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題名 一個新的庶民音樂創作經驗:智慧型手機上的配樂應用程式
A New Experience of Music Creation for Plebeian: Musical Accompaniment Apps on Smartphone作者 戴張戎
Tai, Chang Jung貢獻者 沈錳坤<br>吳岳剛
Shan, Man Kwan<br>Wu, Yueh Gang
戴張戎
Tai, Chang Jung關鍵詞 行動裝置
創作音樂
隱馬可夫模型
Smartphone
Self-production Music
Hidden Markov Model日期 2012 上傳時間 1-三月-2013 09:27:41 (UTC+8) 摘要 長久以來音樂於人們生活中扮演著極為重要角色，在大多數人的成長過程裡或多或少皆有令其印象深刻之旋律。然而這些旋律常由專業人士所創作，對於未接受過專業訓練的民眾而言，若欲創作自己專屬之音樂難度甚高，而此目標也變得遙不可及。 為解決上述問題，降低音樂自行創作門檻，本研究以行動裝置之使用環境不受限及直覺性觸控介面兩大特性為運行環境，設計Android系統上之音樂創作軟體，協助未受過音樂專業訓練的庶民透過音樂主旋律並搭配適合的和弦配樂達成自行創作音樂之目標。本創作音樂軟體利用行動裝置提供「繪畫旋律曲線」與「字詞輸入」兩種輸入方式，將使用者繪畫的旋律曲線轉換為一段音樂主旋律，進行調性判斷、修正主旋律組成音並利用音樂動機樣式變化加以使主旋律更為豐富，輔以隱藏式馬可夫模型產生適切之和弦序列。最後將主旋律聲波與其產生的和弦聲波以混音的結果呈現給予使用者。 為評估本創作軟體是否符合使用者需求，以實驗觀察法邀請38位受試者進行軟體操作與評估。分析結果顯示，近75%的受試者認為由音樂創作軟體所產生之主旋律與和弦彼此搭配良好且符合其音樂動機。在介面易用性評估方面，結果顯示有近90%受測者認為本研究所提出的音樂創作軟體具有簡單易用之特性且能夠協助其降低創作音樂之門檻。簡單且易用的音樂創作軟體在實務上之重要性不言可喻，不但可使非專業使用者達成自我創作音樂之夢想，更可讓其沉浸於音樂創作成就感之中。
Music plays as an essential role in human life and it affects the listeners on a certain extent. However, a pleasing music is the production of musicians and is difficult to be created by novices without musical specialty. To lower the entry point of music creation, this thesis design and develop a music accompaniment system on Android with the characteristics of intuitive input and ubiquity for novices without professional music background. The developed system consists of the following modules, main melody preprocessing (key determination and melody modification), music similarity retrieval, main melody post processing (music motif variance), chord accompaniment (Hidden Markov Model and mixing main melody and chord melody) and text processing (tone determination and pitch finding) to automatically match the accordance between melodies and chords that are inputted by patting or word. Thirty-eight participants were invited for system evaluation using the observational experiment. Nearly 75% of participants perceived that the melody and chord matching fits their musical motivations, while 90% stated that they can rely on the system to easily produce desirable music. Our findings contribute to the essence of music creation that the system provides a simplified interface for novice being immersed in music accomplishments, similar to that of professional musicians.參考文獻 [1] G. Aloupis, T. Fevens, S. Langerman, T. Matsui, A. Mesa, Y. Nuñez, D. Rappaport, and G. Toussaint, “Algorithms for computing geometric measures of melodic similarity,” Computer Music Journal, vol. 30, no. 3, pp. 67-76, 2006.[2] A. S. Andreou, C. Chrysostomou,C. Leonidou, S. Mavromoustakos, A. Pitsillides, G. Samaras, and C. Schizas, “Mobile commerce applications and services: a design and development approach,” Proceedings of the Second International Conference on Mobile Business, 2002.[3] J. J. Bloch, and R. B. Dannenberg, “Real-time computer accompaniment of keyboard performances,” Proceedings of the 1985 International Computer Music Conference, pp. 279-90, 1985.[4] C. W. Chang, Y. K. Wu, and H. C. Jiau, “A practical chord arrangement algorithm for monophonic music,” Proceeding of the Tenth Conference on Artificial Intelligence and Application, 2005.[5] S. C. Chiu, and M. K. Shan, “Computer music composition based on discovered music patterns,” IEEE International Conference on Systems, Man and Cybernetics, vol. 5, pp. 4401-4406, 2006.[6] L. Dahl, J. Herrera, and C. Wilkerson, “TweetDreams: making music with the audience and the world using real-time twitter data,” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME), 2011.[7] R. B. Dannenberg, “An on-line algorithm for real-time accompaniment,” Proceedings of the 1984 International Computer Music Conference, pp. 193-198, 1984.[8] R. B. Dannenberg, and C. Raphael, “Music score alignment and computer accompaniment,” Communications of the ACM, vol. 49, no. 8, pp. 38-43, 2006.[9] A. Essien, “Capoeira beyond brazil: from a slave tradition to an international way of life,” Random House Inc., 2008.[10] M. Farbood, “Hyperscore: a new approach to interactive, computer-generated music,” Massachusetts Institute of Technology Master Thesis, 2001.[11] M. M. Farbood, E. Pasztor, and K. Jennings, “Hyperscore: a graphical sketchpad for novice composers,” Computer Graphics and Applications, IEEE, vol. 24, no. 1, pp. 50-54, 2004.[12] V. Filip, “Bloom iPhone application,” Creative Application Network, Aviable from: http://goo.gl/p4E2n, 2008.[13] G. D. Forney Jr, “The viterbi algorithm,” Proceedings of the IEEE, vol. 61, no. 3, pp. 268-278, 1973.[14] P. Hanna, P. Ferraro, and M. Robine, “On optimizing the editing algorithms for evaluating similarity between monophonic musical sequences,” Journal of New Music Research, vol. 36, no. 4, pp. 267-279, 2007.[15] C. L. Krumhansl, and E. J. Kessler, “Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys,” Psychological Review, vol. 89, no. 4, pp. 334, 1982.[16] P. Langston, “Six techniques for algorithmic music composition,” International Computer Music Conference (ICMC),pp. 2-5, 1989.[17] D. McMilla, “Iphone software distribution for mass participation,” Proceedings of the ACM International Conference on Ubiquitous Computing, 2010.[18] M. Mongeau, and D. Sankoff, “Comparison of musical sequences,” Computers and the Humanities, vol. 24, no. 3, pp. 161-175, 1990.[19] D. Morris, I. Simon, and S. Basu, “Exposing parameters of a trained dynamic model for interactive music creation,” Proceedings of AAAI, 2008.[20] Z. Obrenovic, “A flexible system for creating music while interacting with the computer,” Proceedings of the 13th Annual ACM International Conference on Multimedia, pp. 996-1004, 2005.[21] B. Pardo, and W. P. Birmingham, “Algorithms for chordal analysis,” Computer Music Journal, vol. 26, no. 2, pp. 27-49, 2002.[22] S. Qin, S. Fukayama, T. Nishimoto, and S. Sagayama, “Lexical tones learning with automatic music composition system considering prosody of mandarin chinese,” Second Language Studies: Acquisition, Learning, Education and Technology, pp. 3-6, 2010.[23] L. R. Rabiner, “A tutorial on hidden markov models and selected applications in speech recognition,” Proceedings of the IEEE, vol. 77, no. 2, pp. 257-286, 1989.[24] A. Shenoy, and Y. Wang, “Key, chord, and rhythm tracking of popular music recordings,” Computer Music Journal, vol. 29, no. 3, pp. 75-86, 2005.[25] I. Simon, D. Morris, and S. Basu, “MySong: automatic accompaniment generation for vocal melodies,” Proceedings of the Twenty-Sixth Annual SIGCHI Conference on Human Factors in Computing Systems, pp. 725-734, 2008.[26] T. Smith, and M. Waterman, “Identification of common molecular subsequences,” Molecular Biology, vol. 147, pp. 195-197, 1981.[27] L. Stein, “Structure & style: the study and analysis of musical forms,” Summy-Birchard Music (Princeton, NJ), 1979.[28] E. Travis, “Star guitar - review,” What`s on Iphone Website, Available form: http://goo.gl/RKsHx, 2009.[29] R. Typke, R. C. Veltkamp, and F. Wiering, “Searching notated polyphonic music using transportation distances,” Proceedings of the 12th Annual ACM International Conference on Multimedia, pp. 128-135, 2004.[30] A. Uitdenbogerd, and J. Zobel, “Melodic matching techniques for large music databases,” Proceedings of the Seventh ACM International Conference on Multimedia, pp. 57-66, 1999.[31] A. L. Uitdenbogerd, and J. Zobel, “Manipulation of music for melody matching,” Proceedings of the Sixth ACM International Conference on Multimedia, pp. 235-240, 1998.[32] J. Urbano, J. Lloréns, J. Morato, and S. Sánchez-Cuadrado, “Using the shape of music to compute the similarity between symbolic musical pieces,” International Symposium on Computer Music Modeling and Retrieval, pp. 385-396, 2010.[33] J. Urbano, J. Lloréns, J. Morato, and S. Sánchez-Cuadrado, “MIREX 2011 symbolic melodic similarity: sequence alignment with geometric representations,” Music Information Retrieval Evaluation eXchange, 2011.[34] J. Urbano, J. Lloréns, J. Morato, and S. Sánchez-Cuadrado, “Melodic similarity through shape similarity,” Exploring Music Contents, pp. 338-355, 2011.[35] G. Weinberg, “Interconnected musical networks–bringing expression and thoughtfulness to collaborative music making,” Massachusetts Institute of Technology Media Laboratory, 2003.[36] Wikipedia, “Harmonic minor scale,” Wikipedia, Aviable from:http://goo.gl/zxs5, 2013-01-17.[37] K. Wyatt, and C. Schroeder, “Harmony and theory: a comprehensive source for all musicians,” Musicians Institute Press, 1998.[38] “Ototsumugi apps,” 官方網站, Aviable from: http://goo.gl/gbAkR, 2012-11-17.[39] “Soundrop apps,” 官方網站, Aviable from: http://goo.gl/WEOAB, 2012-12-26.[40] “Beatwave apps,” 官方網站, Aviable from: http://goo.gl/kzWNZ, 2011-04-22.[41] “SynthPond apps,” 官方網站, Aviable from: http://goo.gl/n9kBq, 2010-04-22.[42] “iSequence apps,” 官方網站, Aviable from: http://goo.gl/Kdde, 2010-04-22.[43] 徐富美與高林傳，「歌詞聲調與旋律聲調相諧和的電腦檢測」，世界華語文教學研討會論文集，2003。[44] 智慧型手機市場調查，「截至2013年1月Android市場應用軟體數量」，網址：http://goo.gl/vkJ0o，上網日期：2013-01-10。[45] 李永剛，「實用歌曲作法」，大陸書店，1982。[46] 楊蔭瀏，「語言與音樂」，丹青圖書有限公司，1988。[47] 范斯越，「華語流行音樂之詞式分析與詞曲結構搭配之排比與同步」，國立政治大學資訊科學研究所碩士論文，2012。[48] 董信宗，「流行音樂組曲之電腦音樂編曲」，國立政治大學理學院論文，2006。[49] 董信宗，「基植於音樂風格的電腦音樂自動伴奏」，國立政治大學資訊科學研究所碩士論文，2006。 描述 碩士
國立政治大學
數位內容碩士學位學程
98462012
101資料來源 http://thesis.lib.nccu.edu.tw/record/#G0984620121 資料類型 thesis dc.contributor.advisor 沈錳坤<br>吳岳剛 zh_TW dc.contributor.advisor Shan, Man Kwan<br>Wu, Yueh Gang en_US dc.contributor.author (作者) 戴張戎 zh_TW dc.contributor.author (作者) Tai, Chang Jung en_US dc.creator (作者) 戴張戎 zh_TW dc.creator (作者) Tai, Chang Jung en_US dc.date (日期) 2012 en_US dc.date.accessioned 1-三月-2013 09:27:41 (UTC+8) - dc.date.available 1-三月-2013 09:27:41 (UTC+8) - dc.date.issued (上傳時間) 1-三月-2013 09:27:41 (UTC+8) - dc.identifier (其他 識別碼) G0984620121 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/57081 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 數位內容碩士學位學程 zh_TW dc.description (描述) 98462012 zh_TW dc.description (描述) 101 zh_TW dc.description.abstract (摘要) 長久以來音樂於人們生活中扮演著極為重要角色，在大多數人的成長過程裡或多或少皆有令其印象深刻之旋律。然而這些旋律常由專業人士所創作，對於未接受過專業訓練的民眾而言，若欲創作自己專屬之音樂難度甚高，而此目標也變得遙不可及。 為解決上述問題，降低音樂自行創作門檻，本研究以行動裝置之使用環境不受限及直覺性觸控介面兩大特性為運行環境，設計Android系統上之音樂創作軟體，協助未受過音樂專業訓練的庶民透過音樂主旋律並搭配適合的和弦配樂達成自行創作音樂之目標。本創作音樂軟體利用行動裝置提供「繪畫旋律曲線」與「字詞輸入」兩種輸入方式，將使用者繪畫的旋律曲線轉換為一段音樂主旋律，進行調性判斷、修正主旋律組成音並利用音樂動機樣式變化加以使主旋律更為豐富，輔以隱藏式馬可夫模型產生適切之和弦序列。最後將主旋律聲波與其產生的和弦聲波以混音的結果呈現給予使用者。 為評估本創作軟體是否符合使用者需求，以實驗觀察法邀請38位受試者進行軟體操作與評估。分析結果顯示，近75%的受試者認為由音樂創作軟體所產生之主旋律與和弦彼此搭配良好且符合其音樂動機。在介面易用性評估方面，結果顯示有近90%受測者認為本研究所提出的音樂創作軟體具有簡單易用之特性且能夠協助其降低創作音樂之門檻。簡單且易用的音樂創作軟體在實務上之重要性不言可喻，不但可使非專業使用者達成自我創作音樂之夢想，更可讓其沉浸於音樂創作成就感之中。 zh_TW dc.description.abstract (摘要) Music plays as an essential role in human life and it affects the listeners on a certain extent. However, a pleasing music is the production of musicians and is difficult to be created by novices without musical specialty. To lower the entry point of music creation, this thesis design and develop a music accompaniment system on Android with the characteristics of intuitive input and ubiquity for novices without professional music background. The developed system consists of the following modules, main melody preprocessing (key determination and melody modification), music similarity retrieval, main melody post processing (music motif variance), chord accompaniment (Hidden Markov Model and mixing main melody and chord melody) and text processing (tone determination and pitch finding) to automatically match the accordance between melodies and chords that are inputted by patting or word. Thirty-eight participants were invited for system evaluation using the observational experiment. Nearly 75% of participants perceived that the melody and chord matching fits their musical motivations, while 90% stated that they can rely on the system to easily produce desirable music. Our findings contribute to the essence of music creation that the system provides a simplified interface for novice being immersed in music accomplishments, similar to that of professional musicians. en_US dc.description.tableofcontents 中文摘要..........Ⅲ英文摘要..........Ⅳ誌謝..........Ⅴ目錄..........Ⅶ圖目錄..........Ⅸ表目錄..........Ⅺ第一章 前言..........11.1背景動機..........11.2研究目的與問題..........31.3論文架構..........3第二章 相關研究..........42.1電腦輔助編曲研究..........42.2創作音樂研究..........52.3智慧型手機創作音樂軟體..........7第三章 研究方法..........113.1設計概念..........113.2主旋律前處理..........153.2.1判斷調性..........153.2.2修飾主旋律..........173.2.3音樂動機重複樣式..........193.3字詞處理..........233.3.1判斷字詞聲調及其音高..........233.4相似度比對處理..........253.4.1資料庫音樂主旋律擷取..........273.4.2區域排比與回溯法..........273.5和弦搭配..........293.5.1訓練模型資料..........313.5.2計算小節旋律與和弦關係..........33第四章 系統實作與評估..........374.1系統介面..........374.2系統評估流程與方法..........384.3系統評估結果..........414.3.1使用系統的感想結果..........414.3.2系統產生的主旋律與和弦搭配結果 .......... 51第五章 結論與未來研究..........575.1研究限制..........575.2研究結果..........585.3未來研究..........60參考文獻..........61 zh_TW dc.language.iso en_US - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0984620121 en_US dc.subject (關鍵詞) 行動裝置 zh_TW dc.subject (關鍵詞) 創作音樂 zh_TW dc.subject (關鍵詞) 隱馬可夫模型 zh_TW dc.subject (關鍵詞) Smartphone en_US dc.subject (關鍵詞) Self-production Music en_US dc.subject (關鍵詞) Hidden Markov Model en_US dc.title (題名) 一個新的庶民音樂創作經驗:智慧型手機上的配樂應用程式 zh_TW dc.title (題名) A New Experience of Music Creation for Plebeian: Musical Accompaniment Apps on Smartphone en_US dc.type (資料類型) thesis en dc.relation.reference (參考文獻) [1] G. Aloupis, T. Fevens, S. Langerman, T. Matsui, A. Mesa, Y. Nuñez, D. Rappaport, and G. Toussaint, “Algorithms for computing geometric measures of melodic similarity,” Computer Music Journal, vol. 30, no. 3, pp. 67-76, 2006.[2] A. S. Andreou, C. Chrysostomou,C. Leonidou, S. Mavromoustakos, A. Pitsillides, G. Samaras, and C. Schizas, “Mobile commerce applications and services: a design and development approach,” Proceedings of the Second International Conference on Mobile Business, 2002.[3] J. J. Bloch, and R. B. Dannenberg, “Real-time computer accompaniment of keyboard performances,” Proceedings of the 1985 International Computer Music Conference, pp. 279-90, 1985.[4] C. W. Chang, Y. K. Wu, and H. C. Jiau, “A practical chord arrangement algorithm for monophonic music,” Proceeding of the Tenth Conference on Artificial Intelligence and Application, 2005.[5] S. C. Chiu, and M. K. Shan, “Computer music composition based on discovered music patterns,” IEEE International Conference on Systems, Man and Cybernetics, vol. 5, pp. 4401-4406, 2006.[6] L. Dahl, J. Herrera, and C. Wilkerson, “TweetDreams: making music with the audience and the world using real-time twitter data,” Proceedings of the International Conference on New Interfaces for Musical Expression (NIME), 2011.[7] R. B. Dannenberg, “An on-line algorithm for real-time accompaniment,” Proceedings of the 1984 International Computer Music Conference, pp. 193-198, 1984.[8] R. B. Dannenberg, and C. Raphael, “Music score alignment and computer accompaniment,” Communications of the ACM, vol. 49, no. 8, pp. 38-43, 2006.[9] A. Essien, “Capoeira beyond brazil: from a slave tradition to an international way of life,” Random House Inc., 2008.[10] M. Farbood, “Hyperscore: a new approach to interactive, computer-generated music,” Massachusetts Institute of Technology Master Thesis, 2001.[11] M. M. Farbood, E. Pasztor, and K. Jennings, “Hyperscore: a graphical sketchpad for novice composers,” Computer Graphics and Applications, IEEE, vol. 24, no. 1, pp. 50-54, 2004.[12] V. Filip, “Bloom iPhone application,” Creative Application Network, Aviable from: http://goo.gl/p4E2n, 2008.[13] G. D. Forney Jr, “The viterbi algorithm,” Proceedings of the IEEE, vol. 61, no. 3, pp. 268-278, 1973.[14] P. Hanna, P. Ferraro, and M. Robine, “On optimizing the editing algorithms for evaluating similarity between monophonic musical sequences,” Journal of New Music Research, vol. 36, no. 4, pp. 267-279, 2007.[15] C. L. Krumhansl, and E. J. Kessler, “Tracing the dynamic changes in perceived tonal organization in a spatial representation of musical keys,” Psychological Review, vol. 89, no. 4, pp. 334, 1982.[16] P. Langston, “Six techniques for algorithmic music composition,” International Computer Music Conference (ICMC),pp. 2-5, 1989.[17] D. McMilla, “Iphone software distribution for mass participation,” Proceedings of the ACM International Conference on Ubiquitous Computing, 2010.[18] M. Mongeau, and D. Sankoff, “Comparison of musical sequences,” Computers and the Humanities, vol. 24, no. 3, pp. 161-175, 1990.[19] D. Morris, I. Simon, and S. Basu, “Exposing parameters of a trained dynamic model for interactive music creation,” Proceedings of AAAI, 2008.[20] Z. Obrenovic, “A flexible system for creating music while interacting with the computer,” Proceedings of the 13th Annual ACM International Conference on Multimedia, pp. 996-1004, 2005.[21] B. Pardo, and W. P. Birmingham, “Algorithms for chordal analysis,” Computer Music Journal, vol. 26, no. 2, pp. 27-49, 2002.[22] S. Qin, S. Fukayama, T. Nishimoto, and S. Sagayama, “Lexical tones learning with automatic music composition system considering prosody of mandarin chinese,” Second Language Studies: Acquisition, Learning, Education and Technology, pp. 3-6, 2010.[23] L. R. Rabiner, “A tutorial on hidden markov models and selected applications in speech recognition,” Proceedings of the IEEE, vol. 77, no. 2, pp. 257-286, 1989.[24] A. Shenoy, and Y. Wang, “Key, chord, and rhythm tracking of popular music recordings,” Computer Music Journal, vol. 29, no. 3, pp. 75-86, 2005.[25] I. Simon, D. Morris, and S. Basu, “MySong: automatic accompaniment generation for vocal melodies,” Proceedings of the Twenty-Sixth Annual SIGCHI Conference on Human Factors in Computing Systems, pp. 725-734, 2008.[26] T. Smith, and M. Waterman, “Identification of common molecular subsequences,” Molecular Biology, vol. 147, pp. 195-197, 1981.[27] L. Stein, “Structure & style: the study and analysis of musical forms,” Summy-Birchard Music (Princeton, NJ), 1979.[28] E. Travis, “Star guitar - review,” What`s on Iphone Website, Available form: http://goo.gl/RKsHx, 2009.[29] R. Typke, R. C. Veltkamp, and F. Wiering, “Searching notated polyphonic music using transportation distances,” Proceedings of the 12th Annual ACM International Conference on Multimedia, pp. 128-135, 2004.[30] A. Uitdenbogerd, and J. Zobel, “Melodic matching techniques for large music databases,” Proceedings of the Seventh ACM International Conference on Multimedia, pp. 57-66, 1999.[31] A. L. Uitdenbogerd, and J. Zobel, “Manipulation of music for melody matching,” Proceedings of the Sixth ACM International Conference on Multimedia, pp. 235-240, 1998.[32] J. Urbano, J. Lloréns, J. Morato, and S. Sánchez-Cuadrado, “Using the shape of music to compute the similarity between symbolic musical pieces,” International Symposium on Computer Music Modeling and Retrieval, pp. 385-396, 2010.[33] J. Urbano, J. Lloréns, J. Morato, and S. Sánchez-Cuadrado, “MIREX 2011 symbolic melodic similarity: sequence alignment with geometric representations,” Music Information Retrieval Evaluation eXchange, 2011.[34] J. Urbano, J. Lloréns, J. Morato, and S. Sánchez-Cuadrado, “Melodic similarity through shape similarity,” Exploring Music Contents, pp. 338-355, 2011.[35] G. Weinberg, “Interconnected musical networks–bringing expression and thoughtfulness to collaborative music making,” Massachusetts Institute of Technology Media Laboratory, 2003.[36] Wikipedia, “Harmonic minor scale,” Wikipedia, Aviable from:http://goo.gl/zxs5, 2013-01-17.[37] K. Wyatt, and C. 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