Titlebook: Mathematics and Computation in Music; 5th International Co Tom Collins,David Meredith,Anja Volk Conference proceedings 2015 Springer Intern

Cosmopolitan

Characteristics of Polyphonic Music Style and Markov Model of Pitch-Class Intervalsd melodic features and their statistics. While a direct computational analysis is not easy due to the need for chord and key analysis, a method for statistical analysis is developed based on relations between these features and successions of pitch-class (pc) intervals extracted from polyphonic musi

nutrition

Antarctic

招惹

A Probabilistic Approach to Determining Bass Voice Leading in Melodic Harmonisationtistical information derived from a training dataset to harmonise a melody. This paper proposes a probabilistic approach for the automatic generation of voice leading for the bass note on a set of given chords from different musical idioms; the chord sequences are assumed to be generated by another

TATE

Hypergestures in Complex Time: Creative Performance Between Symbolic and Physical Realityents at infinite physical speed that can only be performed approximately by trained musicians. To formally solve this divide between symbolic notation and physical realization, we introduce complex time (.-time) in music. In this way, infinite physical speed is “absorbed” by a finite imaginary speed

专横

Generating Fingerings for Polyphonic Piano Music with a Tabu Search Algorithmudy, remember and play pieces in an optimal way. In this paper, we propose a tabu search algorithm to find a good piano fingering automatically and in a short amount of time. An innovative feature of the proposed algorithm is that it implements an objective function that takes into account the chara

Atrium

小歌剧

978-3-319-20602-8Springer International Publishing Switzerland 2015

光滑

impaction

A Structural Theory of Rhythm Notation Based on Tree Representations and Term Rewritinging systems or tree automata. Then we propose an equational theory, defined as a set of rewrite rules for transforming these representations. This theory is complete in the sense that from a given rhythm notation the rules permit to generate all notations of equivalent durations.