Elektronika 2009-11.pdf - Instytut Systemów Elektronicznych
Elektronika 2009-11.pdf - Instytut Systemów Elektronicznych
Elektronika 2009-11.pdf - Instytut Systemów Elektronicznych
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działań na szczeblu UE. Komisja Wspólnot Eropejskich (KWE),<br />
Bruksela, 29.06.2007 (in Polish).<br />
[3] Fiuk G., Budziński R.: (1995) Model Systemu Informatycznej Obsługi<br />
Miasta Szczecin. W ks.: Systemy Informatyczne w Zarządzaniu<br />
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Szczecinie, Warszawa-Szczecin (in Polish).<br />
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Generation of harmonic sequences in accordance<br />
to tonal harmony rules<br />
with artificial neural networks<br />
(Generacja sekwencji harmonicznych w zgodzie z zasadami harmonii<br />
tonalnej przy użyciu sieci neuronowych)<br />
dr inż. WOJCIECH ZABIEROWSKI, prof. dr hab. inż. ANDRZEJ NAPIERALSKI<br />
Technical University of Lodz, Department of Microelectronics and Computer Science<br />
There has been a continuous research throughout the world.<br />
in the field of computer generated music. Many implementations<br />
has appeared as well as a lot of disputes on this topic,<br />
and it is now perceived as a branch of science.<br />
The computer participation in the process of music creation<br />
is not only restricted to being an aid for the composer. In<br />
fact, a machine is able to replace human in the creation<br />
process. There are some realizations that are purely machinegenerated<br />
and which were able to reach the top of pop music<br />
lists, successfully competing with human-made works.<br />
The elements of the branch of science mentioned above<br />
include musicological analysis of musical opus and automatic<br />
harmonization of the melody line. The research presented<br />
below can be applied in particular in these areas.<br />
Problem specification<br />
A musical piece can be described by a number of various parameters.<br />
These parameters determine, what is later called,<br />
a musical work - an art. Music is not a sole matter of putting<br />
together notes and resulting sounds (and vice versa). Moreover,<br />
even if these sounds are combined in chords, they still<br />
remain just a set of more or less ordered tones.<br />
One of the most basic parameters, determining whether<br />
what we obtain can really be called music, is the harmonic<br />
meaning of mentioned elements.<br />
More precisely, this meaning is, of course, a harmonic<br />
meaning in musical sense - an accordance of tones. Basic<br />
harmonic constructions [2-4], also known as functions, form<br />
together a harmonic triad and, depending on the musical scale<br />
degree on which one builds them, they are called: tonic (T),<br />
subdominant (S) and dominant (D) correspondingly.<br />
Only by combining these harmonic functions into sequence,<br />
we obtain music. Secondary functions may be distinguished<br />
as well. These secondary functions retain similarity to<br />
the main functions, and hence, they received similar names,<br />
such as T II - tonic of second degree. By using secondary functions,<br />
a harmonic sequence can be greatly enriched.<br />
There is, of course, a strict (depending on a chosen harmonic)<br />
set of rules for progression of chords that have specific<br />
harmonic functions. Table 1 contains the basic rules for<br />
harmonic function progressions.<br />
Tabl. 1. Basic functional progressions<br />
Tab. 1. Podstawowe następstwa funkcyjne<br />
Harmonic function<br />
Tonic<br />
Subdominant<br />
Dominant<br />
Allowed consequent function<br />
S, D, T<br />
T, (D)<br />
T<br />
22 ELEKTRONIKA 11/<strong>2009</strong>