1. 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

2. 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

3. 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

4. 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

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

6. 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

7. 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

8. 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

9. 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

10. 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

11. 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

12. 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

13. 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

14. Question?