

We present MultiP (Multi-instance Learning Paraphrase Model), a new model suited to identify paraphrases within the short messages on Twitter. We jointly model paraphrase relations between word and sentence pairs and assume only sentence-level annotations during learning. Using this principled latent variable model alone, we achieve the performance competitive with a state-of-the-art method which combines a latent space model with a feature-based supervised classifier. Our model also captures lexically divergent paraphrases that differ from yet complement previous methods; combining our model with previous work significantly outperforms the state-of-the-art. In addition, we present a novel annotation methodology that has allowed us to crowdsource a paraphrase corpus from Twitter. We make this new dataset available to the research community.

The soloist in contemporary piano concerti

2012 ◽  
Author(s):  
◽  
Ellen Ugelvik
Keyword(s):  
Large Scale ◽  
Classical Music ◽  
Contemporary Music ◽  
Research Question ◽  
New Music ◽  
General Level ◽  
General Lack ◽  
Research Material ◽  
The Subject

The project grew out of a need to improve my ability to tackle challenges I had faced playing contemporary piano concerti. The embodying of new aesthetics is a great challenge in premieres of new works. While the soloist has great potential for expressing personal artistic ideas within a large-scale concert-hall environment, the classical pianist education just does not cover all challenges of performing brand new concerti. The new music suffers. The general lack of contemporary music in educational repertoires has consequences for how the field of classical music develops, what kind of music we value, how we work and what kind of music we play and listen to in a musical society. I wanted to explore the potential of my role and investigate how I could behave and play to help to improve the sounding result of new piano concerti. I created this project with the overarching research question: Which abilities do I need to develop further, and to enable a progressive soloist role when faced with challenges in entirely new music, and what are the extended effects of such an expanded role awareness? As the project moved forward, this progressive role awareness, I discovered, was useful to me by giving me greater flexibility and confidence about the massive collective apparatus surrounding the new piano concerti. The project is based around five new piano concerti I have premiered at national and international venues: Diamond Dust by D. Fujikura, Konsertstykke i tre deler by M. Hegdal, at the tips of my fingers / on the tip of my tongue by B.L. Thorsen, Wowen Fingerprints by T.B. Ulvo and Theory of the Subject by T. Reinholdtsen. Through the evolution of these works, I examine the role of the soloist in all the processes of musical creation, from initialization to realisation in performance. The research material provides insights into how new music is dealt with in the standard classical music world. I provide rare awareness of the role of the soloist and suggest several improvements of how we lay the foundations for premiering new music. A central outcome of my project is a ‘toolbox’ of proposed techniques and approaches for pianists encountering new works. The toolbox, I argue, is also valuable when applied to older music and to how we approach any musical situation on a general level.

All-Stars

Industry ◽  
2021 ◽  
pp. 138-160
Author(s):  
William Robin
Keyword(s):  
Classical Music ◽  
New Music ◽  
Government Support ◽  
Earned Income ◽  
The Road ◽  
Music Ensembles ◽  
Contemporary Classical Music ◽  
Bang On A Can ◽  
History Of ◽  
On The Road

In 1992, Bang on a Can launched their own in-house ensemble, the All-Stars, an amplified sextet designed to take the spirit of the festival on the road. Along with building a new audience via national and international tours, the All-Stars also unlocked a new source of earned income for Bang on a Can amidst an era of declining government support. The sound and image of the extroverted ensemble facilitated a pivot in Bang on a Can’s identity, from strongly emphasizing the overcoming of stylistic divides within new music (as epitomized by the uptown–downtown binary) to instead emphasizing the blurring of genre boundaries between contemporary classical music and rock. The All-Stars also instantiated a division of labor between composers and performers that was unusual in the history of new-music ensembles and led to some significant tensions, tied to how Bang on a Can carefully positioned their new group toward the marketplace.

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