By Phil Winsor
The publication comprises uncomplicated language tutorials for starting programmers; an outline of laptop song functions; a scientific exposition of the rules and strategies of computerized track composition; insights into modern traits in song and automated sound; rules of MIDI-interfaced computer/synthesizers; a starting direction in song composition, exhibiting intimately find out how to create various sounds with the pc; step by step directions for utilizing plug-in-and-play courses; interactive MIDI courses listings prepared for fast use; over 50 simple exercises for automatic composition tailored for MIDI sequencers and synthesizers; various examples and programming ideas.
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Extra resources for Automated Music Composition
The analytical, declarative method which evolved to characterize the important relationships of forms and event-structures during this period illustrates the role of symbolic notation in the identification and communication of patterns within familiar musical systems. When we refer to the musical syntax, grammar, or rhetoric of musical examples from functional tonality, we rely almost totally on Page 15 the symbolic notation of tertian chordal structures and their connective relationships, both on the immediate, local level as well as on a deeper, global (Schenkerian) structural level.
A theoretical distinction is drawn between information flow across a perceptual channel as a materially quantifiable phenomenon and the signification or meaning of the messages carried by information medium. To understand this concept, consider the traditional dot-dash signals which make up the International Morse Code alphabet. To an observer unskilled in deciphering coded messages, the patterns transmitted are nothing more than raw information containing a high degree of repetition (redundancy); but, to the trained telegrapher, the quantitative information flow is loaded with meaning, carried by a set of symbolic conventions agreed upon in advance by sender and receiver for the transmission of intelligible ideas.
Psychoacoustic Phenomenology The composer as well as the theorist is concerned with matters arising from the characteristics of human perception. Not only are people perceptually constrained by the physical limitations of their perception systems, but the relationship between external stimuli and the interpretation placed on them by the brain requires much more research before scientific knowledge about cognitive processes can be considered adequate. For instance, the roles played by long-and short-term memory in the human's perception of esthetic events is of great interest to composers and music theorists alike.