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Computer Music Journal | 2005

A Multi-Layered, TimeBased Music Description Approach Based on XML

Goffredo Haus; Maurizio Longari

70 Computer Music Journal There are six aspects into which music information can be divided: general, structural, music logic, notation, performance, and audio. We call these aspects “layers,” because each represents a different level of abstraction of the music information. However, these layers can be viewed as a single symbolic music information (SMI) entity. The purpose of SMI is to relate all existing representations in the notation, performance, and audio layers using the music logic and structural layers. In this article, we present an Extensible Markup Language (XML) instance intended for the integration of the different aspects of music representation. It tries to bring together ideas and concepts developed in the past. Because this format is still under development by the IEEE-SA Working Group on Music Application of XML (IEEE-SA MAX WG; see www.lim.dico.unimi.it/IEEE/XML.html), and because in an article it is impossible to give a detailed description of a whole format, we present only the main concepts that most probably will be affected only by minor changes by future developments of the format itself. These concepts are Layered Symbolic Music Information (Layered SMI) and the Spine structure. Owing to these two concepts, we consider the contribution of our format to be a more complete integration of previous concepts and formats in a framework usable by diverse music applications, especially those that are based on different concurrent music layers (for example, the automatic synchronization of audio, MIDI, and score). Layered SMI is important owing to the manifold nature of music representation. Downie (2003) explains this concept in a very meaningful way. According to Downie, music is composed of seven facets: pitch, temporal, harmonic, timbral, editorial, textual, and bibliographic. Moreover, each facet can interact with the others, increasing the complexity of the representational challenge. In addition, music representation also poses multi-representational, multi-cultural, multi-experiential, and multidisciplinary challenges. Among the several existing formats for music representation, there are only a small number of them that can be said to be a de facto standard. If we compare these few music formats, we can observe that each of them is designed to represent mainly a particular aspect or only a limited number of aspects of music information. We can subdivide these formats in four big clusters: audio, sub-symbolic, notational, and compositional, similar to the domains of Standard Music Description Language (SMDL; Sloan 1993; see also ftp.ornl.gov/pub/sgml/WG8/SMDL/ 10743.ps). Audio formats encode signal information, that is, only the purely aural aspect (the “Gestural” domain of SMDL). Sub-symbolic formats like MIDI (Musical Instrument Digital Interface; MIDI Manufacturers Association 2001) or Csound (Boulanger 1999) encode information about how to produce or reproduce music electronically (the “Logical” domain of SMDL). Many music notation file formats have been developed by the different music editing software producers. Some of them are rich enough, like NIFF (Notation Interchange File Format; see www.musique.umontreal.ca/personnel/Belkin/NIFF .doc.html) or Enigma, to generate a MIDI rendering of notational content (the “Visual” domain of SMDL). However, new software composition tools (e.g., Haus and Sametti 1991; Assayag et al. 1999) need to formalize and exchange information and structures that are not represented in these formats (the “Analytical” domain of SMDL). Moreover, the emerging possibility of wide dissemination of music via the Internet increases the urgency of dealing with the problems of cataloging and protecting intellectual rights of these items. In the past, many researchers have addressed the problem of representing different aspects of music. We think that the most conceptually meaningful of these attempts was SMDL (Sloan 1993; see also ftp.ornl.gov/pub/sgml/WG8/SMDL/10743.ps). Although it is not explicit in many existing representations, there is an intrinsic space–time relationship A Multi-Layered, TimeBased Music Description Approach Based on XML


Multimedia Tools and Applications | 2006

Automatic playlist generation based on tracking user's listening habits

Andreja Andric; Goffredo Haus

Algorithms for automatic playlist generation solve the problem of tedious and time consuming manual selection of musical playlists. These algorithms generate playlists according to the user’s music preferences of the moment. The user describes his preferences either by manually inputting a couple of example songs, or by defining constraints for the choice of music. The approaches to automatic playlist generation up to now were based on examining the metadata attached to the music pieces. Some of them took also the listening history into account. But anyway, a heavy accent has been put on the metadata, while the listening history, if it was used at all, had a minor role. Missings and errors in metadata frequently appear, especially when the music is acquired from the Internet. When the metadata is missing or wrong, the approaches proposed so far cannot work. Besides, entering constraints for the playlist generation can be a difficult activity. In our approach we ignored the metadata and focused on examining the listening habits. We developed two simple algorithms that track the listening habits and form a listener model—a profile of listening habits. The listener model is then used for automatic playlist generation. We developed a simple media player which tracks the listening habits and generates playlists according to the listener model. We tried the solution with a group of users. The experiment was not a successful one, but it threw some new light on the relationship between the listening habits and playlist generation.


ACM Transactions on Multimedia Computing, Communications, and Applications | 2006

A Semantic Web ontology for context-based classification and retrieval of music resources

Alfio Ferrara; Luca A. Ludovico; Stefano Montanelli; Silvana Castano; Goffredo Haus

In this article, we describe the MX-Onto ontology for providing a Semantic Web compatible representation of music resources based on their context. The context representation is realized by means of an OWL ontology that describes music information and that defines rules and classes for a flexible genre classification. By flexible classification we mean that the proposed approach enables capturing the subjective interpretation of music genres by defining multiple membership relations between a music resource and the corresponding music genres, thus supporting context-based and proximity-based search of music resources.


IEEE Computer | 1991

Scoresynth: a system for the synthesis of music scores based on Petri nets and a music algebra

Goffredo Haus; Alberto Sametti

The authors show that they have chosen and organized symbols depending on instrumental needs within common music notations. The new kind of representation they propose makes up a conceptual music framework with as many different levels of abstraction as the musician needs. It allows them to explicitly describe and process what they call music objects (both traditional and nontraditional music objects), by which they mean anything that could have a musical meaning and can be thought of as an entity with a name and some relationship with other music objects. They describe a tool called Scoresynth, which uses Petri nets to describe, process, and synthesize music scores. They examine Scoresynths features and explain how it works. >


IEEE Computer | 2009

IEEE 1599: Music Encoding and Interaction

Denis L. Baggi; Goffredo Haus

IEEE Std 1599 allows interaction with music content such as notes and sounds in video applications and in any interactive device.


Journal of the Association for Information Science and Technology | 2004

A score-driven approach to music information retrieval

Goffredo Haus; Maurizio Longari; Emanuele Pollastri

As the dimension and number of digital music archives grow, the problem of storing and accessing multimedia data is no longer confined to the database area. Specific approaches for music information retrieval are necessary to establish a connection between textual and content-based metadata. This article addresses such issues with the intent of surveying our perspective on music information retrieval. In particular, we stress the use of symbolic information as a central element in a complex musical environment. Musical themes, harmonies, and styles are automatically extracted from electronic music scores and employed as access keys to data. The data-base schema is extended to handle audio recordings. A score/audio matching module provides a temporal relationship between a music performance and the score played. Besides standard free-text search capabilities, three levels of retrieval strategies are employed. Moreover, the introduction of a hierarchy of input modalities assures meeting the needs and matching the expertise of a wide group of users. Singing, playing, and notating melodic excerpts is combined with more advanced musicological queries, such as querying by a sequence of chords. Finally, we present some experimental results and our future research directions.


ACM Transactions on Information Systems | 2007

A novel XML music information retrieval method using graph invariants

Alberto Pinto; Goffredo Haus

The increasing diffusion of XML languages for the encoding of domain-specific multimedia information raises the need for new information retrieval models that can fully exploit structural information. An XML language specifically designed for music like MX allows queries to be made directly on the thematic material. The main advantage of such a system is that it can handle symbolic, notational, and audio objects at the same time through a multilayered structure. On the model side, common music information retrieval methods do not take into account the inner structure of melodic themes and the metric relationships between notes. In this article we deal with two main topics: a novel architecture based on a new XML language for music and a new model of melodic themes based on graph theory. This model takes advantage of particular graph invariants that can be linked to melodic themes as metadata in order to characterize all their possible modifications through specific transformations and that can be exploited in filtering algorithms. We provide a similarity function and show through an evaluation stage how it improves existing methods, particularly in the case of same-structured themes.


Journal of New Music Research | 1996

Formalization of generative structures within stravinsky's “The rite of spring”

Adriano De Matteis; Goffredo Haus

Abstract In this paper we show how we can formally describe Generative Structures (GS) of musical pieces. We considered as a particular case study “The Rite of Spring”, by I. Stravinsky. The first goal of our research has been the identification of relationships among Music Objects (MOs) belonging to the piano duet or the orchestral score or both. Our formalization has been made by means of an “ad hoc” arrangement of hierarchical Petri Nets (PNs) and a music algebra; music objects are connected to places; music transformations are described by algorithms connected to transitions and are coded by expressions which are based on the set of operators and the syntactic rules we have defined.


international conference on automated production of cross media content for multi channel distribution | 2005

MXDemo: a case study about audio, video, and score synchronization

Adriano Baratè; Goffredo Haus; Luca A. Ludovico; Giancarlo Vercellesi

Information technology provides many ways to describe music contents. An integrated and comprehensive representation is possible, as MX format demonstrates. This paper illustrates the basic principles of synchronization in a multi-layered XML-based environment aimed at music description, and provides an example of software implementation.


applications and theory of petri nets | 1988

Music description and processing by Petri nets

Goffredo Haus; Antonio Rodriguez

Music description and processing require formal tools which are suitable for the representation of iteration, concurrency, ordering, hierarchy, causality, timing, synchrony, non-determinism. Petri Nets (PNs) are a tool which allows to describe and process musical objects within both analysis/composition and performing environments. In this paper we discuss the kind of extended PNs that we have defined and their capabilities in the music field, the PNs editors/executors that we have developed and some characterizing PNs structures with musical examples; then we outline the open problems we have recognized.

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Davide Andrea Mauro

Ca' Foscari University of Venice

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