The Resource-Instance Model of Music Representation
Roger B. Dannenberg, Dean Rubine, Tom Neuendorffer
School of Computer Science, Carnegie Mellon University
email: dannenberg@cs.cmu.edu
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
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2.2
References
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(1969) includes a manual for Music V. Just for
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(Dannenberg and Mercer 1992)
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3
Copyright Notices
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4
Using Word Styles
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3
Acknowledgments
Thanks to the people who created these templates
for ICMC2001 and to Palle Dahlstedt who did the
modifications.
ICMC2003 will like to thank ICMC2002 for letting
us
use
this
template
as
reference
on
http://www.icmc2003.org.
References
Dannenberg, R. B. 1989. “The Canon Score Language.”
Computer Music Journal 13(1):47-56.
Dannenberg, R. B., C. L. Fraley, and P. Velikonja. 1991.
“Fugue: A Functional Language for Sound Synthesis.”
Computer 24(7):36-42.
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.
Lindemann, E., F. Dechelle, B. Smith, and M. Starkier.
1991. “The Architecture of the IRCAM Musical
Workstation.” Computer Music Journal 15(3):41-49.
Mathews, M. V. 1969. The Technology of Computer Music.
Cambridge, Massachusetts: MIT Press.