{"title":"Rolf Gehlhaar: a pioneer in creative music technology","authors":"N. Bannan","doi":"10.5920/jcms.735","DOIUrl":"https://doi.org/10.5920/jcms.735","url":null,"abstract":"","PeriodicalId":52272,"journal":{"name":"Journal of Creative Music Systems","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46940842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article evaluates the contribution to contemporary music and digital sound design of the German-American composer and inventor Rolf Gehlhaar (1943–2019). It sets in context his creative output, commencing with a biographical overview of his education in the USA, early career as a member of Stockhausen’s circle in Cologne, and subsequent work as a composer informed by an increasing humanitarian commitment to the development of technological resources designed to widen participation in musical creation and performance. In drawing on published re-sources as well as the personal memories of the author, the article develops an initial bibliographical resource intended to represent existing research in the fields to which Gehlhaar made a key contribution, and to stimulate investigation into his life, times and continuing influence. While the article sets out to record these achievements, it also seeks to capture the character and personality of the man behind them.
{"title":"Rolf Gehlhaar A Pioneer in Creative Music Technology","authors":"N. Bannan","doi":"10.5920/jcms.706","DOIUrl":"https://doi.org/10.5920/jcms.706","url":null,"abstract":"This article evaluates the contribution to contemporary music and digital sound design of the German-American composer and inventor Rolf Gehlhaar (1943–2019). It sets in context his creative output, commencing with a biographical overview of his education in the USA, early career as a member of Stockhausen’s circle in Cologne, and subsequent work as a composer informed by an increasing humanitarian commitment to the development of technological resources designed to widen participation in musical creation and performance. In drawing on published re-sources as well as the personal memories of the author, the article develops an initial bibliographical resource intended to represent existing research in the fields to which Gehlhaar made a key contribution, and to stimulate investigation into his life, times and continuing influence. While the article sets out to record these achievements, it also seeks to capture the character and personality of the man behind them.","PeriodicalId":52272,"journal":{"name":"Journal of Creative Music Systems","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48152147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There have been many systems that automatically create a melody. However, when the created melody is not satisfactory, it is difficult for musically untrained people to manually edit it on a conventional MIDI sequencer. Therefore, we propose a melody editing method based on a melodic outline, which represents the overall shape of a melody. Given a melody, its melodic outline is obtained by applying the Fourier transform to the melody's pitch trajectory and extracting low-order Fourier coefficients. After the outline is redrawn, it is transformed into a note sequence by the inverse procedure of the extraction and a hidden Markov model. Experimental results showed that (1) for novice participants, our system was easier than the conventional piano-roll interface, (2) generated melodies were satisfactory for both novice and intermediate participants, and (3) novice participants' ideas about what melody they want became clearer as they experienced melody editing everyday.
{"title":"A Non-notewise Melody Editing Method for Supporting Musically Untrained People's Music Composition","authors":"Yuichi Tsuchiya, Tetsuro Kitahara","doi":"10.5920/jcms.624","DOIUrl":"https://doi.org/10.5920/jcms.624","url":null,"abstract":"There have been many systems that automatically create a melody. However, when the created melody is not satisfactory, it is difficult for musically untrained people to manually edit it on a conventional MIDI sequencer. Therefore, we propose a melody editing method based on a melodic outline, which represents the overall shape of a melody. Given a melody, its melodic outline is obtained by applying the Fourier transform to the melody's pitch trajectory and extracting low-order Fourier coefficients. After the outline is redrawn, it is transformed into a note sequence by the inverse procedure of the extraction and a hidden Markov model. Experimental results showed that (1) for novice participants, our system was easier than the conventional piano-roll interface, (2) generated melodies were satisfactory for both novice and intermediate participants, and (3) novice participants' ideas about what melody they want became clearer as they experienced melody editing everyday.","PeriodicalId":52272,"journal":{"name":"Journal of Creative Music Systems","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44826414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial","authors":"R. Laney, Steve Jan, Valerio Velardo","doi":"10.5920/jcms.531","DOIUrl":"https://doi.org/10.5920/jcms.531","url":null,"abstract":"","PeriodicalId":52272,"journal":{"name":"Journal of Creative Music Systems","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43579504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article surveys some new directions in algorithmic composition, with a special focus on the mass scale of content generation now within reach. Interest in algorithmic composition has recently flourished, including a fashion for deep learning, and commercial offshoots in apps and browser software. Whilst there is much to be excited about in recent developments, we critically survey some current directions, and likely future initiatives, of the field. In particular, the influence of and potential within music information retrieval research is highlighted, corresponding to attempts to bridge between audio machine listening and large corpus training for algorithmic composition. The scenario of mass generation is further considered, including a practical experiment in creating a billion melody data set with accompanying source code.
{"title":"“… there is no reason why it should ever stop”: Large-scale algorithmic composition","authors":"N. Collins","doi":"10.5920/JCMS.525","DOIUrl":"https://doi.org/10.5920/JCMS.525","url":null,"abstract":"This article surveys some new directions in algorithmic composition, \u0000with a special focus on the mass scale of content generation now \u0000within reach. Interest in algorithmic composition has recently flourished, \u0000including a fashion for deep learning, and commercial offshoots in apps \u0000and browser software. Whilst there is much to be excited about in recent \u0000developments, we critically survey some current directions, and likely future \u0000initiatives, of the field. In particular, the influence of and potential \u0000within music information retrieval research is highlighted, corresponding \u0000to attempts to bridge between audio machine listening and large corpus \u0000training for algorithmic composition. The scenario of mass generation is \u0000further considered, including a practical experiment in creating a billion \u0000melody data set with accompanying source code.","PeriodicalId":52272,"journal":{"name":"Journal of Creative Music Systems","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43834925","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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