Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore Hyperscore A Graphical Sketchpad for Novice Composers -- Morwaread M. Farbood, Egon Pasztor, and Kevin Jennings ISE 599: Spring 2004

Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore Authors Morwaread M. Farbood -- She is PhD student at MIT Media Lab, she received a BA in music from Harvard University Egon Pasztor -- He is a PhD student at UC Berkeley, he received an MS in media arts and sciences from the MIT Media Lab Kevin Jennings -- He is a research fellow and PhD student at the Center for Research in IT in Education at Trinity College Dublin and Media Lab Europe. Morwaread – her research interests include algorithmic composition and machine-learning approaches to modeling musical structures. Egon Pasztor – his research interests include graphics, arts, style, and design in all forms as well as interactive systems, simulated physics, and software engineering Kevin – he is classical guitarist, he has performed widely in both Ireland and Europe ISE 599: Spring 2004

Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore What is Hyperscore It is a graphical computer-assisted composition system for users with limited or no musical training takes freehand drawing as input, letting users literally sketch their pieces. It is an intelligent, intuitive system letting novices – particularly children (since its fancy and easier interface) to compose music in a difficult task. So I download it and play around with it. Lots of fun… ISE 599: Spring 2004

Motivation of Hyperscore Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore Motivation of Hyperscore Design a graphical environment Develop a musical algorithms for automating the compositional process Design an appropriate interface for humans to interact with the machine A graphical environment – through which we can composite a music, it maps musical features to graphical abstractions. ISE 599: Spring 2004

Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore This is the interface of Hyperscore…. ISE 599: Spring 2004

Fundamental idea of Hyperscore Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore Fundamental idea of Hyperscore Two key creative activities without musical training 1. Compose short melodies 2. Describe the large-scale shape of a piece So they provide graphical methods to engage in these two activities which form the basis for Hyperscore’s functionality. In their application, they have two interfaces: motive window used to design melody and sketch window to integrate those melodies together ISE 599: Spring 2004

Compare with other research works Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore Compare with other research works CyberBand: 1. Designed by IBM 2. Has the most similarity between them 3. CyberBand uses riffs, thematic fragments 4. It does not use drawing as a method to combing musical materials and lack visual freedoms 3. Hyperscore uses motive as the fundamental musical building blocks to edit 4. Hyperscore can change the view and zoom the screent ISE 599: Spring 2004

Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore System Structure Motive windows Hyperscore is a window application written in C++ using DirectX, they use 3D graphical library of DirectX. Therefore it provides Hyperscore many features like zoomable canvas where users can create any number of musical fragment and integrated them into the whole piece. The grey panel is the motive window, on the motive window, you can create melody as the basic musical fragments, which is gonna to create whole piece. The horizontal axis is the time line, while the vertical axis represents the pitch (two octave). Colorful droplet represents notes and blank spaces is the rest ISE 599: Spring 2004

Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore System Structure Sketch window User can choose a color for each motive and compose a piece by selecting different colored pens and drawing into a sketch window. Every time the user draws a line of a particular color, Hyperscore adds the motive mapped to that color to the piece. The start and end points of the line determine how many times a motives repeats. There will be a fixed-pixel-to-duration metric algorithm applied here to calculate the length of time a line plays. Curves and bends in the line impose a pitch envelope on the motive’s repetitions. ISE 599: Spring 2004

Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore System Structure Line editable features Reshape the line Cutting and pasting Changing instruments Increasing and decreasing volume Line integration on the sketch window Reshape the lines after drawing them by right clicking and then dragging, instead of linked Bezier segments by explicitly clicks and drags the vertices of the Bezier control polygons in other profession drawing packages, they use a list of connected two-dimensional points represents each line and a spring with a fairly stiff spring constant models the line segment between each pair of control points. By default the instruments sounds map to each line is pizzicato, user also can change it to bowed orchestral strings. Only two strings sounds are offered here, output sound is MIDI, their future plan is to add more instruments. Lines drawn into a sketch window combine to form larger, multivoiced segments of music (max is 30 simultaneous voices) ISE 599: Spring 2004

Graphical harmony representation Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore Graphical harmony representation A single chord can be easily placed Harmonic progressions can be shaped by a central line Four harmony style: -- none -- diatonic -- major/minor -- fourths A single chord without any reference can be placed on the sketch window easily, user can add individual chords consisting three simultaneous voices to the sketch window representing as colored droplets. A central line is used here to describe harmonic progressions, transitions from one chord to another…. Depending on the whether the curves in the line are going up or down and depending on their shape, the computer chooses relevant chords. Four harmony style: 1. Diatonic: all chromatic pitches are changed into diatonic pitches (black keys to white keys) 2. Major/minor: tonal harmony based on Bach-style harmonization 3. Fourths: based on chords constructed from fourths rather than thirds as in the case of regular tonal harmony ISE 599: Spring 2004

Graphical harmony representation Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore Graphical harmony representation depicts areas of harmonic tension and resolution indicates a change in key or modulation The line in the middle of sketch window, depicts areas of harmonic tension and resolution: upward areas result in unstable or subdominant/dominant harmonies, while downward area resolve the previous unstable harmonies. A sharp points indicate a modulation change to a new key, while smooth curves means chords changes within key. The y-value of the tip of the spike determines the new key. The center is mapped to c major, moving up add sharps, while moving the point down, adds flats. ISE 599: Spring 2004

Presented by Cheng (Kevin) Zhu Farbood et al: Hyperscore Future work Make it more useful to professional composers as well as novices Add a computer pen to assist us Add feature that can reverse the procedure of Hyperscore Leave more editable stuff and more precise control, more freedom Adding a computer pen to help composer generate musical material for us, if the composer cannot find a way to compose music in a satisfied way Given you a musical file say like MIDI format, and generate Hyperscore sketch for you, visualized the music. ISE 599: Spring 2004

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