We present Andante, a representation of music as animated characters walking along the piano keyboard that appear to play the physical keys with each step. Based on a view of music pedagogy that emphasizes expressive, full-body communication early in the learning process, Andante promotes an understanding of music rooted in the body, taking advantage of walking as one of the most fundamental hu...

PREVIOUS MUSIC AND EMOTION RESEARCH SUGGESTS that individual differences in empathy, alexithymia, personality traits, and musical expertise might play a role in music-perceived emotions. In this study, we investigated the relationship between these individual characteristics and the ability of participants to recognize five basic emotions (happiness, sadness, tenderness, fear, and anger) convey...

PatchWork (PW), (Laurson, 1996a), is a visual programming language which has a direct correspondence to its base languages Common Lisp and CLOS. The user operates with graphical entities (boxes) and defines relations between them with the help of connections. PW has been extended by several user libraries that are designed to solve specific musical problems. Our focus in this paper is a user li...

During the past three years IRCAM has developed the IRCAM Musical Workstation (IMW). Recently we have begun work on musical tools and the realization of music with the system. Miller Puckette has written a version of MAX for the IMW which includes signal processing objects, as well as the standard objects found in the Macintosh version of MAX (including MIDI objects). The MAX environment for th...

This paper presents the timbre model, a signal model which has been built to better understand the relationship between the perception of timbre and the musical sounds most commonly associated with timbre. In addition, an extension to the timbre model incorporating expressions is introduced. The presented work therefore has relation to a large field of science, including auditory perception, si...

In recent years, there has been an increase in the number of artists who make use of automated music performances in their music and live concerts. Automated music performance is a form of music production using programmed musical notes. Some artists who introduce automated music performance operate parameters of the sound in their performance for production of their music. In this paper, we fo...

Electroencephalography (EEG) has been used to generate music for over 40 years, but the most recent developments in brain–computer interfaces (BCI) allow greater control and more flexible expression to use new musical instruments via EEG. We developed a real-time musical performance system using BCI technology and sonification techniques to generate chords with organically fluctuating timbre. W...

We propose an online generative algorithm to enhance musical expression via intelligent improvisation accompaniment. Our framework called the ImprovGenerator, takes a live stream of percussion patterns and generates an improvised accompaniment track in real-time to stimulate new expressions in the improvisation. We use a mixture model to generate an accompaniment pattern, that takes into accoun...

Musical experiences can be highly multisensory, from obvious auditory stimulation, to the visual elements of a live performance, and physical excitement of the body. In this paper, we propose a means of incorporating an additional somatic channel of communication into live performances and compositional practice to further augment the physical nature of live performance. This work explores the ...

Musical pattern recognition is a challenging area of research as music is a combination of audio and speech; a signal of a particular music cannot be expressed through a linear expression only. For this reason musical pattern identification by mathematical expressions is critical. In this paper a new method is being proposed for cataloguing different melodious audio stream into some specific fe...