Software domains for musical-information management
In a typical year we work with one or more notation programs. The web-base=
d
Guido
system offers an entry point for those who have no experience with notation
software. Finale is useful for its versatility and broad user-base. Score =
is a
top-of-the-line typesetting program offering maximum control of details an=
d unequalled
aesthetic results.
We treat MIDI separately and in considerable technical detail. We usually =
use
Cakewalk
as a high-level interface, but some exercises involve working directly=
with
MIDI data.
With basic skills in notation and sound rendering at hand, we move to appl=
ications
in music analysis, data conversion, and data query. Most of these are
considered in the spring quarter (Music 254/CS 275B), but we try to touch =
on
them in the winter quarter to round out the view of music representation.<=
/div>
Frontiers of musical information
The development of musical information for machine applications is a field=
in its
infancy. Serious attention has been given to it in the context of computer=
applications
for almost 40 years, but early limitations of storage space and processing
time crippled applications, however sophisticated their intellectual under=
pinnings
may have been. It is undoubtedly the case that those working 40 years from=
now
will see current efforts as primitive, but some broad uses of musical data
have been made over the past 20 years. We will explore several of these.&#=
13;
Applications of musical information
While there are hundreds of applications of musical information, we often =
work
with resources based here. The chief ones are a full-text data archive of =
classical
music scores (
MuseData ) and an extensive, searchable database of in=
cipits
(the opening or defining themes) of musical works (
Themefinder) .
These resources are available via=
the
Internet from any location.
Selective understandings of music
The design of applications often presupposes a selective understanding of =
music.
Some users (e.g., of notation software) want absolute pitch-names, for exa=
mple,
while others (e.g., music psychologists) want relative information such as
intervallic data. Some users may wish to concentrate exclusively on data f=
rom
one domain (sound or notation). Others may prefer a reduced set of data fr=
om
several domains (e.g., meter without specific details of rhythmic realizat=
ion).
Selective understandings, cont.
Many issues in computer applications concern the order in which processes =
occur
and the specific nature of the data on which they are run. Should the data=
be
evaluated when still raw or should it be preprocessed? If so, how? When? M=
ust
all the data attributes be evaluated or can they be considered only when
required? Will the application produce data in a new format? How can it be
used? Who might find it useful?
Data quality is an important issue for many applications, because poor or =
incomplete
data will give different results from rich data. But rich data may carry
overheads in encoding, storage, and processing time which carry little ben=
efit
for the immediately intended application. Thus the question of whether the
data used in one application may be valuable for another, slightly differe=
nt application
is one well worth asking.
Musical information confounds
Musical applications exist in which little “information” is
present. Some notation systems, for example, are purely drawing systems. T=
hese
have tended to dwindle over the years, because without an underpinning dat=
a,
the “result” provided by the application cannot easily for
evaluated or modified. Nonetheless, it is worth being alert to the “=
demo
or die” syndrome, which emphasizes making a good impression at all
costs.
A great deal of confusion still lingers over the discontinuity (in computer
terms) between signs and sounds. On the page we see here, the dynamics sig=
ns, crescendos,
trills, slurs, and metronome marking are all expressed by graphical symbol=
s.
To be actualized in music, they require implementations
over time. =
The
difference between
time and
not-time i s a fundamental conund=
rum
of music representation. In music applications it is tangible and ubiquito=
us.
Signs can happen in sound (e.g., in speech) but signs in music applications
usually refer to data tokens (elements of information) or notated symbols&=
#8212;for
particular sound effects.
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Notes
1
Music 253/CS 275A Topic 1A
Stanford University
2
Sound
Text
Act
Mental image
3
Sound: parameterization of sound qualities
Text: symbolic representation of scores
Act: symbolic representation of gestures
Mental image: rules, hierarchies, principles
4
Sound-based: MIDI (Cakewalk)
Text-based: Guido, Finale, SCORE
Analysis-oriented: Humdrum Toolkit
Data and Data Interchange: MuseData, EsAC, P&E, MusicXML
5
Data resource development
Data management and identification
Data interchange
Data manipulation, searching
Representation of results
User interfaces
6
MuseData: full-score encodings of standard repertories (< 1,000 w=
orks)
Themefinder: symbol-based thematic search with graphic and MIDI
representations of "hits" (< 40,000 themes)
Where? www.ccarh.org (pointers) or
www.musedata.org
www.themefinder.org
N.B. www.ccarh.org/courses/
7
Absolute vs. relative
machine-oriented
user-oriented
Complete vs. selective
Selection by domain
Selection by reduction
8
Raw vs. interpreted data
Common vs. application-specific data
Data attributes
Application attributes
9
No symbolic data-content:
"Pure" graphics
"Pure" sound
Sign vs. sound:
Domain-specific attributes
10
Main idea: "adequacy" of representation scheme
Where: Darmstadt/BC/JHU
Components:
Representation
MIDI/MIDI conversion
Screen notation
Printing: NoteWriter
Optical recognition: Fujinaga/Levy Sheet Music
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