The cmu midi toolkit
Roger B. Dannenberg1986, … of the 1986 International Computer Music …
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Abstract
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The CMU MIDI Toolkit (CMT) is a software suite aimed at computer music education, composition, and performance, featuring a text-based music language called Adagio, MIDI recording and playback capabilities, and programming environments for interactive music creation. CMT supports various hardware platforms and provides flexibility through open-source design and comprehensive functionality for handling MIDI systems.
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MIDI-LAB, a Powerful Visual Basic Program for Creating MIDI Music
Creating MIDI music can be a practical challenge. In the past, working with it was difficult and frustrating to all but the most accomplished and determined. Now, however, we are offering a powerful Visual Basic program called MIDI-LAB, that is easy to learn, and instantly rewarding to even the newest users. MIDI-LAB has been developed to give users the ability to quickly create music with a limitless variety of tunes, tempos, speeds, volumes, instruments, rhythms and major scales. This program has a simple, intuitive, and user-friendly interface, which provides a straightforward way to enter musical data with Numbered Musical Notation (NMN) and immediately create MIDI music. The key feature of this program is the digitalization of music input. It vastly simplifies creating, editing, and saving MIDI music. MIDI-LAB can be used virtually anywhere to write music for entertainment, teaching, computer games, and mobile phone ringtones.
MIDI 2.0: Promises and Challenges
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MIDI, the musical instrument digital interface, is a highly successful protocol for conveying and, through the use of Standard MIDI Files, representing musical performance information. However, it lacks the ability to convey notation information. The newly approved MIDI 2.0 protocol gives us a chance to rectify that by including notation information in the next version of the MIDI File Specification.
MIDI toolbox: Matlab tools for music research
2004
MIDI Toolbox provides a set of Matlab functions, which together have all the necessary machinery to analyze and visualize MIDI data. The development of the Toolbox has been part of ongoing research involved in topics relating to musical data- mining, modelling music perception and decomposing the data for and from perceptual experiments. Although MIDI data is not necessarily a good representation of music in general, it suffices for many research questions dealing with concepts such as melodic contour, tonality and pulse finding. These concepts are intriguing from the point of view of music perception and the chosen representation greatly affects the way these issues can be approached. MIDI is not able to handle the timbre of music and therefore it unsuitable representation for a number of research questions (for summary, see Hewlett and Selfridge-Field, 1993-94, p. 11-28). All musical signals may be processed from acoustic representation and there are suitable tools available for these purposes (e.g. IPEM toolbox, Leman et al., 2000). However, there is a body of essential questions of music cognition that benefit from a MIDI-based approach. MIDI does not contain notational information, such as phrase and bar markings, and neither is that information conveyed in explicit terms to the ears of music listeners. Consequently, models of music cognition must infer these musical cues from the pitch, timing and velocity information that MIDI provides. Another advantage of the MIDI format is that it is extremely wide-spread among the research community as well as having a wider group of users amongst the music professionals, artists and amateur musicians. MIDI is a common file format between many notation, sequencing and performance programs across a variety of operating systems. Numerous pieces of hardware exist that collect data from musical performances, either directly from the instrument (e.g. digital pianos and other MIDI instruments) or from the movements of the artists (e.g. motion tracking of musician’s gestures, hand movements etc.). The vast majority of this technology is based on MIDI representation. However, the analysis of the MIDI data is often developed from scratch for each research question. The aim of MIDI Toolbox is to provide the core representation and functions that are needed most often. These basic tools are designed to be modular to allow easy further development and tailoring for specific analysis needs. Another aim is to facilitate efficient use and to lower the “threshold of practicalities”. For example, the Toolbox can be used as teaching aid in music cognition courses.
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MIDI CompoSITion Tools dengan menggunakan JFugue Java API
fportfolio.petra.ac.id
In order to compose a song, composer needs to have many kinds of instruments to produce his composition. Therefore, an assisting tool that can represent instruments to compose a song is necessary. This software was developed to provide that assisting tool. This software was developed using JFugue Java API which could represent music in the form of programming language. The software used the Object Oriented Programming (OOP) concept and was programmed with java and NetBeans IDE 5.5 as the compiler. This software provides 16 tracks, 127 type of instruments, note setting (including octave, duration, and chord), and tempo setting. It is also can read, write, and save file in MIDI format.
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Academia Letters, 2021
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User-Friendly MIDI in the Web Browser
NIME 2022
The Web MIDI API allows the Web browser to interact with hardware and software MIDI devices detected at the operating system level. This ability for the browser to interface with most electronic instruments made in the past 30 years offers significant opportunities to preserve, enhance or rediscover a rich musical and technical heritage. By including MIDI in the broader Web ecosystem, this API also opens endless possibilities to create music in a networked and socially engaging way. However, the Web MIDI API specification only offers low-level access to MIDI devices and messages. For instance, it does not provide semantics on top of the raw numerical messages exchanged between devices. This is likely to deter novice programmers and significantly slow down experienced programmers. After reviewing the usability of the bare Web MIDI API, the WEBMIDI.js JavaScript library was created to alleviate this situation. By decoding raw MIDI messages, encapsulating complicated processes and providing semantically significant objects, properties, methods and events, the library makes it easier to interface with MIDI devices from compatible browsers. This paper first looks at the context in which the specification was created and then discusses the usability improvements layered on top of the API by the open-source WEBMIDI.js library.
An Implementation Guide for RTP MIDI
2006
This memo offers non-normative implementation guidance for the Realtime Protocol (RTP) MIDI (Musical Instrument Digital Interface) payload format. The memo presents its advice in the context of a network musical performance application. In this application two musicians, located in different physical locations, interact over a network to perform as they would if located in the same room. Underlying the performances are RTP MIDI sessions over unicast UDP. Algorithms for sending and receiving recovery journals (the resiliency structure for the payload format) are described in detail. Although the memo focuses on network musical performance, the presented implementation advice is relevant to other RTP MIDI applications.
A MIDI sequencer that widens access to the compositional possibilities of novel tunings
2012
We present a new Dynamic Tonality MIDI sequencer, Hex, that aims to make sequencing music in and across a large variety of novel tunings as straightforward as sequencing in twelve-tone equal temperament. It replaces the piano roll used in conventional MIDI sequencers with a two-dimensional lattice roll in order to enable the intuitive visualization and dynamic manipulation of tuning. In conventional piano roll sequencers, a piano keyboard is displayed on the left side of the window, and white and black note lanes extend horizontally to the right, into which a user can draw a sequence of notes. Similarly, in Hex, a button lattice is displayed in its own pane on the left side of the window, and horizontal lines are drawn from the center of each note to the right. These lines function as generalized note lanes, just like in piano roll sequencers, but with the added benefit that each note lane's height is always proportional to its pitch, even if the user changes the tuning. The presence of the button lattice on the left side of the window illustrates exactly which buttons a performer would play in order to replicate the sequence when playing a physical button lattice instrument.
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This article discusses the internal architecture of the MidifilePerformer application. This software allows a user to follow a score described in the MIDI format at its own pace and with its own accentuation. MidifilePerformer allows for a wide variety of style and interpretation to be applied to the vast number of MIDI files found on the Internet. We present here the algorithms enabling the association between the commands made by the performer, via a MIDI or alphanumeric keyboard, and the notes appearing in the score. We will show that these algorithms define a notion of expressiveness which extends the possibilities of interpretation while maintaining the simplicity of the gesture.
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Proceedings of the AAAI Workshop on Artificial …, 2000
In this paper a system that is designed to extract the musical score from a MIDI performance is described. The proposed system comprises of a number of modules that perform the following tasks: identification of elementary musical objects, calculation of accent (salience) of musical events, beat induction, beat tracking, onset quantisation, streaming, duration quantisation and pitch spelling. The system has been applied on 13 complete Mozart sonata performances giving very encouraging results.
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Musical Instrument Digital Interface (MIDI) is an industry-standard communications proto- col for electrical musical instruments. Since its introduction in 1983, MIDI has rapidly achieved prominence, revolutionizing the music world, with most musicians and manufacturers growing increasingly dependent on it; yet, some musical communities have remained critical because its use has presented numerous technical and aes- thetic issues.
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Although MIDI is often used for computer-based interactive music applications, its real-time performance is rarely quantified, despite concerns about whether it is capable of adequate performance in realistic settings. We extend existing proposals for MIDI performance benchmarking so they are useful in realistic interactive scenarios, including those with heavy MIDI traffic and CPU load. We have produced a cross-platform freely-available testing suite that is easy to use, and have used it to survey the interactive performance of several commonly-used computer/MIDI setups. We describe the suite, summarize the results of our performance survey, and detail the benefits of this testing methodology.
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Conventional sequence software systems, which are com- monly used to edit MIDI-encoded music, possess two kinds of problems due to interactions with MIDI data through multiple independent windows. We address the problems by develop- ing a system, called comp-i (Comprehensible MIDI Player - Interactive), which provides music composers and arrangers with a novel type of 3D interactive virtual space, where the users are allowed to explore global music structures and to edit local features, both are embedded in a time-series of mul- tichannel asynchronous events of MIDI datasets while keep- ing their cognitive maps.
The Composers Toolbox, a Lisp-based precomposition environment: General system overview and an introduction to the package's new krayola MIDI paint module
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The Composers Toolbox is a Macintosh Common Lisp-based environment designed to facilitate ease of data manipulation during the precompositional sketching process. The package provides a series of tools, many with graphic interfaces, which allow the user to work with both MIDI and sampled sound data in a free and flexible fashion.
MIDI in Formal Music Education: Reflections on the Application of MIDI-Oriented Tools in Traditional Teaching and Learning Processes
MIDI in Formal Music Education: Reflections on the Application of MIDI-Oriented Tools in Traditional Teaching and Learning Processes, 2021
Since 1983, with the release of the MIDI protocol, new resources have been developed for musical editing, composition, arrangement and performance. Due to the growing expansion of computers' storage and processing capacities, it has also been possible to increase the quality and specificity of sample libraries. In this context, the following work reflects on possible educational impacts of the research which investigate different audiences' perceptions regarding audios recorded by drummers' performances and by MIDI tools. Supported by the respondents' perceptions, the general aim of this paper is to reflect on the challenges for the application of MIDI-oriented approaches in formal teaching and learning music processes. Excerpted from this, four specific aims can be drawn: 1) to present the basic elements of sampling and MIDI protocol; 2) to systematically and pedagogically describe the procedures employed in the process of sequencing the selected drummers' performances; 3) to apply quality-assessment questionnaires for the sequencing-generated audios; 4) to reflect on the connections between the questionnaires' results and the use of MIDI in formal music education contexts. Pursuing these aims, the current investigation employs qualitative and quantitative methods to gather the data, to analyze the materials and to develop the knowledge that will guide the proposed discussions. It is defended that the employment of MIDI resources in music education can be beneficial not only for the development of knowledge connected with digital and modern technologies but also for the improvement of traditionally pursued music competences.
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