Music Informatics Alan Smaill Jan 19 2017 Alan Smaill Music - - PowerPoint PPT Presentation

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N I V E U R S E I H T T Y O H F G R E U D I B N Music Informatics Alan Smaill Jan 19 2017 Alan Smaill Music Informatics Jan 19 2017 1/7 Today N I V E U R S E I H T T Y O H F G R E U D I B N

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T H E U N I V E R S I T Y O F E D I N B U R G H

Music Informatics

Alan Smaill Jan 19 2017

Alan Smaill Music Informatics Jan 19 2017 1/7

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T H E U N I V E R S I T Y O F E D I N B U R G H

Today

Some examples of different representations and musics What would we like to be able to do? Which representations are good for which purposes?

Alan Smaill Music Informatics Jan 19 2017 2/7

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T H E U N I V E R S I T Y O F E D I N B U R G H

Example 1

Solo voice from traditional music Ishbel MacAskill singing “An Innis ` Aigh” (CD Essentially Ishbel, 2000) From an oral tradition, handed from singer to singer; more recently also written in WTM style with melody and words.

Alan Smaill Music Informatics Jan 19 2017 3/7

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T H E U N I V E R S I T Y O F E D I N B U R G H

Example 2

Classical WTM notation, music usually played from individual parts. Mozart Quintet no 2 in C minor, K406 Versions of score and performance are on-line. There is a lot of associated music theory about how music in this style (sonata form) fits together — notions of tonality (key), metre and rhythm, but also organisation

f material on contrasing subjects, development, recapitulation . . .

Alan Smaill Music Informatics Jan 19 2017 4/7

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T H E U N I V E R S I T Y O F E D I N B U R G H

Example 3

Jazz harmonies, as in “real book” Succession of harmonies (not notes) in specialised notation Looks like grammar symbols? Can “substitute” rather than just follow what is given

Alan Smaill Music Informatics Jan 19 2017 5/7

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T H E U N I V E R S I T Y O F E D I N B U R G H

Example 4

Vocal music in non-tonal idiom Stockhausen “Stimmung”; score Universal Edition, Vienna Edition No. 14805. Part of description of the piece, as given by the composer. Does information at this level help with hearing the music? . . . with creating new music?

Alan Smaill Music Informatics Jan 19 2017 6/7

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T H E U N I V E R S I T Y O F E D I N B U R G H

Example 6

HighC, mentioned briefly earlier in the course.

n-line demo at www.highc.org,samples,demo.html

(requires IcedTea plugin). Visual interface involves a visual representation of music (not directly in terms of discrete symbols). There are also internal representations holding musical information, and allowing transformations.

Alan Smaill Music Informatics Jan 19 2017 7/7

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T H E U N I V E R S I T Y O F E D I N B U R G H

What might we want to do with Musical Informatics?

Possible aims: analysis of music as sounds, as scores, . . . transforming music as sounds, as scores, . . . generating new music, as scores, as sounds involvement in performance, participant, real-time issues ????? Let’s fix on a few aims, then think what sorts of representations might be most helpful to achieve those aims.

Alan Smaill Music Informatics Jan 19 2017 8/7