Micro-MIDI: A Real Time, Dynamic Microtonal MIDI Application

… of the 1986 International Computer Music …, 1986

2020

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.

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.

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.

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.

DEStech Transactions on Environment, Energy and Earth Sciences, 2019

 MIDI music gradually becomes an important teaching method in music teaching because it is simple, efficient and multifunctional. More and more teachers choose to use computer MIDI music in music classes. It has brought great benefits to both students and teachers. This paper will focus on the application and research of computer MIDI music in music class of normal university. We are now in an era of rapid development of science and technology. Computer music is also brought into our life. Although the computer music entered our life for a short time, the development of it is extremely fast. Compared with the traditional single-teacher teaching, teaching with the support of computer MIDI is more popular among students. This makes computer MIDI music used in more and more music courses in normal colleges for teaching. 1.THE CONCEPT AND CHARACTERISTICSOF COMPUTER MIDI MUSIC 1.1 Concept: MIDI refers to musical instrument digital interface. It is an interface standard. Computer MIDI is the most standard music format in the music industry. It is called "the music score can be understood by the computer". It allows accurate

2013

This project describes' a controller device, called MIDI (Music Instrument Digital interface) to control an Angklung (Traditional Music Instrument) with 2 Octaves diatonic automatically. MIDI device or MID! files will generate MID! data which is decoded into music synthesis commands to the electric motor (DC Motor). Angklung will be control from MIDI Keyboard or Computer as interface. This project will show how far the accuracy of the way to play Angklungs between human and autonomous technology.

Cultural Computing, 2010

This paper discusses a new approach to computer music synthesis where music is composed specifically for performance using mobile handheld devices. Open source cross-platform computer music synthesis software initially developed for composing on desktop computers has been used to program a Linux phone. Work presented here allows mobile devices to draw on these resources and makes comparisons between the strengths of each program in a mobile phone environment. Motivation is driven by aspirations of the first author who seeks to further develop creative mobile music performance applications first developed in the 1980s using purpose-built hardware and later, using j2me phones. The paper will focus on two different musical implementations of his microtonal composition entitled Butterfly Dekany which was initially implemented in Csound and later programmed using Pure Data. Each implementation represents one of the two programming paradigms that have dominated computer music composition for desktop computers namely, music synthesis using scripting and GUI-based music synthesis. Implementation of the same work using two different open source languages offers a way to understand different approaches to composition as well providing a point of reference for evaluating the performance of mobile hardware.

Proceedings of the SMC Conferences, 2014

This paper addresses the issue of controlling monodic pitch in digital musical instruments (DMIs), with a focus on instruments for which the pitch needs to be played with accuracy. Indeed, in many cultures, music is based on discrete sets of ordered notes called scales, so the need to control pitch has a predominant role in acoustical instruments as well as in most of the DMIs. But the freedom of parameter mapping allowed by computers, as well as the wide range of interfaces, opens a large variety of strategies to control pitch in the DMIs. Without pretending to be exhaustive, our paper aims to draw up a general overview of this subject. It includes: 1) a review of interfaces to produce discrete and/or continuous pitch 2) a review of DMI maker strategies to help the performer for controlling easily and accurately the pitch 3) some developments from the authors concerning interfaces and mapping strategies for continuous pitch control 4) some comparisons with acoustical instruments. At last, a Max/MSP patch-publically available-is provided to support the discussion by allowing the reader to test some of the pitch control strategies reviewed in this paper.

2016

Music technology is an integral part of music education and training today. A series of applications are developed to assist musicians to record their performance to write music score, to analyze rhythmic and melodic patterns and evaluate their progress. However, the human singing voice which is the dominant means of musical expression it lacks this feature. The system presented in this paper implements an efficient method to convert Electroglottographic signal into MIDI messages. The paper describes the characteristics the operation and the limitation of this novel system and examines its potential application in music education and training.