英语论文网

A family of harmonic plans that can be used with planner to generate prototypes of harmony sequences. Each plan has a number of variables which are musical material, strategies and techniques. The plan is dependent on which variable is chosen, which in turn will produce a different chord sequence or often many different sequences, each with a family resemblance.

An extensible body of existing pieces. Each one is linked to one or more plans which generates the chord sequences, and to relevant styles.

A highly interactive direct manipulation based on a cognitive theory of harmony. This allows users to manipulate the different elements of harmony used in the pieces (intervals, voicing, chord sequences etc) which can also be sued by beginners (Holland, 1989, 1994).

The interactive microworld associated with MC allows beginners to manipulate and become familiar with harmonic forms, derived from Balzano’s theory (1980) of tonal harmony. Harmonic plans such as those noted by Moore (1992) and Pratt (1984) correspond slightly with the Harmonic plan. PLANC uses a harmony notation which is functional based, however there are no standard rules of classical functional harmony.

The ‘return home’ plan is a typical harmonic plan. This involves a realising a tonic dependent on whether its context is tonal or modal; moving to another root; and then moving back at home) in a direction that depends on the choice of the mode. Stating home chord of a chord sequence may not always be necessary at the beginning, depending on what other music material available in communicating its presence.

One simple plan, not involving any modulation is the ‘return home’ plan. The following are examples of return home chord sequences:

“Abracadabra” (Steve Miller) (Minor) I IV V I (restricted alphabet of roots in force

“The Lady is a Tramp” (Rogers and Hart) (Major I IV VII III VI II V I (in scaletone sevenths)

“Easy Lover” (Phil Collins) (Aeolian) VI VII I (in scaletone triads)

“Isn’t she lovely” (Stevie Wonder) (Major) VI II V I (in scaletone ninths)

(See paragraph above for details on chord notations)

The characterisation of chord sequences represent only a few viewpoints offered by the system. Some of the sequences can be characterised differently when used with other plans. ‘Interesting’ chord sequences are often those which can be characterised by a number of plans at one time. Each viewpoint of a song gives a different tree of ‘nearest neighbours’ in the body, emphasising different features.

This way of illustrating a number of viewpoints coupled with the ability to modify and generate new pieces is an important source of power in the system. Plans are shown in a similar context to that of Levitt (1985). A satisfactory way of solving constraint problems using logic programming languages is explained by Van Hentenryck and Dincbas (1987). They suggest that “Given a particular CSP, it is sufficient to ass本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。