This paper reports on the development in the MIDIFORTH computer music system of context-sensitive... more This paper reports on the development in the MIDIFORTH computer music system of context-sensitive editing features, such as the ability to highlight MIDI events based on their position within a melodic or rhythmic pattern, and on pitch or other r.elationships to surrounding events. The. software mechanism that implements this is discussed, and some examples of the musical desirability of such features are presented. BACKGROUND Many microcomputer-based MIDI-oriented computer music systems now exist and are readily available. Almost all of thes.e allow the processing of MIDI event data in a fashion analogous to that found in simple word processing software. The ability to insert, delete and modify individual characters (i.e. MIDI events) is always present, while more sophisticated sof�ware will allow editing based on the principle of contiguity-the ability to group characters or MIDI events based on their proximity to one another. The next level of complexity consists of the ability to search for and modify events based on some intrinsic or implied characteristic-(Buxton et al, 1981) calls this grouping by local attributes. An example • is the ability to search for and modify all events consisting of a particular MIDI pitch or velocity (intrinsic characteristic) or of a certain duration (implied characteristic). In the language sphere, this corresponds to the ability to search for and modify individual words, such as the "search-and-replace" feature found in most word processors. The most common extension to this sort of editing involves the implementation of relational schemes; for example, the ability to edit all notes 'greater than' (i.e. of a higher pitch) some particular MIDI pitch value, or to restrict editing to events falling only within a certain range (e.g. between middle C and F#).
The goal of this project is to produce a software musical instrument using chaotic processes as a... more The goal of this project is to produce a software musical instrument using chaotic processes as a sound synthesis method. Realtime control through MIDI note messages and continuous controllers is required. Early results are described, along with suggestions for continuing work. CUBIC OSCILLATOR WORKBENCH The driven oscillator with a cubic term, commonly known as the Duffing oscillator, is defined by the autonomous differential equations:
The Development of Context Sensitivity in the Midiforth Computer Music System Bruno Degazio, M.Mu... more The Development of Context Sensitivity in the Midiforth Computer Music System Bruno Degazio, M.Mus. Department of Photo/Electric Arts Ontario College of Art Toronto, Canada This paper reports on the development in the MIDIFORTH computer music system of context-sensitive editing features, such as the ability to highlight MIDI events based on their position within a melodic or rhythmic pattern, and on pitch or other r.elationships to surrounding events. The. software mechanism that implements this is discussed, and some examples of the musical desirability of such features are presented.
• Bruno Degazio est compositeur a la pige a Toronto pour le cinema et la television. Ses ceuvres ... more • Bruno Degazio est compositeur a la pige a Toronto pour le cinema et la television. Ses ceuvres ont etc jouees au Canada, aux Etats-Unis et en Autriche. 11 poursuit des recherches sur la geometrie fractale. 11 enseigne au Ontario College of Arts. • Bruno Degazio was born in 1958. He has received a BMus and MM us from the University of Toronto (1981) and has received awards from the Canada Council (1987), the Ontario Arts Council (1987), and an award for the film score to "Resurrected Fields" at the Baltimore Film Festival (1986). His concert work has been performed in Canada, the United States and Europe. His computer music research has investigated the musical aspects of fractal geometry, the results of which were presented at the 1986 and 1988 International Computer Music Conferences. His current Canada Council research project involves the application of fractal techniques to compositional strategies first described by Joseph Schillinger. Degazio is presently an instructor in digital arts at the Ontario College of Art and is a freelance composer for film, radio and television. He is a founding member of the Toronto contemporary music ensemble SoundPressure and a founding member of the Canadian Electroacoustic Community (CEC).
Even though alternate musical controllers such as the Electronic Wind Instrument (EWI) significan... more Even though alternate musical controllers such as the Electronic Wind Instrument (EWI) significantly extend the expressive range of MIDI synthesizers and software virtual instruments, the computer-based editing and manipulation of data produced by these controllers has remained in an undeveloped state. A primary problem has to do with the binding of note data to expressive information such as breath controller and pitch bend data. MIDI, originally designed as a real-time performance protocol, has very weak binding of such data into higher-level musical structures; so weak in fact that even note endings are unconnected to their beginnings. The author describes a binding paradigm and data structure which addresses this problem and which has proven very effective in the manipulation of recorded EWI MIDI performance. Four further challenges-data integrity, spurious notes, erratic velocities and inaccurate rhythm-are described along with the software solutions which have been developed to deal with them.
Bruno Dega�io Degazio Sound Design 192 Spadina Ave.,#512 Toronto, Conado This pap r briefly discu... more Bruno Dega�io Degazio Sound Design 192 Spadina Ave.,#512 Toronto, Conado This pap r briefly discu ·s s a number of. oft.ware tools dev,eloped at the author's studio through the courne of r� earch worl!c into algorithmic composition. Mosl of the tools dev loped are dircc:dy related to recu1. i c techniques· some, how ,,v r, aris · from more i,,ieaera] techniques of algorithmic composition first described by Joseph Schillinger. , xamples of recursive techniques mdude: • META-FRACT. Ss panning mwical content from recursive tru.cture • the Lorenz. attraclor and Koch snowflake as musical g,encrators • Iterated Function Systems as musical generator • dynamic value :in the logistic &]nation and th Mande'lbrot set Non-recursive lOOLlll include: • the Intelligent Interval Toola fonn of limited contrapuntal intelligence • the Harmonic Activator Schillinger arpeggia:tion tool "' ,1.he Arbi'rrary Pauem Gen 1-ator • the smart d1i1ra1tion operator • the Granulator applying a ...
The Transformation Engine is a software music composition system for the Macintosh computer, base... more The Transformation Engine is a software music composition system for the Macintosh computer, based on a hierarchical model of musical structure derived from the theories of Heinrich Schenker. It implements processes of musical transformation in real time, i.e. Schenkerian prolongations (“composing-out”) can be executed while the user listens to a high performance MIDI rendering of the music. The Transformation Engine also employs technical devices derived from the musical theories of Joseph Schillinger. The software has been used for algorithmic composition using planetary position data and chaotic processes as drivers for musical transformations. It also has applications to traditional forms of composition, sonification and soundtrack composition for visual media. 1 Background and Foreground The Transformation Engine takes a hierarchical view of musical structure and implements both background and foreground levels of the Schenkerian model (Schenker 1969). 1.1 Background Structure ...
The author will discuss the direction and goals of his research into applications of fractal proc... more The author will discuss the direction and goals of his research into applications of fractal processes to automated musical composition. Factors relating to the choice of fractal methods, the application of geometric formalisms to music, and the aesthetic implications of self-similaritywill be discussed. Tape recorded examples of musical fractals will be played. The report will conclude with a summary of problems encountered and challenges presented to future research in this area.
The goal of this project is to produce a software musical instrument using chaotic processes as a... more The goal of this project is to produce a software musical instrument using chaotic processes as a sound synthesis method. Realtime control through MIDI note messages and continuous controllers is required. Early results are described, along with suggestions for continuing work. CUBIC OSCILLATOR WORKBENCH The driven oscillator with a cubic term, commonly known as the Duffing oscillator, is defined by the autonomous differential equations:
This paper reports on the development in the MIDIFORTH computer music system of context-sensitive... more This paper reports on the development in the MIDIFORTH computer music system of context-sensitive editing features, such as the ability to highlight MIDI events based on their position within a melodic or rhythmic pattern, and on pitch or other r.elationships to surrounding events. The. software mechanism that implements this is discussed, and some examples of the musical desirability of such features are presented. BACKGROUND Many microcomputer-based MIDI-oriented computer music systems now exist and are readily available. Almost all of thes.e allow the processing of MIDI event data in a fashion analogous to that found in simple word processing software. The ability to insert, delete and modify individual characters (i.e. MIDI events) is always present, while more sophisticated sof�ware will allow editing based on the principle of contiguity-the ability to group characters or MIDI events based on their proximity to one another. The next level of complexity consists of the ability to search for and modify events based on some intrinsic or implied characteristic-(Buxton et al, 1981) calls this grouping by local attributes. An example • is the ability to search for and modify all events consisting of a particular MIDI pitch or velocity (intrinsic characteristic) or of a certain duration (implied characteristic). In the language sphere, this corresponds to the ability to search for and modify individual words, such as the "search-and-replace" feature found in most word processors. The most common extension to this sort of editing involves the implementation of relational schemes; for example, the ability to edit all notes 'greater than' (i.e. of a higher pitch) some particular MIDI pitch value, or to restrict editing to events falling only within a certain range (e.g. between middle C and F#).
The goal of this project is to produce a software musical instrument using chaotic processes as a... more The goal of this project is to produce a software musical instrument using chaotic processes as a sound synthesis method. Realtime control through MIDI note messages and continuous controllers is required. Early results are described, along with suggestions for continuing work. CUBIC OSCILLATOR WORKBENCH The driven oscillator with a cubic term, commonly known as the Duffing oscillator, is defined by the autonomous differential equations:
The Development of Context Sensitivity in the Midiforth Computer Music System Bruno Degazio, M.Mu... more The Development of Context Sensitivity in the Midiforth Computer Music System Bruno Degazio, M.Mus. Department of Photo/Electric Arts Ontario College of Art Toronto, Canada This paper reports on the development in the MIDIFORTH computer music system of context-sensitive editing features, such as the ability to highlight MIDI events based on their position within a melodic or rhythmic pattern, and on pitch or other r.elationships to surrounding events. The. software mechanism that implements this is discussed, and some examples of the musical desirability of such features are presented.
• Bruno Degazio est compositeur a la pige a Toronto pour le cinema et la television. Ses ceuvres ... more • Bruno Degazio est compositeur a la pige a Toronto pour le cinema et la television. Ses ceuvres ont etc jouees au Canada, aux Etats-Unis et en Autriche. 11 poursuit des recherches sur la geometrie fractale. 11 enseigne au Ontario College of Arts. • Bruno Degazio was born in 1958. He has received a BMus and MM us from the University of Toronto (1981) and has received awards from the Canada Council (1987), the Ontario Arts Council (1987), and an award for the film score to "Resurrected Fields" at the Baltimore Film Festival (1986). His concert work has been performed in Canada, the United States and Europe. His computer music research has investigated the musical aspects of fractal geometry, the results of which were presented at the 1986 and 1988 International Computer Music Conferences. His current Canada Council research project involves the application of fractal techniques to compositional strategies first described by Joseph Schillinger. Degazio is presently an instructor in digital arts at the Ontario College of Art and is a freelance composer for film, radio and television. He is a founding member of the Toronto contemporary music ensemble SoundPressure and a founding member of the Canadian Electroacoustic Community (CEC).
Even though alternate musical controllers such as the Electronic Wind Instrument (EWI) significan... more Even though alternate musical controllers such as the Electronic Wind Instrument (EWI) significantly extend the expressive range of MIDI synthesizers and software virtual instruments, the computer-based editing and manipulation of data produced by these controllers has remained in an undeveloped state. A primary problem has to do with the binding of note data to expressive information such as breath controller and pitch bend data. MIDI, originally designed as a real-time performance protocol, has very weak binding of such data into higher-level musical structures; so weak in fact that even note endings are unconnected to their beginnings. The author describes a binding paradigm and data structure which addresses this problem and which has proven very effective in the manipulation of recorded EWI MIDI performance. Four further challenges-data integrity, spurious notes, erratic velocities and inaccurate rhythm-are described along with the software solutions which have been developed to deal with them.
Bruno Dega�io Degazio Sound Design 192 Spadina Ave.,#512 Toronto, Conado This pap r briefly discu... more Bruno Dega�io Degazio Sound Design 192 Spadina Ave.,#512 Toronto, Conado This pap r briefly discu ·s s a number of. oft.ware tools dev,eloped at the author's studio through the courne of r� earch worl!c into algorithmic composition. Mosl of the tools dev loped are dircc:dy related to recu1. i c techniques· some, how ,,v r, aris · from more i,,ieaera] techniques of algorithmic composition first described by Joseph Schillinger. , xamples of recursive techniques mdude: • META-FRACT. Ss panning mwical content from recursive tru.cture • the Lorenz. attraclor and Koch snowflake as musical g,encrators • Iterated Function Systems as musical generator • dynamic value :in the logistic &]nation and th Mande'lbrot set Non-recursive lOOLlll include: • the Intelligent Interval Toola fonn of limited contrapuntal intelligence • the Harmonic Activator Schillinger arpeggia:tion tool "' ,1.he Arbi'rrary Pauem Gen 1-ator • the smart d1i1ra1tion operator • the Granulator applying a ...
The Transformation Engine is a software music composition system for the Macintosh computer, base... more The Transformation Engine is a software music composition system for the Macintosh computer, based on a hierarchical model of musical structure derived from the theories of Heinrich Schenker. It implements processes of musical transformation in real time, i.e. Schenkerian prolongations (“composing-out”) can be executed while the user listens to a high performance MIDI rendering of the music. The Transformation Engine also employs technical devices derived from the musical theories of Joseph Schillinger. The software has been used for algorithmic composition using planetary position data and chaotic processes as drivers for musical transformations. It also has applications to traditional forms of composition, sonification and soundtrack composition for visual media. 1 Background and Foreground The Transformation Engine takes a hierarchical view of musical structure and implements both background and foreground levels of the Schenkerian model (Schenker 1969). 1.1 Background Structure ...
The author will discuss the direction and goals of his research into applications of fractal proc... more The author will discuss the direction and goals of his research into applications of fractal processes to automated musical composition. Factors relating to the choice of fractal methods, the application of geometric formalisms to music, and the aesthetic implications of self-similaritywill be discussed. Tape recorded examples of musical fractals will be played. The report will conclude with a summary of problems encountered and challenges presented to future research in this area.
The goal of this project is to produce a software musical instrument using chaotic processes as a... more The goal of this project is to produce a software musical instrument using chaotic processes as a sound synthesis method. Realtime control through MIDI note messages and continuous controllers is required. Early results are described, along with suggestions for continuing work. CUBIC OSCILLATOR WORKBENCH The driven oscillator with a cubic term, commonly known as the Duffing oscillator, is defined by the autonomous differential equations:
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