Learning Stochastic Finite Automata for Musical Style Recognition

2006 ◽  
pp. 345-346 ◽  
Author(s):  
Colin de la Higuera ◽  
Frédéric Piat ◽  
Frédéric Tantini
Keyword(s):  
Finite Automata ◽  
Musical Style

Contextualizing Josquin’s Ave Maria…virgo serena

2017 ◽  
Vol 34 (2) ◽  
pp. 182-240
Author(s):  
Clare Bokulich
Keyword(s):  
Fifteenth Century ◽  
Musical Style ◽  
Growing Body ◽  
Late Fifteenth ◽  
The Moment

Notwithstanding the reputation of Josquin’s Ave Maria…virgo serena as a touchstone of late–fifteenth-century musical style, little is known about the context in which the piece emerged. Just over a decade ago, Joshua Rifkin placed the motet in Milan ca. 1484; more recently, Theodor Dumitrescu has uncovered stylistic affinities with Johannes Regis’s Ave Maria that reopen the debate about the provenance of Josquin's setting. Stipulating that the issues of provenance and dating are for the moment unsolvable, I argue that the most promising way forward is to contextualize this work to the fullest extent possible. Using the twin lenses of genre and musical style, I investigate the motet’s apparently innovative procedures (e.g., paired duos, periodic entries, and block chords) in order to refine our understanding of how Josquin’s setting relates to that of Regis and to the Milanese motet cycles (motetti missales). I also uncover connections between Josquin’s motet and the music of earlier generations, above all the cantilena and the forme fixe chanson, that offer new insights into the development of musical style in the fifteenth century. The essay concludes by positioning the types of analyses explored here within a growing body of research that enables a revitalized approach to longstanding questions about compositional development and musical style.

Jaco Pastorius, the Electric Bass, and the Struggle for Jazz Credibility

2020 ◽  
Vol 32 (3) ◽  
pp. 121-138
Author(s):  
Brian F. Wright
Keyword(s):  
Popular Music ◽  
Musical Style ◽  
Electric Bass ◽  
Public Persona

This article explores Jaco Pastorius’s efforts to legitimize himself as a jazz electric bassist. Even though the instrument had existed at the margins of jazz for decades, by the 1970s it was overwhelmingly associated with rock and funk music and therefore carried with it the stigmatized connotations of outsider status. Building on the work of Bill Milkowski, Kevin Fellezs, Lawrence Wayte, and Peter Dowdall, I situate Pastorius’s career within the broader context of 1970s jazz fusion. I then analyze how he deliberately used his public persona, his virtuosic technical abilities, the atypical timbre of his fretless electric bass, and his work as a composer and bandleader to vie for acceptance within the jazz tradition. As I argue, Pastorius specifically attempted to establish his jazz credibility through his first two solo albums, initially by disassociating himself from his own instrument, and then by eventually abandoning the musical style that had made him famous. Ultimately, Pastorius’s story serves as a useful case study of the tangible ramifications of authenticity disputes and the complicated ways in which musicians have attempted to navigate contested musical spaces within popular music.

A novel cryptosystem based on abstract automata and Latin cubes

2015 ◽  
Vol 52 (2) ◽  
pp. 221-232
Author(s):  
Pál Dömösi ◽  
Géza Horváth
Keyword(s):  
Block Cipher ◽  
Finite Automata ◽  
Theoretical Background ◽  
Point Of View ◽  
Theoretical Point ◽  
Transition Matrices ◽  
Encryption And Decryption ◽  
Secret Keys ◽  
Automata Network ◽  
Fully Functioning

In this paper we introduce a novel block cipher based on the composition of abstract finite automata and Latin cubes. For information encryption and decryption the apparatus uses the same secret keys, which consist of key-automata based on composition of abstract finite automata such that the transition matrices of the component automata form Latin cubes. The aim of the paper is to show the essence of our algorithms not only for specialists working in compositions of abstract automata but also for all researchers interested in cryptosystems. Therefore, automata theoretical background of our results is not emphasized. The introduced cryptosystem is important also from a theoretical point of view, because it is the first fully functioning block cipher based on automata network.

Bartók and Scarlatti: A study of motives and influence

2009 ◽  
Vol 50 (1-2) ◽  
pp. 3-27
Author(s):  
Balázs Mikusi
Keyword(s):  
Folk Music ◽  
Structural Model ◽  
Musical Style ◽  
Clear Cut ◽  
Short Overview ◽  
Historical Figure ◽  
Human Emotions

The long-held notion that Bartók’s style represents a unique synthesis of features derived from folk music, from the works of his best contemporaries, as well as from the great classical masters has resulted in a certain asymmetry in Bartók studies. This article provides a short overview of the debate concerning the “Bartókian synthesis,” and presents a case study to illuminate how an ostensibly “lesser” historical figure like Domenico Scarlatti could have proved important for Bartók in several respects. I suggest that it must almost certainly have been Sándor Kovács who called Scarlatti’s music to Bartók’s attention around 1910, and so Kovács’s 1912 essay on the Italian composer may tell us much about Bartók’s Scarlatti reception as well. I argue that, while Scarlatti’s musical style may indeed have appealed to Bartók in more respects than one, he may also have identified with Scarlatti the man, who (in Kovács’s interpretation) developed a thoroughly ironic style in response to the unavoidable loneliness that results from the impossibility of communicating human emotions (an idea that must have intrigued Bartók right around the time he composed his Duke Bluebeard’s Castle ). In conclusion I propose that Scarlatti’s Sonata in E major (L21/K162), which Bartók performed on stage and also edited for an instructive publication, may have inspired the curious structural model that found its most clear-cut realization in Bartók’s Third Quartet.

‘Newness which never perishes’? Schoenberg’s ambivalent reception of Haydn

2010 ◽  
Vol 51 (1-2) ◽  
pp. 215-224
Author(s):  
Alexander Carpenter
Keyword(s):  
The Other ◽  
Major Influence ◽  
Musical Style ◽  
The Past ◽  
Other Hand ◽  
The Future ◽  
Music Tradition

This paper explores Arnold Schoenberg’s curious ambivalence towards Haydn. Schoenberg recognized Haydn as an important figure in the German serious music tradition, but never closely examined or clearly articulated Haydn’s influence and import on his own musical style and ethos, as he did with many other major composers. This paper argues that Schoenberg failed to explicitly recognize Haydn as a major influence because he saw Haydn as he saw himself, namely as a somewhat ungainly, paradoxical figure, with one foot in the past and one in the future. In his voluminous writings on music, Haydn is mentioned by Schoenberg far less frequently than Bach, Mozart, or Beethoven, and his music appears rarely as examples in Schoenberg’s theoretical texts. When Schoenberg does talk about Haydn’s music, he invokes — with tacit negativity — its accessibility, counterpoising it with more recondite music, such as Beethoven’s, or his own. On the other hand, Schoenberg also praises Haydn for his complex, irregular phrasing and harmonic exploration. Haydn thus appears in Schoenberg’s writings as a figure invested with ambivalence: a key member of the First Viennese triumvirate, but at the same time he is curiously phantasmal, and is accorded a peripheral place in Schoenberg’s version of the canon and his own musical genealogy.

Parallel Combining Different Approaches to Multi-pattern Matching for Fpga-based Security Systems

2017 ◽  
Vol 5 (1) ◽  
pp. 8-15
Author(s):  
Sergii Hilgurt ◽  
Keyword(s):  
Information Security ◽  
Pattern Matching ◽  
Intrusion Detection System ◽  
Detection System ◽  
Finite Automata ◽  
Network Intrusion Detection ◽  
Security Systems ◽  
Analytical Technique ◽  
Network Intrusion ◽  
Pros And Cons

The multi-pattern matching is a fundamental technique found in applications like a network intrusion detection system, anti-virus, anti-worms and other signature- based information security tools. Due to rising traffic rates, increasing number and sophistication of attacks and the collapse of Moore’s law, traditional software solutions can no longer keep up. Therefore, hardware approaches are frequently being used by developers to accelerate pattern matching. Reconfigurable FPGA-based devices, providing the flexibility of software and the near-ASIC performance, have become increasingly popular for this purpose. Hence, increasing the efficiency of reconfigurable information security tools is a scientific issue now. Many different approaches to constructing hardware matching circuits on FPGAs are known. The most widely used of them are based on discrete comparators, hash-functions and finite automata. Each approach possesses its own pros and cons. None of them still became the leading one. In this paper, a method to combine several different approaches to enforce their advantages has been developed. An analytical technique to quickly advance estimate the resource costs of each matching scheme without need to compile FPGA project has been proposed. It allows to apply optimization procedures to near-optimally split the set of pattern between different approaches in acceptable time.

Complexity and Universality of Iterated Finite Automata

2009 ◽  
Vol 18 (1) ◽  
pp. 145-158
Author(s):  
Jiang Zhang ◽  
Keyword(s):  
Finite Automata
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