The ResourceInstance Model Of Music Representation Roger B Dannenberg

the resource-instance model of music representation roger b. dannenberg, dean rubine, tom neuendorffer school of computer science, carnegie

The Resource-Instance Model of Music Representation
Roger B. Dannenberg, Dean Rubine, Tom Neuendorffer
School of Computer Science, Carnegie Mellon University
email: [email protected]
Abstract
--------
Traditional software synthesis systems, such as Music V, utilize an
instance model of computation in which each note instantiates a new
copy of an instrument. An alternative is the resource model,
exemplified by MIDI “mono mode,” in which multiple updates can modify
a sound continuously, and where multiple notes share a single
instrument. We have developed a unified, general model for describing
combinations of instances and resources. Our model is a hierarchy in
which resource-instances at one level generate output, which is
combined to form updates to the next level. The model can express
complex system configurations in a natural way.
1 Introduction
==============
Two opposing formalisms are prevalent in music representations. In the
resource model, sounds or notes are produced by controlling an
instrument (the resource). In the instance model, sounds or notes are
considered to be independent and isolated. Resource and instance
models can be seen in traditional music notation, computer music
scores, score languages, MIDI, synthesis hardware, and synthesis
software. Although the distinction between resource and instance
models is fundamental, it is not often made (perhaps because the
implications of the distinction are not well understood).
Once the distinction is made, it can be seen that virtually every
music representation system exhibits both formalisms. In other words,
music representations have aspects of both the resource and instance
models. Furthermore, these seemingly mutually exclusive models can be
combined to create a comprehensive formalism. Armed with this new
formalism, we can shed new light on existing representation schemes,
exposing hidden assumptions, revealing subtle ambiguities, and
unmasking limitations.
We will begin by explaining the instance and resource models in
greater detail. We then describe our new formalism, which integrates
the two models. The new “resource-instance” formalism is then applied
to MIDI and Music V to illustrate particular characteristics of these
representation systems. Then, we describe how we are applying the
formalism in a new system for music representation and synthesis.
2 The Resource Model
====================
Sections are numbered. Subsections are formatted as in the following
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Notice that this section appears below the level of “Abstract” in the
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Needless to say, this would make this template very confusing. You may
have to manually adjust spacing to get things right – templates will
not do it all.
2.1 A Subsection
----------------
Note that there is a tab between “2.1” and “A Subsection.” This keeps
the spacing uniform. If you wish to use third-order headings, format
them as follows.
Third-order Heading. A third-order heading uses the same 10-point
Times font, but the heading is boldface, and the paragraph begins with
some space. Use the Heading 3 style for this, and add your own
boldface to the heading part of the paragraph.
Additional paragraphs are indented as usual like this.
2.2 References
--------------
Bibliographical references appear in parentheses; there is an example
at the end of this sentence. (Dannenberg 1989) References with up to
three authors include all the authors (Dannenberg, Fraley, and
Velikonja 1991) , but references with more than three authors use “et
al.” (Lindemann, et al. 1991). A reference is not a subject or object.
When you want to use the referenced work as part of a sentence, use
the author or authors and use the year only for the reference, as in
the following sentence: Mathews (1969) includes a manual for Music V.
Just for variety, this is a reference to an ICMC paper. (Dannenberg
and Mercer 1992)
3.
Figures and Captions
--------------------
If possible, include figures in-line with the text. Here is a simple
figure with a caption.

Figure 1. This figure contains no useful information, but notice how
useful a caption can be.
2.
Copyright Notices
=================
You may wish to add a copyright notice to the bottom of the first
column of your paper. All copyrights remain with the authors. Authors
will be asked to sign a form that gives ICMA, ICMC, and IEEE rights to
sell the ICMC proceedings. In Word, you probably need to create a
floating figure with the copyright notice and position it manually.
Typically, ICMC papers carry no explicit copyright notice.
2.
Using Word Styles
=================
If you have not used Microsoft Word styles, read this to understand
how you should use this template. Every “paragraph,” including
headings, the title, captions, and bibliography entries, has a style.
The style encapsulates all format information such as font size,
spacing, tabs, and indentation. If you use styles, spacing and
formatting will automatically conform to the template and be
consistent.
The name of the paragraph style is normally displayed somewhere in the
toolbar. If you click here you should see the words “Body Text” in the
toolbar. Click on “Acknowledgments” below and you will see the words
“Heading 1.”
When you enter a new paragraph of any sort, use the Format/Style… menu
item to call up a dialog box where you can select the style for the
paragraph. You should never format anything manually. Apply styles
instead. (Section 2 suggests one exception where you might have to
adjust spacing by hand.)
3 Acknowledgments
=================
Thanks to Eli Brandt for helping create these templates.
References
==========
Dannenberg, R. B. 1989. “The Canon Score Language.” Computer Music
Journal 13(1):47-56.
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Dannenberg, R. B., C. L. Fraley, and P. Velikonja. 1991. “Fugue: A
Functional Language for Sound Synthesis.” Computer 24(7):36-42.
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Dannenberg, R. B., and C. W. Mercer. 1992. “Real-Time Software
Synthesis on Superscalar Architectures.” Proceedings of the
International Computer Music Conference. International Computer Music
Association, pp. 174-177.
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Lindemann, E., F. Dechelle, B. Smith, and M. Starkier. 1991. “The
Architecture of the IRCAM Musical Workstation.” Computer Music Journal
15(3):41-49.
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Mathews, M. V. 1969. The Technology of Computer Music. Cambridge,
Massachusetts: MIT Press.
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