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Computer-assisted music composition refers to computer-assisted music composition with the participation of people. However, there are problems such as style and expression. In this paper, a computer-assisted music composition algorithm based on the interactive genetic algorithm with interval fitness is proposed. A new music prediction model is established by integrating melody units and rhythms into traditional models with only notes or rhythms as units. Moreover, the generated music phrases are optimized by the interactive genetic algorithmphrase. The simulation results suggest that the proposed algorithm can generate music phrases quickly with a certain melody logic that conforms to the personal demand of users using a small data set.

We present the Latent Timbre Synthesis, a new audio synthesis method using deep learning. The synthesis method allows composers and sound designers to interpolate and extrapolate between the timbre of multiple sounds using the latent space of audio frames. We provide the details of two Variational Autoencoder architectures for the Latent Timbre Synthesis and compare their advantages and drawbacks. The implementation includes a fully working application with a graphical user interface, called interpolate_two , which enables practitioners to generate timbres between two audio excerpts of their selection using interpolation and extrapolation in the latent space of audio frames. Our implementation is open source, and we aim to improve the accessibility of this technology by providing a guide for users with any technical background. Our study includes a qualitative analysis where nine composers evaluated the Latent Timbre Synthesis and the interpolate_two application within their practices.

Critical of technologically determinist assumptions underpinning current educational policy, Victoria Armstrong argues that this growing technicism has grave implications for the music classroom where composition is often synonymous with the music technology suite. The use of computers and associated compositional software in music education is frequently decontextualized from cultural and social relationships, thereby ignoring the fact that new technologies are used and developed within existing social spaces that are always already delineated along gender lines. Armstrong suggests these gender-technology relations have a profound effect on the ways adolescents compose music as well as how gendered identities in the technologized music classroom are constructed. Drawing together perspectives from the sociology of science and technology studies (STS) and the sociology of music, Armstrong examines the gendered processes and practices that contribute to how students learn about technology, the repertoire of teacher and student talk, its effect on student confidence and the issue of male control of technological knowledge. Even though girls and female teachers have technological knowledge and skill, the continuing material and symbolic associations of technology with men and masculinity contribute to the perception of women as less able and less interested in all things technological. In light of the fact that music technology is now central to many music-making practices across all sectors of education from primary, secondary through to higher education, this book provides a timely critical analysis that powerfully demonstrates why the relationship between gender and music technology should remain an important empirical consideration.

This article presents a study of Danish young English language learners’ (YELLs’) contact with and use of Extramural English (EE) (N = 107, aged 8 [n = 49] and 10 [n = 58]). They have received little formal English instruction: two lessons per week for one year. Data on EE-habits were collected with a one-week language diary (self-report with parental guidance). Participants reported minutes spent each day on seven EE-activities: gaming, listening to music, reading, talking, watching television, writing, and other. Vocabulary proficiency scores were obtained using the Peabody Picture Vocabulary Test (PPVT™-4). The results show that most time was spent on gaming, music, and watching television. Boys gamed significantly more (p < .001) than girls (235 minutes/week vs. 47 minutes/week). Additionally, the results show that gaming with both oral and written English input and gaming with only written English input are significantly related to vocabulary scores, in particular for boys. By investigating the EE-habits of YELLs and relations with second language (L2) English vocabulary learning, this study adds valuable new insights and knowledge about a topic that is becoming increasingly important for children in a globalized world.

Contrapuntal direction—the principle that certain progressions may only occur through the motion of the contrapuntal voice towards a stable tenor—is a previously unrecognized implication of the teaching of the theorist and composer Johannes Tinctoris. Although Tinctoris’s interval successions are commonly the same whichever voice is the tenor, Tinctoris omits a small number of oblique progressions where the tenor would move. Although I will not investigate possible reasons for this omission, examples will show that when the missing progressions occur in repertoire, these can be explained by a reappraisal of the contrapuntal functions of the voices. The results extend Julie Cumming’s concept of the “movable module” and demonstrate its presence in music of the 1460s and 1470s. This principle emerges directly from a computer-assisted attempt to connect Tinctoris’s counterpoint with late-fifteenth century composition. Through its ability to recognise tenor function within a voice pair, to identify instances where the tenor function may have moved, or to mark voices that do not form a contrapuntal pair, directional analysis is able both to identify faulty analytical assumptions around voice pairing and to act as a validator of general theories of fifteenth-century compositional structure.

This book is a full multimedia curriculum that contains over 60 Lesson Plans in 29 Units of Study, Student Assignments Sheets, Worksheets, Handouts, Audio and MIDI files to teach a wide array of musical topics, including: general/basic music theory, music appreciation and analysis, keyboarding, composing/arranging, even ear-training (aural theory) using technology.

In this article, we introduce an original approach to computerized music analysis within the graphical computer-assisted composition environment called PWGL. Our aim is to facilitate real-time analysis of interactive scores written in common Western music notation. To this end, we have developed a novel library that allows us to analyze scores realized with the help of ENP, and to visualize the results of the analysis in real-time. ENP is the native music notation tool of PWGL able to produce automatically typeset and interactive music notation. Here, it is extended to support the display of analytical information that can be drawn on top of the score as an overlay. The analysis backend is realized with the help of our built-in musical scripting language. The language is based on pattern-matching and allows for a rich access of score information. The results of the analysis are presented directly as a part of the original score leveraging the extensible and interactive visualization capabilities of ENP.

Despite the availability and growing use of digital story software for authoring and instructional purposes, little is known about learners’ perceptions on its integration in the foreign language writing class. Following both a social semiotics approach and activity theory, this study focuses on six advanced Spanish learners’ perceptions about the production of a digital story in which they integrated a variety of modes (written, oral, images, sounds) and manipulated the semiotic resources within each mode (size, color, lines in the image mode), to convey meaning. Analyzing participants’ reflections, questionnaires, and online journals, results highlight learners’ (a) interpretation of the tools and artifacts and their effect on their understanding of a final product, (b) connections between short-term goal-oriented actions and the longer-term object-oriented activity of developing a multimodal text, and (c) linguistic reorientations when creating a digital story.

This article considers how developments in information and communication technologies impact the field of TESOL, providing an examination of the implications of digital composition practices for pedagogies of writing. Adapted from the source document

The development of new music technologies necessitates changes in the content of music education. Musical pedagogy is faced with the task of educating creative musicians who are capable of innovative activities and inventive musical thinking. Therefore, primary music education should introduce creative learning technologies aimed at developing students’ creative abilities. This article analyzes the content of students’ musical and creative activities in the field of music computer technologies (MCT) illustrated by the subject “Computer Music Creative Work.” The theoretical and experimental study led us to conclude that this course not only develops creative abilities but also establishes conditions for the comprehensive and harmonious development of students’ personalities. El desarrollo de nuevas tecnologías musicales requiere cambios en el contenido de la educación musical. La pedagogía musical se enfrenta a la tarea de educar a músicos creativos que sean capaces de actividades innovadoras y pensamiento musical inventivo. Por lo tanto, la educación musical primaria debe introducir tecnologías de aprendizaje creativo destinadas a desarrollar las habilidades creativas de los estudiantes. Este artículo analiza el contenido de las actividades musicales y creativas de los estudiantes en el campo de las tecnologías informáticas de música (MCT) ilustradas por el tema “Trabajo creativo de música de computadora”. El estudio teórico y experimental nos llevó a concluir que este curso no solo desarrolla habilidades creativas sino que también establece condiciones para el desarrollo integral y armonioso de las personalidades de los estudiantes.