Lecture

Rhythmic Generation Techniques

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In course

HUM-274: Musical theory and creativity

This course provides an introduction into music theory and analysis, composition, and creativity, and combines theoretical teaching with hands-on practical exercises and music making. ...

Description

This lecture explores various techniques for rhythm generation, starting with assembling durations arbitrarily and transitioning to building Markov models. It covers training Markov models, implementing Context Free Grammar, and reproducing Nancarrow's canonic techniques. The instructor demonstrates rhythm generation hierarchically and showcases Study 14 for player piano.

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Instructor

Martin Alois Rohrmeier

Teaching & PhD PhD Students Joris Monnet, Marina Borsodi-Benson, Xinyi Guan, Xiaoxuan Wang, Zeng Ren Past EPFL PhD Students Fabian Claude Moss, Daniel Harasim, Christoph Finkensiep, Johannes Hentschel, Gabriele Cecchetti, Shuxin Meng Courses Digital musicology DH-401 This course will introduce students to the central topics in digital musicology and core theoretical approaches and methods. In the practical part, students will carry out a practical project. Musical theory and creativity

Official source

Ontological neighbourhood

Theoretical computer science

Programming language theory: High-level programming languages

Art

Performing arts: Music

Related concepts (32)

Rhythm

Rhythm (from Greek ῥυθμός, rhythmos, "any regular recurring motion, symmetry") generally means a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds (as with the riff in a rock music song); to several minutes or hours, or, at the most extreme, even over many years.

Music theory

Music theory is the study of the practices and possibilities of music. The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology that "seeks to define processes and general principles in music".

Clave (rhythm)

The clave (ˈklɑːveɪ,_kleɪv; ˈklaβe) is a rhythmic pattern used as a tool for temporal organization in Cuban music. In Spanish, clave literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, rumba, conga, son, mambo, salsa, songo, timba and Afro-Cuban jazz. The five-stroke clave pattern represents the structural core of many Cuban rhythms. The clave pattern originated in sub-Saharan African music traditions, where it serves essentially the same function as it does in Cuba.

Set theory (music)

Musical set theory provides concepts for categorizing musical objects and describing their relationships. Howard Hanson first elaborated many of the concepts for analyzing tonal music. Other theorists, such as Allen Forte, further developed the theory for analyzing atonal music, drawing on the twelve-tone theory of Milton Babbitt. The concepts of musical set theory are very general and can be applied to tonal and atonal styles in any equal temperament tuning system, and to some extent more generally than that.

Transformational theory

Transformational theory is a branch of music theory developed by David Lewin in the 1980s, and formally introduced in his 1987 work, Generalized Musical Intervals and Transformations. The theory—which models musical transformations as elements of a mathematical group—can be used to analyze both tonal and atonal music. The goal of transformational theory is to change the focus from musical objects—such as the "C major chord" or "G major chord"—to relations between musical objects (related by transformation).

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