Music Navigation with Symbols and Layers: Toward Content Browsing with IEEE 1599 XML Encoding

214 Pages·2013·20.021 MB·English

MUSIC NAVIGATION
WITH SYMBOLS
AND LAYERS
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IBM Institute for Business Value
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MUSIC NAVIGATION
WITH SYMBOLS
AND LAYERS
Toward Content Browsing with
IEEE 1599 XML Encoding
Edited by
Denis L. Baggi
Goffredo M. Haus
Cover Design: Michael Rutkowski
Cover Illustration: © Ming Lok Fung/iStockphoto
Copyright © 2013 by the IEEE Computer Society. All rights reserved.
Published by John Wiley & Sons, Inc., Hoboken, New Jersey.
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Library of Congress Cataloging-in-Publication Data:
Music navigation with symbols and layers : toward content browsing with IEEE 1599 XML encoding /
edited by Denis L. Baggi and Goffredo M. Haus.
p. cm.
Includes index.
ISBN 978-0-470-59716-3 (cloth)
1. Information storage and retrieval systems–Music. 2. XML (Document markup language)
I. Baggi, Denis. II. Haus, Goffredo.
ML74.3.M87 2012
780.285'674–dc23
2012027836
Printed in the United States of America.
10 9 8 7 6 5 4 3 2 1
Illustration of IEEE 1599, artwork by Marco Mariotta, Marco Mariotta Designs, Ascona,
Switzerland.
CONTENTS
Preface xi
A Brief Introduction to the IEEE 1599 Standard xv
Denis L. Baggi and Goffredo M. Haus
List of Contributors xvii
1
THE IEEE 1599 STANDARD 1
Denis L. Baggi and Goffredo M. Haus
1.1  Introduction  1
Important Features of IEEE 1599  2
Examples of Applications of IEEE 1599 to Increase Music Enjoyment  3
Example I: A Score with Different Versions: “King Porter Stomp,”  
by Jelly Roll Morton  6
Example II: A Jazz Piece with No Score: “Crazy Rhythm”  6
Example III: An Opera Using the Composer’s Manuscript: Tosca, 
by Giacomo Puccini  9
Example IV: “Peaches en Regalia,” by Frank Zappa  9
Example V: “Il mio ben quando verrà,” by Giovanni Paisiello  12
Example VI: Brandenburg Concerto No. 3, by J.S. Bach  14
Example VII: Blues, a Didactical Tool to Learn Jazz Improvisation  14
Example VIII: “La caccia,” from Antonio Vivaldi’s Four Seasons 
(“Autumn”)  16
Example IX: A Musicological Fantasy: Tauhid, a Piece of Free Jazz  17
Conclusions  19
Acknowledgments  19
References  19
2
ENCODING MUSIC INFORMATION 21
Luca A. Ludovico
2.1  Introduction  21
2.2  Heterogeneous Descriptions of Music  22
2.3  Available File Formats  23
2.4  Key Features of IEEE 1599  24
2.5  Multi-Layer Structure  25
vii
viii Contents
2.6  The Logic Layer  27
2.7  The Spine  29
2.7.1  Inter-layer and Intra-layer Synchronization  31
2.7.2  Virtual Timing and Position of Events  32
2.7.3  How to Build the Spine  33
References  36
3
STRUCTURING MUSIC INFORMATION 37
Adriano Baratè and Goffredo M. Haus
3.1  Introduction  37
3.2  Music Objects and Music Algorithms  38
3.2.1  Music Objects  38
3.2.2  Music Algorithms  38
3.2.3  Music Objects and Music Algorithms in IEEE 1599  39
3.3  Petri Nets  39
3.3.1  Petri Nets Extension: Hierarchy  40
3.3.2  Petri Nets Extension: Probabilistic Arc Weights  43
3.4  Music Petri Nets  44
3.4.1  Music Petri Nets in IEEE 1599  47
3.5  Music Analysis Using Music Petri Nets  47
3.6  Real-Time Interaction with Music Petri Nets  50
3.7  Conclusions  55
References  55
4
MODELING AND SEARCHING MUSIC COLLECTIONS 57
Alberto Pinto
4.1  Introduction  57
4.2  Describing Music Content  58
4.2.1  Music Search Engines  59
4.3  Music Description in IEEE 1599  60
4.3.1  Chord Grid Objects  64
4.3.2  Petri Net Objects  65
4.3.3  Analysis Objects  65
4.3.4  MIR Objects  66
4.4  The Theoretical Framework  66
4.4.1  The Model Perspective  66
4.4.2  Categories  67
4.5  Music Modeling and Retrieval in IEEE 1599  67
4.5.1  MIR Model  68
4.5.2  MIR Object  69
4.5.3  MIR Subobject  70
4.5.4  MIR Morphisms  70
Contents ix
4.5.5  MIR Features  70
4.5.6  GraphXML Encoding  71
4.6  Case Study: Graph-Categorial Modeling  72
4.6.1  Content Description  72
4.6.2  Content Retrieval  72
4.6.3  MIR Model  73
4.6.4  MIR Object and Subobject  74
4.6.5  MIR Morphism  75
References  75
5
FEATURE EXTRACTION AND SYNCHRONIZATION AMONG LAYERS 77
Antonello D’Aguanno, Goffredo M. Haus, and Davide A. Mauro
5.1  Introduction  77
5.2  Encoding Synchronization Information  78
5.2.1  Extraction of Synchronization Data  82
5.2.2  Case Study  84
5.3  Overview of Synchronization Algorithms  84
5.4  VarSi: An Automatic Score-to-Audio Synchronization Algorithm  
Based on the IEEE 1599 Format  88
5.4.1  Score Analysis  89
5.4.2  Audio Analysis  90
5.4.3  Decisional Phase  91
References  94
6
IEEE 1599 AND SOUND SYNTHESIS 97
Luca A. Ludovico
6.1  Introduction  97
6.2  From Music Symbols to Sound Synthesis  98
6.2.1  Translating Symbols into a Performance Language  99
6.2.2  Interpretative Models  105
6.2.3  Audio Rendering and Synchronization  106
6.3  From Sound Synthesis to Music Symbols  108
6.4  An Example of Encoding  110
6.5  Conclusions  113
References  114
7
IEEE 1599 APPLICATIONS FOR ENTERTAINMENT AND EDUCATION 115
Adriano Baratè and Luca A. Ludovico
7.1  Introduction  115
7.2  IEEE 1599 for Entertainment  116
7.3  IEEE 1599 for Music Education  117
7.4  IEEE 1599-Based Music Viewers  118
x Contents
7.5  Case Studies  120
7.5.1  Navigating and Interacting with Music Notation and Audio  120
7.5.2  Musicological Analysis  121
7.5.3  Instrumental and Ear Training  126
7.5.4  IEEE 1599 Beyond Music  132
References  132
8
PAST PROJECTS USING SYMBOLS FOR MUSIC 133
Denis L. Baggi
8.1  Brief History  133
8.2  Bass Computerized Harmonization (BA-C-H)  134
8.3  Harmony Machine  135
8.4  NeurSwing, an Automatic Jazz Rhythm Section Built with Neural Nets  141
8.5  The Paul Glass System  145
8.6  A Program That Finds Notes and Type of a Chord and Plays It  147
8.7  Summary of Projects  149
8.8  Conclusions  150
References  150
Appendix A. Brief History of IEEE 1599 Standard,
and Acknowledgments 151
Appendix B. IEEE Document-Type Definitions (DTDs) 153
Appendix C. IEEE 1599 Demonstration Videos 177
Index 179
PREFACE
Computer Generated Music is the term used by the IEEE Computer Society to indicate
the vast scientific and engineering area that deals with computer applications to music and
musicology. At one extreme, one finds artistic music created, composed, and/or performed
with the help of computers—as are the majority of contemporary music pieces. At the
other extreme is electronic signal processing, in which the Technical Committee dedicated
to this discipline, in existence since 1992, is happy to include all kinds of projects, includ-
ing extremes.
Fortunately for both the layman and the practitioner, thousands of publications are in
existence on the subject, as interest in this field has grown ever since the inception of the
computer.1 Here, we provide a brief review of a few well-known textbooks as a starting
point for interested readers, and to allow a positioning of this new work within the existing
literature.
Experimental Music [Hiller and Isaacson 1959; see also Chapter 7] has the merit of
being the first-known experiment from which a piece of music was obtained from a com-
puter program. One of the authors, Hiller, also contributed an important chapter in [Lincoln
1970], providing an up-to-date report for the time of the publication. Since then, collec-
tions of reports on interesting projects have steadily published, such as Roads [1989] and
Roads and Srawn [1985], the extension of the special issue of IEEE COMPUTER dedi-
cated to Computer Generated Music [Baggi 1992] with companion audio CD, and, earlier,
one of the first collections with a floppy record included in the finished result von Foerster
and Beauchamp [1969], as well as Brook [1970] with its mention of symbolic code. As
curiosities, we shall mention an early work by Barbaud [1965], with programming code
in ALGOL, while Forte [1973] is a model for atonal music that could easily be imple-
mented as a programmed system similar to Macsyma, Mathematica, and other systems for
symbolic mathematics.
This book is therefore not a mere addition to the existing collections on the subject,
but instead emphasizes the symbolic representation of music—as practiced in virtually all
musical cultures worldwide—and retains all other aspects of music, especially sound.
IEEE 1599 standard is a new technology in which the core of music representation is a
symbolic file in Extensible Markup Language (XML) that refers to all musical layers
representing sound, audio, images (scores), video, metadata (historical details, catalogs,
visual art), and the like. It is therefore an encompassing guide that represents, addresses,
and incorporates all aspects of music, even those not anticipated at the time of standard
approval. It includes all past, present, and future formats and standards for sound, perfor-
mance, representation, and so on.
1 And for several centuries, if not millennia, if one considers Babylonian algorithms; see the Introduction.
xi