By the turn of nineteenth century composers such as Daniel Steibelt and Muzio Clementi were writing keyboard pieces with tambourine (and, occasionally, triangle) parts that clearly intended for private salon performances by girls young women. These works introduced to public European salons during early century. performed pieces, typically waltzes, bacchanals, rondos divertissements whilst on t...

Many composers today are using control voltage to MIDI converters and laptop computers running algorithmic composition software to create interactive instruments and responsive environments. Using an integrated device that combines the two devices at the performance would reduce latency, improve system stability, and reduce setup complexity. Composers and performers, however, have chosen not to...

Both timbre and dynamics of isolated piano tones are determined exclusively by the speed with which the hammer hits the strings. This physical view has been challenged by pianists who emphasize the importance of the way the keyboard is touched. This article presents empirical evidence from two perception experiments showing that touch-dependent sound components make sounds with identical hammer...

Playing the piano requires one to precisely position one’s hand in order to strike particular combinations of keys at specific moments in time. This paper presents the first system for automatically generating three dimensional animations of piano performance, given an input midi music file. A graph theory-based motion planning method is used to decide which set of fingers should strike the pia...

The trend of application stores is currently at a peak. However, the lack of dynamic composition for complex solutions is the largest downside of the app store model, since solutions are increasingly created as compositions of multiple solutions, APIs, and applications. Therefore, in this vision paper, a superior model, solution composers, is proposed to the app store model. A conceptual framew...

Here we propose a score-informed monaural source separation system to extract every tone from a mixture of piano tone signals. Two sinusoidal models in our earlier work are employed in the above-mentioned system to represent piano tones: the General Model and the Piano Model. The General Model, a variant of sinusoidal modeling, can represent a single tone with high modeling quality, yet it fail...

There are meta-object protocols (MOPs) that do not provide support for meta-object composition. Others require explicit modii-cation of existing meta-level code or provide a limited delegation mechanism in order to support it. There is much room for improvement in this eld. The MOP of Guaran a favors the development of meta-objects that can be easily composed. Composers are meta-objects that de...

In this paper we will introduce a tool aimed at assisting composers in orchestration tasks. Thanks to this tool, composers can specify a target sound and replicate it with a given, pre-determined orchestra. This target sound, defined as a set of audio and symbolic features, can be constructed either by analysing a pre-recorded sound, or through a compositional process. We will then describe an ...

Composers who attempt to compose music with the assistance of computers, and who, instead of keeping their mouths shut, respond to the request to tell why and how they propose to breed immortal beauty for all of us by marrying mere technical logic to fertile inspiration, these composers have to override such exalted expectations with a careful report on the notions, theoretical and otherwise, o...