Pick-up the Musical Information from Digital Musical Score Based on Mathematical Morphology and Music Notation

2009 ◽  
Author(s):  
Chen Genfang ◽  
Zhang Wenjun ◽  
Wang Qiuqiu
Keyword(s):  
Mathematical Morphology ◽  
Music Notation ◽  
Musical Score

scholarly journals Associations Between Music Training and the Dynamics of Writing Music by Hand

2020 ◽  
pp. 102986492097214
Author(s):  
Aurélien Bertiaux ◽  
François Gabrielli ◽  
Mathieu Giraud ◽  
Florence Levé
Keyword(s):  
Classical Music ◽  
Music Notation ◽  
Musical Score ◽  
Music Training ◽  
Video Recordings ◽  
Musical Structures ◽  
Music Recognition ◽  
High Level ◽  
Bottom To Top ◽  
Western Classical Music

Learning to write music in the staff notation used in Western classical music is part of a musician’s training. However, writing music by hand is rarely taught formally, and many musicians are not aware of the characteristics of their musical handwriting. As with any symbolic expression, musical handwriting is related to the underlying cognition of the musical structures being depicted. Trained musicians read, think, and play music with high-level structures in mind. It seems natural that they would also write music by hand with these structures in mind. Moreover, improving our understanding of handwriting may help to improve both optical music recognition and music notation and composition interfaces. We investigated associations between music training and experience, and the way people write music by hand. We made video recordings of participants’ hands while they were copying or freely writing music, and analysed the sequence in which they wrote the elements contained in the musical score. The results confirmed experienced musicians wrote faster than beginners, were more likely to write chords from bottom to top, and they tended to write the note heads first, in a flowing fashion, and only afterwards use stems and beams to emphasize grouping, and add expressive markings.

MUSER: A prototype musical score recognition system using mathematical morphology

1993 ◽  
Vol 6 (2-3) ◽  
pp. 140-150 ◽  
Author(s):  
Bharath R. Modayur ◽  
Visvanathan Ramesh ◽  
Robert M. Haralick ◽  
Linda G. Shapiro
Keyword(s):  
Mathematical Morphology ◽  
Recognition System ◽  
Musical Score

Musical score recognition of solo music signal based on WAV file

2009 ◽  
Vol 29 (3) ◽  
pp. 768-770
Author(s):  
Xi-zheng CAO ◽  
Chun-hong LIU ◽  
Lin SUN
Keyword(s):  
Musical Score ◽  
Music Signal ◽  
Solo Music

Applications of Mathematical Morphology to Range Imagery

1987 ◽  
Author(s):  
Thomas R. Esselman ◽  
Jacques G. Verly
Keyword(s):  
Mathematical Morphology

Success in Spite of Itself

2017 ◽  
Author(s):  
Nathan Platte
Keyword(s):  
Musical Score ◽  
Back Seat ◽  
Publicity Campaign ◽  
Studio Era

Detailed production files about the musical score for Spellbound reveal an intense and fraught collaboration among music editor Audray Granville, director Alfred Hitchcock, composer Miklós Rózsa, and, producer David O. Selznick. In contrast to Rebecca, for which Hitchcock assumed a back seat in the scoring, his music directions for Spellbound are more specific—and contrary to Selznick’s. Granville, whose influence stretches from the preview score to the final dubbing of Rózsa’s theremin-infused score, sought to reconcile these differences. Her editing is deftly effective—not only maintaining the motivic integrity of Rózsa’s score but also shifting the score’s emotional weight from its misogynist villains toward the beleaguered heroine (Ingrid Bergman). Ultimately, the collaborative tensions of Spellbound proved unsustainable: the final result disappointed all four players. Nevertheless, the score’s popular reception—abetted by another music-based publicity campaign and soundtrack album—made it one of the best-known scores of the studio era.

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