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Automatic Music Generation

4 weeks 1 day ago

Output of the WaveNet

← Older revision Revision as of 21:04, 28 August 2021 (One intermediate revision by the same user not shown)Line 79: Line 79:



Wavenet: The Training Phase== Wavenet: The Training Phase == This is a Many-to-One problem where the input is a sequence of amplitude values and the output is the subsequent value.This is a Many-to-One problem where the input is a sequence of amplitude values and the output is the subsequent value.

Let’s see how we can prepare input and output sequences.Let’s see how we can prepare input and output sequences.

Input to the WaveNet:== Input to the WaveNet ==

WaveNet takes the chunk of a raw audio wave as an input. Raw audio wave refers to the representation of a wave in the time series domain.WaveNet takes the chunk of a raw audio wave as an input. Raw audio wave refers to the representation of a wave in the time series domain. Line 92: Line 92: [[File:Wave.gif|thumb|alt=An animated Sound Wave|An animated Sound Wave]][[File:Wave.gif|thumb|alt=An animated Sound Wave|An animated Sound Wave]]

Output of the WaveNet:== Output of the WaveNet ==

Given the sequence of the amplitude values, WaveNet tries to predict the successive amplitude value.Given the sequence of the amplitude values, WaveNet tries to predict the successive amplitude value. Line 100: Line 100: The below diagram illustrates the input and output sequences for the model:The below diagram illustrates the input and output sequences for the model:

chunk[[File:Chunk.png|thumb|alt=Input and Output of first 3 chunks|Input and Output of first 3 chunks]]   Input and Output of first 3 chunks

We can follow a similar procedure for the rest of the chunks.We can follow a similar procedure for the rest of the chunks.
Techbot

Automatic Music Generation

4 weeks 1 day ago

Approach 2: Using Long Short Term Memory (LSTM) Model

← Older revision Revision as of 20:58, 28 August 2021 Line 90: Line 90: In the time-series domain, an audio wave is represented in the form of amplitude values which are recorded at different intervals of time:In the time-series domain, an audio wave is represented in the form of amplitude values which are recorded at different intervals of time:

wave[[File:Wave.gif|thumb|alt=An animated Sound Wave|An animated Sound Wave]]   Output of the WaveNet:Output of the WaveNet:

Techbot

Automatic Music Generation

4 weeks 1 day ago

Approach 2: Using Long Short Term Memory (LSTM) Model

← Older revision Revision as of 20:56, 28 August 2021 Line 74: Line 74: Long Short Term Memory Model, popularly known as LSTM, is a variant of Recurrent Neural Networks (RNNs) that is capable of capturing the long term dependencies in the input sequence. LSTM has a wide range of applications in Sequence-to-Sequence modeling tasks like Speech Recognition, Text Summarization, Video Classification, and so on.Long Short Term Memory Model, popularly known as LSTM, is a variant of Recurrent Neural Networks (RNNs) that is capable of capturing the long term dependencies in the input sequence. LSTM has a wide range of applications in Sequence-to-Sequence modeling tasks like Speech Recognition, Text Summarization, Video Classification, and so on.

lstm[[File:Lstm.png|thumb|alt=A Long Short Term Memory Node|A Long Short Term Memory Node]]

Let’s discuss in detail how we can train our model using these two approaches.Let’s discuss in detail how we can train our model using these two approaches. Line 106: Line 106:

We can infer from the above that the output of every chunk depends only on the past information ( i.e. previous timesteps) but not on the future timesteps. Hence, this task is known as Autoregressive task and the model is known as an Autoregressive model.We can infer from the above that the output of every chunk depends only on the past information ( i.e. previous timesteps) but not on the future timesteps. Hence, this task is known as Autoregressive task and the model is known as an Autoregressive model.

= Inference phase == Inference phase =
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Main Page

4 weeks 1 day ago

The Workshops

← Older revision Revision as of 20:21, 28 August 2021 Line 100: Line 100:

== The Workshops ==== The Workshops ==  <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"> Connect a midi controller to the browserConnect a midi controller to the browser

Line 112: Line 112: * [[Build a synth in Pure Data]]* [[Build a synth in Pure Data]] * [[Build a synth in Max For Live]]* [[Build a synth in Max For Live]]  </div>  

==The Place ====The Place ==
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Zwobots

4 weeks 1 day ago

Created page with "Zwobot is a plug-in tool for real-time video, sound-responsive video effects and Vjing with Ableton Live. "Play Video Files directly in Ableton Live and generate stunning vide..."

New page

Zwobot is a plug-in tool for real-time video, sound-responsive video effects and Vjing with Ableton Live.
"Play Video Files directly in Ableton Live and generate stunning video effects."
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VST

4 weeks 1 day ago

Created page with "Virtual Studio Plugins originally developed by Steinberg for Cubase. Similar technologoies being DirectX, Audio Units and Reaper plugins"

New page

Virtual Studio Plugins originally developed by Steinberg for Cubase. Similar technologoies being DirectX, Audio Units and Reaper plugins
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Arduino

4 weeks 1 day ago

Created page with "Arduino (/ɑːrˈdwiːnoʊ/) is an open-source hardware and software company, project and user community that designs and manufactures single-board microcontrollers and microc..."

New page

Arduino (/ɑːrˈdwiːnoʊ/) is an open-source hardware and software company, project and user community that designs and manufactures single-board microcontrollers and microcontroller kits for building digital devices. Its hardware products are licensed under a CC-BY-SA license, while software is licensed under the GNU Lesser General Public License (LGPL) or the GNU General Public License (GPL),[1] permitting the manufacture of Arduino boards and software distribution by anyone. Arduino boards are available commercially from the official website or through authorized distributors.
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Main Page

4 weeks 1 day ago

The Place

← Older revision Revision as of 20:01, 28 August 2021 (2 intermediate revisions by the same user not shown)Line 19: Line 19: == The Topics ==== The Topics ==

<div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"> === [[Coding]] ===  === [[Coding]] ===   This is a coding site for musicians. Whilst experimental and electronic music does not require coding skills this site is for those techno druids that wish to go that one level deeper. However code takes second place to music. Musical perfection and purity takes precedndece over coding purity.  This is a coding site for musicians. Whilst experimental and electronic music does not require coding skills this site is for those techno druids that wish to go that one level deeper. However code takes second place to music. Musical perfection and purity takes precedndece over coding purity.   Line 67: Line 68:

Enter the [[Musicology]] sectionEnter the [[Musicology]] section </div>

== The Projects==  == The Projects==    <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"> === Daily - Audio/Visual Streaming ====== Daily - Audio/Visual Streaming === * [[OBS]]  * [[OBS]]   Line 94: Line 96: === Monthly - Open Session ====== Monthly - Open Session === Bandcamp Friday LivestreamBandcamp Friday Livestream </div>

== The Workshops ==== The Workshops == Line 114: Line 118:

the Satellite Of Lovethe Satellite Of Love  <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"> === Location ====== Location ===

Line 143: Line 147: * Evening sessions : 300 Euro per Quarter* Evening sessions : 300 Euro per Quarter * Cost is dependant on particpation (with reductions for mentors etc)* Cost is dependant on particpation (with reductions for mentors etc) </div>
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Musicology

4 weeks 1 day ago

Historical Musicology

← Older revision Revision as of 19:51, 28 August 2021 Line 8: Line 8:

== Historical Musicology ==== Historical Musicology == * [[ Max Matthews]] * [[CSIRAC]]* [[CSIRAC]]

== Systemic Musicology ==== Systemic Musicology ==
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CSIRAC

4 weeks 1 day ago

← Older revision Revision as of 19:45, 28 August 2021 Line 85: Line 85:

The project involved Ron Bowles, John Spencer and Jurij Semkiw, who were asked to create a personal computer with an emulator of CSIRAC. Programming tracks was derived from the original punch cards. For the definitive record of the music was even reused the old system of spreading the CSIRAC, meanwhile hosted by Museum Victoria. The greatest satisfaction of Paul Doornbusch, as he wrote, was the opinion of those who were able to listen to original music, and who considered new registrations quite similar to the original.The project involved Ron Bowles, John Spencer and Jurij Semkiw, who were asked to create a personal computer with an emulator of CSIRAC. Programming tracks was derived from the original punch cards. For the definitive record of the music was even reused the old system of spreading the CSIRAC, meanwhile hosted by Museum Victoria. The greatest satisfaction of Paul Doornbusch, as he wrote, was the opinion of those who were able to listen to original music, and who considered new registrations quite similar to the original. [[File:The-newspaper-about-the-music-of-the-csirac.jpg|thumb|alt=The Australian newspaper The Age devoted an article to the music composed by CSIRAC, 1960.|The Australian newspaper The Age devoted an article to the music composed by CSIRAC, 1960.]]

The newspapers are interested in the experiment musical CSIRAC, 1960.The newspapers are interested in the experiment musical CSIRAC, 1960.
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CSIRAC

4 weeks 1 day ago

← Older revision Revision as of 19:31, 28 August 2021 Line 51: Line 51: The adoption of a technique so little refined was motivated by necessity rather than by a real choice. In fact, in Australia, in that historical moment, was not yet available as a basic tool of the digital signals to analog converter. It is worth mentioning here that the great difference between the experiments conducted by Max Mathwes at Bell Labs with Music N and those made elsewhere, and also in Australia, lies in the possibility to take advantage of that technology.The adoption of a technique so little refined was motivated by necessity rather than by a real choice. In fact, in Australia, in that historical moment, was not yet available as a basic tool of the digital signals to analog converter. It is worth mentioning here that the great difference between the experiments conducted by Max Mathwes at Bell Labs with Music N and those made elsewhere, and also in Australia, lies in the possibility to take advantage of that technology.

An image showing the removal of the CSIRAC from Sydney to Melbourne. June 1955. Via www.csse.unimelb.edu.au [[File:The-csirac-computer-moved-to-melbourne.jpg|thumb|left|alt=An image showing the removal of the CSIRAC from Sydney to Melbourne. June 1955. Via www.csse.unimelb.edu.au|An image showing the removal of the CSIRAC from Sydney to Melbourne. June 1955. Via www.csse.unimelb.edu.au]][[File:The-csirac-computer-moved-to-melbourne.jpg|thumb|left|alt=An image showing the removal of the CSIRAC from Sydney to Melbourne. June 1955. Via www.csse.unimelb.edu.au|An image showing the removal of the CSIRAC from Sydney to Melbourne. June 1955. Via www.csse.unimelb.edu.au]]

Line 58: Line 57: The new life of Melbourne is characterized not only by the name change, but also for a renewed push to the musical project of CSIRAC. The most important contribution, alongside that of Geoff Hill who continued to take an interest in the fate of the music, came from Thomas Cherry, Professor of Mathematics. The first objective place, and reached by Cherry was to increase the dynamic range of tones, by making some modifications in the programming phase.The new life of Melbourne is characterized not only by the name change, but also for a renewed push to the musical project of CSIRAC. The most important contribution, alongside that of Geoff Hill who continued to take an interest in the fate of the music, came from Thomas Cherry, Professor of Mathematics. The first objective place, and reached by Cherry was to increase the dynamic range of tones, by making some modifications in the programming phase.

One of the first songs heard in Melbourne was Gaudeaums Igitur, programmed in collaboration with Geoff Hill and performed on the occasion of the public presentation of CSIRAC in 1956. The experimentation of Melbourne is summed up in a couple of tests of musical scales and data programming of two melodies, So early in the Morning and In Cellar Cool. Added to this is another song, performed in 1958: Lucy Long, a theme with variations for bassoon. The choice of the latter was motivated by Cherry that in his opinion the sounds made with the CSIRAC remembered precisely those of a bassoon.One of the first songs heard in Melbourne was Gaudeaums Igitur, programmed in collaboration with Geoff Hill and performed on the occasion of the public presentation of CSIRAC in 1956. The experimentation of Melbourne is summed up in a couple of tests of musical scales and data programming of two melodies, So early in the Morning and In Cellar Cool. Added to this is another song, performed in 1958: Lucy Long, a theme with variations for bassoon. The choice of the latter was motivated by Cherry that in his opinion the sounds made with the CSIRAC remembered precisely those of a bassoon.

Line 85: Line 82: The Australian newspaper The Age devoted an article to the music composed by CSIRAC, 1960.The Australian newspaper The Age devoted an article to the music composed by CSIRAC, 1960.        [[File:The-age-newspaper-and-the-music-of-csirac1.jpg|thumb|left|alt=The Australian newspaper The Age devoted an article to the music composed by CSIRAC, 1960.|The Australian newspaper The Age devoted an article to the music composed by CSIRAC, 1960.]]

The project involved Ron Bowles, John Spencer and Jurij Semkiw, who were asked to create a personal computer with an emulator of CSIRAC. Programming tracks was derived from the original punch cards. For the definitive record of the music was even reused the old system of spreading the CSIRAC, meanwhile hosted by Museum Victoria. The greatest satisfaction of Paul Doornbusch, as he wrote, was the opinion of those who were able to listen to original music, and who considered new registrations quite similar to the original.The project involved Ron Bowles, John Spencer and Jurij Semkiw, who were asked to create a personal computer with an emulator of CSIRAC. Programming tracks was derived from the original punch cards. For the definitive record of the music was even reused the old system of spreading the CSIRAC, meanwhile hosted by Museum Victoria. The greatest satisfaction of Paul Doornbusch, as he wrote, was the opinion of those who were able to listen to original music, and who considered new registrations quite similar to the original. Line 93: Line 91: Another newspaper interested to the music of CSIRAC.Another newspaper interested to the music of CSIRAC.       

In the book of Paul Doornbusch also includes a CD that contains all the music made with the CSIRAC, however the net you can find some examples enough to get an idea of what results had been achieved in Australia in that historical period. To listen to Colonel Bogey, the first song made with the Australian computer click this link, while at this link you can listen to the second version of In Cellar Cool, that they are also simulated all the noise that normally could be heard along with the musical part during executions original fifties.In the book of Paul Doornbusch also includes a CD that contains all the music made with the CSIRAC, however the net you can find some examples enough to get an idea of what results had been achieved in Australia in that historical period. To listen to Colonel Bogey, the first song made with the Australian computer click this link, while at this link you can listen to the second version of In Cellar Cool, that they are also simulated all the noise that normally could be heard along with the musical part during executions original fifties.
Techbot

CSIRAC

4 weeks 1 day ago

← Older revision Revision as of 19:27, 28 August 2021 Line 32: Line 32: [[File:The-Edsac-computer.jpg|thumb|alt=The computer EDSAC University of Cambridge, in an image taken in May of 1949.|The computer EDSAC University of Cambridge, in an image taken in May of 1949.]][[File:The-Edsac-computer.jpg|thumb|alt=The computer EDSAC University of Cambridge, in an image taken in May of 1949.|The computer EDSAC University of Cambridge, in an image taken in May of 1949.]]

The computer EDSAC University of Cambridge, in an image taken in May of 1949.

The first computer in the United Kingdom, also to be equipped with a variable frequency circuit, was the Ferranti Mark I, a commercial version of the Manchester Mark I, on which – not surprisingly – we would have to tell a story as interesting as that of the CSIRAC. It is likely that in this story I will dedicate myself in the coming weeks, for the moment I will only point out that the Ferranti Mark I was programmed to generate sounds in September 1951, with a delay of a few weeks than the Australian experimentation.The first computer in the United Kingdom, also to be equipped with a variable frequency circuit, was the Ferranti Mark I, a commercial version of the Manchester Mark I, on which – not surprisingly – we would have to tell a story as interesting as that of the CSIRAC. It is likely that in this story I will dedicate myself in the coming weeks, for the moment I will only point out that the Ferranti Mark I was programmed to generate sounds in September 1951, with a delay of a few weeks than the Australian experimentation. Line 51: Line 48:

Acting on the console of the computer, the operator could select which melody run. But in what way the researchers were able to generate sounds? The technique used, as I mentioned earlier, it was rather primitive: the frequency of the sounds was defined by cycles of pulses sent directly to the speakers, and through a programming job was possible to get a wave with a sawtooth profile. Acting on the pulse was also possible to define the amplitude, and each operation was carried out in real time as the CSIRAC was not equipped with any storage device.Acting on the console of the computer, the operator could select which melody run. But in what way the researchers were able to generate sounds? The technique used, as I mentioned earlier, it was rather primitive: the frequency of the sounds was defined by cycles of pulses sent directly to the speakers, and through a programming job was possible to get a wave with a sawtooth profile. Acting on the pulse was also possible to define the amplitude, and each operation was carried out in real time as the CSIRAC was not equipped with any storage device.

The adoption of a technique so little refined was motivated by necessity rather than by a real choice. In fact, in Australia, in that historical moment, was not yet available as a basic tool of the digital signals to analog converter. It is worth mentioning here that the great difference between the experiments conducted by Max Mathwes at Bell Labs with Music N and those made elsewhere, and also in Australia, lies in the possibility to take advantage of that technology.The adoption of a technique so little refined was motivated by necessity rather than by a real choice. In fact, in Australia, in that historical moment, was not yet available as a basic tool of the digital signals to analog converter. It is worth mentioning here that the great difference between the experiments conducted by Max Mathwes at Bell Labs with Music N and those made elsewhere, and also in Australia, lies in the possibility to take advantage of that technology.

An image showing the removal of the CSIRAC from Sydney to Melbourne. June 1955. Via www.csse.unimelb.edu.auAn image showing the removal of the CSIRAC from Sydney to Melbourne. June 1955. Via www.csse.unimelb.edu.au [[File:The-csirac-computer-moved-to-melbourne.jpg|thumb|left|alt=An image showing the removal of the CSIRAC from Sydney to Melbourne. June 1955. Via www.csse.unimelb.edu.au|An image showing the removal of the CSIRAC from Sydney to Melbourne. June 1955. Via www.csse.unimelb.edu.au]] Music…  in Melbourne – The permanence of the CSIR Mk1 in Sydney lasted until June 1955. At that point it was decided that the Australian super computer would continue to render his services for the Department of Physics of  the University of Melbourne, where exactly was moved and where remained in operation until 1964. the installation in the new residence earned the CSIR Mk1 also a change of name, thus assuming the more well known name CSIRAC.Music…  in Melbourne – The permanence of the CSIR Mk1 in Sydney lasted until June 1955. At that point it was decided that the Australian super computer would continue to render his services for the Department of Physics of  the University of Melbourne, where exactly was moved and where remained in operation until 1964. the installation in the new residence earned the CSIR Mk1 also a change of name, thus assuming the more well known name CSIRAC.

Techbot

CSIRAC

4 weeks 1 day ago

← Older revision Revision as of 19:16, 28 August 2021 Line 29: Line 29:

Although there may be a direct line that somehow ties the Australian experience with what would be realized in England, there is also an important difference in that time plays in favor of the CSIR Mk1. The latter, in fact, was equipped with an audio circuit programmable, which allowed to generate sounds not only fixed but also of variable frequencies, an essential aspect in order to perform real melodies rather than simple continuous sounds, which is would be limited to the Manchester Mark I and the EDSAC, if they were used for musical purposes.Although there may be a direct line that somehow ties the Australian experience with what would be realized in England, there is also an important difference in that time plays in favor of the CSIR Mk1. The latter, in fact, was equipped with an audio circuit programmable, which allowed to generate sounds not only fixed but also of variable frequencies, an essential aspect in order to perform real melodies rather than simple continuous sounds, which is would be limited to the Manchester Mark I and the EDSAC, if they were used for musical purposes. [[File:The-Edsac-computer.jpg|thumb|alt=The computer EDSAC University of Cambridge, in an image taken in May of 1949.|The computer EDSAC University of Cambridge, in an image taken in May of 1949.]]

The computer EDSAC University of Cambridge, in an image taken in May of 1949.The computer EDSAC University of Cambridge, in an image taken in May of 1949.
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