Led by the success of neural style transfer on visual arts, there has been a rising trend very recently in the effort of music style transfer. However, “music style” is not yet a well-defined concept from a scientific point of view. The difficulty lies in the intrinsic multi-level and multi-modal character of music representation (which is very different from image representation). As a result,...

Popular music (characterized by improvised instrumental parts, beat and measure-level organization, and steady tempo) poses challenges for human-computer music performance (HCMP). Pieces of music are typically rearrangeable on-the-fly and involve a high degree of variation from ensemble to ensemble, and even between rehearsal and performance. Computer systems aiming to participate in such ensem...

This paper presents progress towards a system for human to robot musical performance. Specifically, it focuses on a paradigm based on North Indian classical music, drawing theory from ancient tradition to guide aesthetic and design decisions. Custom built human computer interfaces combined with musical robotic systems using software which take advantage of the state of the art computer music al...

Object-oriented programming using C++ classes is established practice in the general programming community and is beginning in computer music applications (Chaudhary, Freed et al. 1988; Chaudhary 1998). However, large components of computer music systems are still commonly written in the C programming language, either because object-orientation is felt unnecessary or more often because of effic...

EarSketch is a STEAM learning intervention that combines a programming environment and API for Python and JavaScript, a digital audio workstation, an audio loop library, and a standards-aligned curriculum to teach introductory computer science together with music technology and composition. It seeks to address the imbalance in contemporary society between participation in music-making and music...

The Music Technology program and studios at Ball State University have recently moved into a greatly expanded and updated facility encompassing two large recording studios and control rooms, digital audio workstation rooms, two computer labs, SACD mastering facility, and critical listening room. Program development, begun in the early 1970s, has been updated to offer a B.M. degree in Music Tech...

This paper focuses on the potential of collaborative live coding in educational settings. In particular, it draws from our experience with EarSketch, a free online platform for algorithmic composition and computational music remixing that allows students to learn Computer Science Principles (CSP) by making music using either Python or JavaScript. We argue that collaborative live coding is a pro...

The relationship of computers to music is long and rich, dating back to the earliest years of electronic music experimentation and Musique concrete. Working at Bell Labs in 1957, Max Matthews wrote MUSIC, the first software application for creating sound on a computer, and computer technology has been integral to modern composition ever since. As we approach the 50th anniversary of the inventio...

Music Behaviors are introduced as a way to conceptually organize computation for music generation. In this abstraction, music is organized hierarchically by combining substructures either in sequence or parallel. While such structures are not new to either computer music or computer science, an efficient and simple realtime implementation that does not require threads or translation to data str...