scholarly journals Music representation in Broca’ region of children

2019 ◽  
Vol 83 (0) ◽  
pp. 3B-040-3B-040
Author(s):  
Masumi Wakita
Keyword(s):  
Music Representation

MPEG Symbolic Music Representation

2011 ◽  
pp. 12-25
Author(s):  
Pierfrancesco Bellini ◽  
Paolo Nesi ◽  
Giorgio Zioa
Keyword(s):  
Music Performance ◽  
Visual Display ◽  
Sheet Music ◽  
Music Production ◽  
Visual Coding ◽  
Music Score ◽  
Communication Devices ◽  
Audio Rendering ◽  
Music Piece ◽  
Music Representation

The evolution of digital communication devices and formats has recently produced fundamental changes in the practical approach to music representation and notation, transforming them from a simple visual coding model for sheet music into a composite tool for modelling music in computer and multimedia applications in general. As a consequence, a multi-layer model of music representation is needed for several purposes in addition to sheet music production or visual display, such as audio rendering, entertainment, music analysis, database query, music performance coding, music distance learning, etc. The Symbolic Music Representation is a standard for modelling music notations, proposed inside the MPEG multimedia framework. Symbolic music representation generalizes the main music notation concepts to model the visual aspects of a music score, and audio information or annotations related to the music piece, allowing integration with other audiovisual elements by multimedia references. The Symbolic Music Representation standard overcomes the limitations of a widely accepted format like MIDI, which is in line with its main purpose to model music events whereas it reveals important limitations in producing audio and visual representations with satisfactory results.

Analysis of Granular Acousmatic Music: Representation of sound flux and emergence

2019 ◽  
Vol 24 (02) ◽  
pp. 205-216 ◽  
Author(s):  
Danilo Rossetti ◽  
Jônatas Manzolli
Keyword(s):  
Graphical Representation ◽  
Electroacoustic Music ◽  
Musical Composition ◽  
Technological Equipment ◽  
Analytical Methodology ◽  
Iannis Xenakis ◽  
Audio Recordings ◽  
Acousmatic Music ◽  
Music Representation ◽  
Sound Spectrum

Analysing electroacoustic music is a challenging task that can be approached by different strategies. In the last few decades, newly emerging computer environments have enabled analysts to examine the sound spectrum content in greater detail. This has resulted in new graphical representation of features extracted from audio recordings. In this article, we propose the use of representations from complex dynamical systems such as phase space graphics in musical analysis to reveal emergent timbre features in granular technique-based acousmatic music. It is known that granular techniques applied to musical composition generate considerable sound flux, regardless of the adopted procedures and available technological equipment. We investigate points of convergence between different aesthetics of the so-called Granular Paradigm in electroacoustic music, and consider compositions employing different methods and techniques. We analyse three works: Concret PH (1958) by Iannis Xenakis, Riverrun (1986) by Barry Truax, and Schall (1996) by Horacio Vaggione. In our analytical methodology, we apply such concepts as volume and emergence, as well as their graphical representation to the pieces. In conclusion we compare our results and discuss how they relate to the three composers’ specific procedures creating sound flux as well as to their compositional epistemologies and ontologies.

Hierarchical music representation for composition and analysis

1993 ◽  
Vol 27 (1) ◽  
pp. 7-17 ◽  
Author(s):  
Alan Smaill ◽  
Geraint Wiggins ◽  
Mitch Harris
Keyword(s):  
Music Representation
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