I'm interested in taking a midi file of a well-known composition, say
the English Suites of Bach, and using an algorithm to "shape" the
playback... i.e. add human touch. Examples would be slight variations
in tempo, rhythm, adding pauses, shaping phrases with dynamics and
articulation, etc.

I'm interested in any existing publications on this topic. Or just a
general direction to people who've looked at it, journals that would
typically cover this area.

I know that Finale and Sibelius have implemented human touch but it's
not anything like I envision.

Thanks,
-J


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Logic's transformer is rather sophisticated.
http://audio.tutsplus.com/tutorials/production/using-logic-pros-transformer-object/

On 15 December 2010 01:14, Johann Bach  wrote:
> I'm interested in taking a midi file of a well-known composition, say
> the English Suites of Bach, and using an algorithm to "shape" the
> playback... i.e. add human touch. Examples would be slight variations
> in tempo, rhythm, adding pauses, shaping phrases with dynamics and
> articulation, etc.
>
> I'm interested in any existing publications on this topic. Or just a
> general direction to people who've looked at it, journals that would
> typically cover this area.
>
> I know that Finale and Sibelius have implemented human touch but it's
> not anything like I envision.
>
> Thanks,
> -J
>
>
> Send bugs reports to the Sourceforge bug tracker
>            https://sourceforge.net/tracker/?group_id=81968&atid=564599
> Discussions of bugs and features can be posted here
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe csound"
>
>


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on 2010-12-14 at 17:14 Johann Bach wrote:

>I'm interested in taking a midi file of a well-known composition, say
>the English Suites of Bach, and using an algorithm to "shape" the
>playback... i.e. add human touch. Examples would be slight variations
>in tempo, rhythm, adding pauses, shaping phrases with dynamics and
>articulation, etc.
>
>I'm interested in any existing publications on this topic. Or just a
>general direction to people who've looked at it, journals that would
>typically cover this area.


Johan Sundberg is perhaps the most important researcher in this area, as
far as I know. He has been publishing papers and articles about this since
the early 1980s, many of them in collaboration with Lars Frydén and Anders
Friberg.

For a fairly recent overview, with an extensive bibliography on the
subject, see:

Anders Friberg, Roberto Bresin, and Johan Sundberg
Overview of the KTH rule system for musical performance
http://ac-psych.org/download.php?id=20

I'd say that more or less everything that's relevant to the problem is
listed there. 

I find the subject extremely interesting, and I for one would like to see
the results of your efforts, if you try to implement these ideas.

Best,

lj


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Thanks, everyone.

Can I get a bit of help with the meaning of the word "semantic" as
used in the following sentence?

- By using selections of rules and rule quantities, semantic
descriptions such as emotional expressions can be modeled.

(This is from Sundberg's paper on the KTH rule system.)

I know the word "semantic" has something to do with the concept of
"meaning," so I wonder if inside the context of music it refers to the
deeper human perception of the music as opposed to patterns which can
readily analyzed.

-J


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> - By using selections of rules and rule quantities, semantic
> descriptions such as emotional expressions can be modeled.

The way I understood it: specific combinations of appropriate rules, 
when applied to a given MIDI composition, gives it an overall quality 
recognized by listeners as, for example, "sadness" or "happy frenzy".

This seems to have been tested by having listeners hear both the 
original MIDI and the modified one, then telling about what's different.

Some "meaning" is being conveyed by the set of rules, hence the word 
"semantic". I would call that "emotional coloration", but that's just me...


Stef


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In the Tallahassee Florida USA area, I'm starting a group to discuss means 
of generating auditory and visual infomation. The first meeting of the 
Center for Participant Education A/V Club will be at AllSaints Cafe, 
Wednesday, March 16th, 2011. As an avid user of csound, i will be there to 
represent. All are welcome. This is an introductory meeting and is 
basically social. To learn more about the Center for Participant 
Education's philosophy you can go here:

http://fsucpe.org/?page_id=2

please distribute widely.
kelly


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arrg! i've forgot to mention, it is at 7pm.
k.
On Fri, 4 Mar 2011, kelly  hirai wrote:

> In the Tallahassee Florida USA area, I'm starting a group to discuss means of 
> generating auditory and visual infomation. The first meeting of the Center 
> for Participant Education A/V Club will be at AllSaints Cafe, Wednesday, 
> March 16th, 2011. As an avid user of csound, i will be there to represent. 
> All are welcome. This is an introductory meeting and is basically social. To 
> learn more about the Center for Participant Education's philosophy you can go 
> here:
>
> http://fsucpe.org/?page_id=2
>
> please distribute widely.
> kelly
>
>
> Send bugs reports to the Sourceforge bug tracker
>           https://sourceforge.net/tracker/?group_id=81968&atid=564599
> Discussions of bugs and features can be posted here
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe 
> csound"
>


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Here you can find some rules for the humanize music (as I understood, after
skimming the article):


http://www.ke.tu-darmstadt.de/events/ECML-PKDD-04-WS/Proceedings/ramirez.pdf



-----
Best regards, 

Alexander Tasev,
Russia, SPb, http://wikimapia.org/#lat=59.9282752&lon=30.3793484&z=18&l=0&m=b
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109. Clynes M. Computerized System for Imparting an Expressive Microstructure
to Succession of Notes in a Musical Score, USA Patent #4,704,682

110. Clynes M. Generative Principles of Musical Thought. Integration of
Microstructure with Structure ⁄⁄ Journal of Communication and Cognition
(Special Issue on Music and Artificial Intelligence), 1986.

111. Clynes M. Music Beyond the Score, Somastics, vol.1.,N.5., 1985.

112. Clynes M. Secret of Life in Music, Analitica, Mar.3-15., 1985.

113. Clynes M. Sentics: The Touch of the Emotions. – New York: Doubleday
Anchor Press, 1977.



-----
Best regards, 

Alexander Tasev,
Russia, SPb, http://wikimapia.org/#lat=59.9282752&lon=30.3793484&z=18&l=0&m=b
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Sent from the Csound - General mailing list archive at Nabble.com.


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http://www.rexresearch.com/clynsens/clynes.htm#pt72

-----
Best regards, 

Alexander Tasev,
Russia, SPb, http://wikimapia.org/#lat=59.9282752&lon=30.3793484&z=18&l=0&m=b
--
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You should also take a look at the karma system from Steven Kay. You
don't need to buy an expensive Korg, you can download the manuals for
one of the Korg synths that use Kay's karma system and look at the
parameters he uses, his system is pretty amazing stuff.

On Sun, Mar 13, 2011 at 5:47 AM, cristian uccheddu
 wrote:
> hello, maybe you can find something here
>
> http://www.nici.kun.nl/mmm/
> http://www.nici.kun.nl/mmm/publications.html
>
>
> 2010/12/15 Johann Bach 
>>
>> I'm interested in taking a midi file of a well-known composition, say
>> the English Suites of Bach, and using an algorithm to "shape" the
>> playback... i.e. add human touch. Examples would be slight variations
>> in tempo, rhythm, adding pauses, shaping phrases with dynamics and
>> articulation, etc.
>>
>> I'm interested in any existing publications on this topic. Or just a
>> general direction to people who've looked at it, journals that would
>> typically cover this area.
>>
>> I know that Finale and Sibelius have implemented human touch but it's
>> not anything like I envision.
>>
>> Thanks,
>> -J
>>
>>
>> Send bugs reports to the Sourceforge bug tracker
>>            https://sourceforge.net/tracker/?group_id=81968&atid=564599
>> Discussions of bugs and features can be posted here
>> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
>> csound"
>>
>
>


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