People move to music and coordinate their movements with others spontaneously. Does music enhance spontaneous coordination? We compared the influence of visual information (seeing or not seeing another person) and auditory information (hearing movement or music or hearing no sound) on spontaneous coordination. Pairs of participants were seated side by side in rocking chairs, told a cover story,...

A gesture-driven, composition system framework called “Hand Composer” is presented. The framework is based on the analysis of the existing relationships between music generative models and musical composition in the context of the 20 century music historical background. A short definition of three music generative models with their control parameters is provided. The system framework is based o...

People move to music and coordinate their movements with others spontaneously. Does music enhance spontaneous coordination? We compared the influence of visual information (seeing or not seeing another person) and auditory information (hearing movement or music or hearing no sound) on spontaneous coordination. Pairs of participants were seated side by side in rocking chairs, told a cover story,...

Humans move to the beat of music. Despite the ubiquity and early emergence of this response, some individuals report being unable to feel the beat in music. We report a sample of people without special training, all of whom were proficient at perceiving and producing the musical beat with the exception of one case ("Mathieu"). Motion capture and psychophysical tests revealed that people synchro...

Composing computer music for large numbers of speakers is a daunting process, but it is becoming increasingly practicable. This paper argues for increased attention to the possibilities for this mode of computer music on the part of both creative artists and institutions that support advanced aesthetic research. We first consider the large role that timbre composition has played in computer mus...

The evolution of computer-based music systems has gone from computer-aided composition, which transposed the traditional paradigms of music composition to the digital realm, to complex feedback systems that allow for rich multimodal interactions. Yet, a lot of interactive music systems still rely on outdated principles in the light of modern situated cognitive systems design. Moreover, the role...

This document presents an analysis of Music Knowledge as a first step towards music representation for composition. After an introductory review of music computing evolution, several approaches to music knowledge are described: the system levels context, music theory and disciplines, dimensions in music, and finally the creative process. Then, the composition knowledge is analyzed at the symbol...

Musical visualizers are programs that process audio input in order to provide aestheticallypleasing audio-synchronized graphics. In popular music, musical instrumentation changes known as hits are an important indicator of changes in the music’s mood. Ideally, a visualizer should respond to a hit by also changing the mood of the displayed graphics to match the music. This project will focus on ...

Antonio Vivaldi is considered one of the most brilliant Italian composers and musicians his time, lack available resources under those who deal with life works, he was a violinist, composed different forms music such as opera or instrumental pieces religious music, but important features development concerto an amazing ability to innovate, researcher noticed, through reading these works playing...

Evolutionary music composition is a prominent technique for automatic music generation. The immense adaptation potential of evolutionary algorithms has allowed the realisation of systems that automatically produce music through feature and interactive-based composition approaches. Feature-based composition employs qualitatively descriptive music features as fitness landmarks. Interactive compos...