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School of Music

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Now showing 1 - 5 of 5
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    reNotate: The Crowdsourcing and Gamification of Symbolic Music Encoding
    (Georgia Institute of Technology, 2016-04) Taylor, Benjamin ; Shanahan, Daniel ; Wolf, Matthew ; Allison, Jesse ; Baker, David John
    Musicologists and music theorists have, for quite some time, hoped to be able to make use of computational methods to examine large corpora of music. As far back as the 1940s, an IBM card-sorter was used to implement patternfinding in traditional British folk songs (Bronson 1949, 1959). Alan Lomax famously implemented statistical methods in his Cantometrics project (Lomax, 1968), which sought to collate a large corpus of folk music from across many cultures. In the 1980s and 90s, a number of encoding projects were instituted in an attempt to be able to make searchable music notation on a large scale. The Essen Folksong Collection (Schaffrath, 1995) collected ethnographic transcriptions, whereas projects at the Center for Computer Assisted Research in the Humanities (CCARH) focused on scores in the Western Art Music tradition (Bach chorales, Mozart sonatas, instrumental themes, etc.). Recently, scholars have focused on improving Optical Music Recognition, in the hopes of facilitating the acquisition of large numbers of musical scores (Fujinaga, et al., 2014), but non-notated music, such as improvisational jazz, is often overlooked. While there have been many advances in music information retrieval in recent years, parameters that would facilitate in-depth musicological analysis are still out of reach (for example, stream segregation to examine specific melodic lines, or the analysis of harmony at a resolution that would allow for an analysis of specific chord voicings). Our project seeks to implement methods similar to those used in CAPTCHA and RECAPTCHA technology to crowdsource the symbolic encoding of musical information through a web-based gaming interface. The introductory levels ask participants to tap along with an audio recording's tempo, giving us an approximate BPM, while the second level asks for participants to tap with onsets. The third level asks them to match a contour of a three-note segment, and the final stage asks for specific note matching within that contour. A social-gaming interface allows for users to compete against one another. It is our hope that this work can be generalized to many types of musical genres, and that a web-based framework might facilitate the encoding of musicological and music-theoretic datasets that might be underrepresented by current MIR work.
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    Tune.js: A Microtonal Web Audio Library
    (Georgia Institute of Technology, 2016-04) Taylor, Benjamin ; Bernstein, Andrew
    The authors share Tune.js, a JavaScript library of over 3,000 microtonal tunings and historical temperaments for use with web audio. The current state of tuning in web audio is reviewed, followed by an explication of the library's creation and an overview of its potential applications. Finally, the authors share several small projects made with Tune.js and ponder future development opportunities.
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    Programming Music Camp: Using Web Audio to Teach Creative Coding
    (Georgia Institute of Technology, 2016-04) Allison, Jesse ; Holmes, Daniel ; Berkowitz, Zachary ; Pfalz, Andrew ; Conlin, William ; Hwang, Nick ; Taylor, Benjamin
    Programming Music Camp is a summer outreach camp de- signed to teach computer programming concepts to youths through the activity of music-making. Prior experiences teaching web audio technologies to secondary school stu- dents are described. The camp curriculum is then outlined, including the class activities of live coding, instrument de- sign, and concert performance. The outcomes of the camp are evaluated and future educational opportunities using web audio technologies are considered.
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    Gendy.js: A Web Audio Module for Dynamic Stochastic Synthesis
    (Georgia Institute of Technology, 2016-04) Bernstein, Andrew ; Taylor, Benjamin
    This paper outlines Gendy.js, a JavaScript Web Audio im- plementation of the GENDYN program for dynamic stochastic synthesis originally authored by composer Iannis Xenakis. The historical development of dynamic stochastic synthesis is reviewed followed by an overview of it's technical components and their implementation in JavaScript. Finally, the authors examine the possibilities and issues re-garding future development of nonstandard synthesis algo-ithms using the Web Audio API.
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    The Last Cloud
    (Georgia Institute of Technology, 2016-04) Taylor, Benjamin
    The Last Cloud is a live net art performance which reflects on the web browser as a source of form and content. The performance uses live coding to control several browser windows with HTML media, including HTML5 audio and video players, Google Maps, GIFs, and images. This media is mashed up and glitched in a narrative media collage. The work is accompanied by a web audio composition which uses samples, synthesis, text-to-speech, and processed media element streams to put the sound of web browsing in a musical context. The Last Cloud is inspired by the history of media artists who have turned media for reproducing content into instruments for generating content. In this case, the web browser, which was first used as an avenue for viewing reproductions of 20th century media (such as newspapers, photographs, and recorded songs), is used as an instrument for glitching, splicing, and collaging those media, creating a new form of art which could not exist in any other medium.