Hostname: page-component-586b7cd67f-rcrh6 Total loading time: 0 Render date: 2024-11-20T11:33:19.201Z Has data issue: false hasContentIssue false

Haskore music notation – An algebra of music –

Published online by Cambridge University Press:  07 November 2008

Paul Hudak
Affiliation:
Department of Computer Science, Yale University, New Haven, CT 06520, USA (e-mail: [email protected])
Tom Makucevich
Affiliation:
Department of Computer Science, Yale University, New Haven, CT 06520, USA (e-mail: [email protected])
Syam Gadde
Affiliation:
Department of Computer Science, Yale University, New Haven, CT 06520, USA (e-mail: [email protected])
Bo Whong
Affiliation:
Department of Computer Science, Yale University, New Haven, CT 06520, USA (e-mail: [email protected])
Rights & Permissions [Opens in a new window]

Abstract

Core share and HTML view are not available for this content. However, as you have access to this content, a full PDF is available via the ‘Save PDF’ action button.

We have developed a simple algebraic approach to music description and composition called Haskore. In this framework, musical objects consist of primitive notions such as notes and rests, operations to transform musical objects such as transpose and tempo-scaling, and operations to combine musical objects to form more complex ones, such as concurrent and sequential composition. When these simple notions are embedded into a functional language such as Haskell, rather complex musical relationships can be expressed clearly and succinctly. Exploiting the algebraic properties of Haskore, we have further defined a notion of literal performance (devoid of articulation) through which observationally equivalent musical objects can be determined. With this basis many useful properties can be proved, such as commutative, associative, and distributive properties of various operators. An algebra of music thus surfaces.

Type
Articles
Copyright
Copyright © Cambridge University Press 1996

References

Anderson, D. P. and Kuivila, R. (1992) Formula: A programming language for expressive computer music. In Baggi, D., editor, Computer Generated Music. IEEE Computer Society Press.Google Scholar
Arya, K. (1994) A functional animation starter-kit. J. Functional Programming 4(1):118.CrossRefGoogle Scholar
Balaban, M. (1992) Music structures: Interleaving the temporal and hierarchical aspects of music. In Balaban, M., Ebcioglu, K. and Laske, O., editors, Understanding Music With AI, pp. 110139. AAAI Press.Google Scholar
Collinge, D. (1984) Moxie: A languge for computer music performance. Proc. Int. Computer Music Conference, pp. 217220. Computer Music Association.Google Scholar
Cointe, P. and Rodet, X. (1984) Formes: an object and time oriented system for music composition and synthesis. Proc. ACM Symposium on Lisp and Functional Programmming, pp. 8595. ACM.CrossRefGoogle Scholar
Dannenberg, R. B. (1989) The Canon score language. Computer Music J., 13(1):4756.CrossRefGoogle Scholar
Dannenberg, R. B., Fraley, C. L. and Velikonja, P. (1992) A functional language for sound synthesis with behavioral abstraction and lazy evaluation. In Baggi, D., editor, Computer Generated Music. IEEE Computer Society Press.Google Scholar
Forte, A. (1973) The Structure of Atonal Music. Yale University Press.Google Scholar
Hudak, P. and Berger, J. (1995) A model of performance, interaction, and improvisation. Proc. Int. Computer Music Conference.International Computer Music Association.Google Scholar
Henderson, P. (1982) Functional geometry. Proc. ACM Symposium on Lisp and Functional Programmming.ACM.CrossRefGoogle Scholar
Hudak, P. and Fasel, J. (1992) A gentle introduction to Haskell. ACM SIGPLAN Notices 27(5) May.CrossRefGoogle Scholar
Hindemith, P. (1949) Elementary Training for Musicians. 2nd ed.Associated Music Publishers.Google Scholar
Hudak, P., Peyton Jones, S. and Wadler, P. (editors) (1992) Report on the Programming Language Haskell, A Non-strict Purely Functional Language (Version 1.2). ACM SIGPLAN Notices 27(5) May.CrossRefGoogle Scholar
Haus, G. and Sametti, A. (1992) Scoresynth: A system for the synthesis of music scores based on petri nets and a music algebra. In Baggi, D., editor, Computer Generated Music. IEEE Computer Society Press.Google Scholar
Midi 1.0 detailed specification: Document version 4.1.1, February 1990.Google Scholar
Jaffe, D. and Boynton, L. (1991) An overview of the sound and music kits for the NeXT computer. In Pope, S. T., editor, The Well-Tempered Object, pp. 107118. MIT Press.Google Scholar
Orlarey, O., Fober, D., Letz, S. and Bilton, M. (1994) Lambda calculus and music calculi. Proc. Int. Computer Music Conference.International Computer Music Association.Google Scholar
Schottstaedt, B. (1983) Pla: A composer's idea of a language. Computer Music J., 7(1):1120.CrossRefGoogle Scholar
Vercoe, B. (1986) Csound: A manual for the audio processing system and supporting programs. Technical report, MIT Media Lab.Google Scholar
Submit a response

Discussions

No Discussions have been published for this article.