Promulgation is an interactive composition in which the orchestra and computer communicate through musical motives contained in the Command Motive Score. The musical content as well as the highly organized aleatoric environment is controlled by a system of probabilities. The orchestra is divided into four ensembles of dissimilar instrumentation. The music consists of several scores that are performed different ways. The first score is the Command Motive Score performed by the computer. The second is the Prelude Score performed by the orchestra. The third is the Continuum Score performed by the orchestra. The fourth is a group of scores called Auxiliary Scores performed by each respective ensemble. The fifth is another group of four scores performed by trumpet, cello, piano, and tuba.

Thesis (M.A.)--University of Wollongong, 2005. / Typescript. Includes audio disc in back pocket. Includes bibliographical references: leaf 65-66.

Mass/360 is computer music in the sense that the audio tape was realized with a computer language for digital synthesis. This tape is combined with traditional choral and instrumental forces, and demonstrates only one technique available for the use of computers in composition. The work displays a number of elements which afford both unity and contrast. The arch span of the whole is supported by timbral, melodic, rhythmic, and textural parameters. Recurring events include tone clusters, chant-like melodies, angular melodies, and counterpoint. Special vocal effects are found in all movements, and the large scale tonicizing effect of the movement from f to b-flat gives the composition a sense of direction over a long temporal span. The single pitch (doubled unison/octave) arises as the major event in the work, and other events are generated from this element. The use of different formal designs within each movement corresponds to the natural textual divisions found in the liturgy, and affords a contrast from one movement to the next. The relationship of the Gloria/Qui Tollis to the Sanctus/Benedictus, which is not a mirror relation, contrasts with the chiastic design of the whole. Traditional contrapuntal devices juxtaposed against contemporary vocal techniques and the use of diversified timbres from movement to movement add variety to the composition. Controlling parameters in the Mass are timbral, harmonic, textural, and formal. Rhythmic and melodic parameters are of surface importance, and not considered in the higher structural levels of the composition. This particular handling of musical parameters as elements of unification and diversification is the foremost structural force at work in Mass/360.

Cenotaph is a work of fifteen minutes duration for solo tape realized on the Synclavier Digital Music System at the Center for Experimental Music and Intermedia. All of the sound materials in the work consist of resynthesized timbres derived from the analysis of digital recordings of seven different human voices, each speaking the last name of one of the Challenger astronauts. The work's harmonic resources are derived in a unique way involving partitioning of the octave by powers of the Golden Section. The work is in a single movement divided into three sections which function as prologue, action, and epilogue, respectively. This formal structure is reinforced by differentiation of harmonicmaterials and texture. Although Cenotaph cannot be performed "live" and exists only as a recording, a graphic score is included to assist analysis and study.

We investigate the properties of a new Multi-Agent Systems (MAS) for computer-aided composition called IPCS (pronounced “ipp-siss”) the Intermediate Performance Composition System which generates expressive performance as part of its compositional process, and produces emergent melodic structures by a novel multi-agent process. IPCS consists of a small-medium size (2 to 16) collection of agents in which each agent can perform monophonic tunes and learn monophonic tunes from other agents. Each agent has an affective state (an “artificial emotional state”) which affects how it performs the music to other agents; e.g. a “happy” agent will perform “happier” music. The agent performance not only involves compositional changes to the music, but also adds smaller changes based on expressive music performance algorithms for humanization. Every agent is initialized with a tune containing the same single note, and over the interaction period longer tunes are built through agent interaction. Agents will only learn tunes performed to them by other agents if the affective content of the tune is similar to their current affective state; learned tunes are concatenated to the end of their current tune. Each agent in the society learns its own growing tune during the interaction process. Agents develop “opinions” of other agents that perform to them, depending on how much the performing agent can help their tunes grow. These opinions affect who they interact with in the future. IPCS is not a mapping from multi-agent interaction onto musical features, but actually utilizes music for the agents to communicate emotions. In spite of the lack of explicit melodic intelligence in IPCS, the system is shown to generate non-trivial melody pitch sequences as a result of emotional communication between agents. The melodies also have a hierarchical structure based on the emergent social structure of the multi-agent system and the hierarchical structure is a result of the emerging agent social interaction structure. The interactive humanizations produce micro-timing and loudness deviations in the melody which are shown to express its hierarchical generative structure without the need for structural analysis software frequently used in computer music humanization.

O estudo da acústica de salas data do início do século XX e, até então, esta atividade era vista quase como uma arte e não como ciência. Foram desenvolvidas teorias, como a acústica geométrica de salas, que tornou o estudo do fenômeno acústico mais facilmente inteligível. Com o advento dos computadores digitais, os pesquisadores da área de acústica, como Asbjørn Krokstad e Manfred Robert Schroeder desenvolveram, em torno de 1960, os primeiros algoritmos para simular o comportamento do campo sonoro dentro de salas. Desde então, vários métodos de simulação acústica foram criados [QIK+08]. Nesta dissertação descrevemos uma implementação funcional do algoritmo de Traçado de Raios na linguagem Java. Explicamos em nosso trabalho os vários métodos de simulação acústica existentes nos dias de hoje e descrevemos os passos necessários para a correta implementação de um algoritmo de traçado de raios. Nossa implementação foi realizada como um módulo do sistema AcMus, uma ferramenta de software livre que reúne, em um único ambiente integrado, medição, análise e, agora, simulação acústica de salas, tornando-se o único software livre existente a integrar essas três funcionalidades em um único ambiente. O módulo de simulação foi implementado como um arcabouço orientado a objetos de forma que outros pesquisadores possam estendê-lo incluindo, com pouco esforço, novos algoritmos de simulação e novas funcionalidades. / Research on Room Acoustics dates back to the beginning of the 20th century; at that time this activity was not seen as a science but almost as an art. Since then, researchers in the eld have developed theories, such as Geometric Room Acoustics, that were a simplication of the acoustical phenomena. With the advent of digital computers, researchers such as Asbjørn Krokstad and Manfred Robert Schroeder have developed, in the 1960s, the rst algorithms to simulate the sound eld behavior inside rooms. Since then, various acoustic simulation methods have been created. In this thesis, we describe our working implementation, using the Java language, of the Ray Tracing algorithm. We also explain the various acoustic simulation algorithms used nowadays and describe the necessary steps to a correct ray tracing algorithm implementation. Our implementation was built as a module of AcMus, a free software system, which combines acous- tic measurement, analysis and, now, simulation in one integrated computational environment. The simu- lation module was built as an object-oriented framework so that other researchers and developers can extend it, including new simulation algorithms and new features with little effort.

by Ho Siu Wa, Albert. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1996. / First Movement --- p.1 -10 / Second Movement --- p.11 -20 / Third Movement --- p.21 -32

This thesis investigates computational musical tonality estimation from an audio signal. We present a hidden Markov model (HMM) in which relationships between chords and keys are expressed as probabilities of emitting observable chords from a hidden key sequence. The model is tested first using symbolic chord annotations as observations, and gives excellent global key recognition rates on a set of Beatles songs. The initial model is extended for audio input by using an existing chord recognition algorithm, which allows it to be tested on a much larger database. We show that a simple model of the upper partials in the signal improves percentage scores. We also present a variant of the HMM which has a continuous observation probability density, but show that the discrete version gives better performance. Then follows a detailed analysis of the effects on key estimation and computation time of changing the low level signal processing parameters. We find that much of the high frequency information can be omitted without loss of accuracy, and significant computational savings can be made by applying a threshold to the transform kernels. Results show that there is no single ideal set of parameters for all music, but that tuning the parameters can make a difference to accuracy. We discuss methods of evaluating more complex tonal changes than a single global key, and compare a metric that measures similarity to a ground truth to metrics that are rooted in music retrieval. We show that the two measures give different results, and so recommend that the choice of evaluation metric is determined by the intended application. Finally we draw together our conclusions and use them to suggest areas for continuation of this research, in the areas of tonality model development, feature extraction, evaluation methodology, and applications of computational tonality estimation.

Orientador: Florivaldo Menezes Filho / Banca: Alexandre Roberto Lunsqui / Banca: Denise Hortência Lopes Garcia / Resumo: O presente trabalho visa investigar e analisar os impactos sofridos pela linguagem musical com o advento da música eletroacústica, tendo como ponto de partida a proposição de perspectivas semiológicas através dos textos de Ferdinand de Saussure, Roman Jakobson e Roland Barthes. As aproximações entre as linguagens verbal e musical são balizadas, preponderantemente, pelos escritos de compositores determinantes para o desenvolvimento da música eletroacústica, tais como Pierre Schaeffer, Pierre Boulez, Luciano Berio, Karlheinz Stockhausen, Henri Pousseur e Flo Menezes, além de incluir discussões a partir de textos dos musicólogos Jean-Jacques Nattiez e Jean Molino. Seguindo tal fundamentação teórica, o trabalho desvela-se através de considerações à respeito das articulações musicais e da ampliação de seus traços distintivos pela experiência eletroacústica. À tais discussões, seguem-se especulações sobre as transformações no eixo da comunicação musical e reflexões a respeito da ampliação do conceito de escritura musical. Além disso, as contingências diacrônicas e sincrônicas da linguagem são analisadas e os papéis desempenhados pelo serialismo e pela aleatoriedade na música discutidos. O novo instrumento eletroacústico é abordado na medida em que desenvolve-se no sentido de fornecer ferramentas para a ampliação das investigações teóricas, essas herdadas diacronicamente. Na última parte, é realizada uma análise das obras Scriptio e TransScriptio, de Flo Menezes, pelas quais pode-se averiguar, em termos musicais, as constatações realizadas através da discussão teórica proposta. O papel da escritura eletroacústica é evidenciado e as interações com a escritura instrumental apontadas. / Abstract: This work intends to investigate and analyze the impacts suffered by the musical language following the advent of electroacoustic music, taking as its starting point the proposition of some semiological perspectives through the texts of Ferdinand de Saussure, Roman Jakobson, and Roland Barthes. Rapprochement between the verbal and musical languages are guided, primarily, by the writings of composers who were determinant for the development of electroacoustic music, such as Pierre Schaeffer, Pierre Boulez, Luciano Berio, Karlheinz Stockhausen, Henri Pousseur and Flo Menezes, and includes discussions from texts of musicologists such as Jean-Jacques Nattiez and Jean Molino. Following this theoretical framework, the work unfolds through the considerations about the musical articulations and the expansion of its distinctive features within the electroacoustic experience. These discussions are followed by speculations on the changes in the axis of musical communication and reflections on the extension of the concept of musical work. Moreover, the diachronic and synchronic contingency of language are analyzed and the roles of serialism and the randomness in music discussed. The new electroacoustic instrument is focused in the way that develops itself in order to provide tools for the expansion of theoretical investigations diachronically inherited. In the last part, an analysis of the works Scriptio and TransScriptio, by Flo Menezes, in which are described in musical terms the findings made by the proposed theoretical discussion held. The role of electroacoustic scripture is evidenced and instrumental interactions with the instrumental scripture are pointed. / Mestre

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