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Monday, May 24, 2021

Fire

From Wikipedia, the free encyclopedia

An outdoor wood fire
 
The ignition and extinguishing of a pile of wood shavings
 
The fire maps show the locations of actively burning fires around the world on a monthly basis, based on observations from the Moderate Resolution Imaging Spectroradiometer (MODIS) on NASA's Terra satellite. The colors are based on a count of the number (not size) of fires observed within a 1,000-square-kilometer area. White pixels show the high end of the count—as many as 100 fires in a 1,000-square-kilometer area per day. Yellow pixels show as many as 10 fires, orange shows as many as five fires, and red areas as few as one fire per day.
 
Fire from a New Year's Eve BBQ.
 
Coal burning.

Fire is the rapid oxidation of a material in the exothermic chemical process of combustion, releasing heat, light, and various reaction products. Fire is hot because the conversion of the weak double bond in molecular oxygen, O2, to the stronger bonds in the combustion products carbon dioxide and water releases energy (418 kJ per 32 g of O2); the bond energies of the fuel play only a minor role here. At a certain point in the combustion reaction, called the ignition point, flames are produced. The flame is the visible portion of the fire. Flames consist primarily of carbon dioxide, water vapor, oxygen and nitrogen. If hot enough, the gases may become ionized to produce plasma. Depending on the substances alight, and any impurities outside, the color of the flame and the fire's intensity will be different.

Fire in its most common form can result in conflagration, which has the potential to cause physical damage through burning. Fire is an important process that affects ecological systems around the globe. The positive effects of fire include stimulating growth and maintaining various ecological systems. Its negative effects include hazard to life and property, atmospheric pollution, and water contamination. If fire removes protective vegetation, heavy rainfall may lead to an increase in soil erosion by water. Also, when vegetation is burned, the nitrogen it contains is released into the atmosphere, unlike elements such as potassium and phosphorus which remain in the ash and are quickly recycled into the soil. This loss of nitrogen caused by a fire produces a long-term reduction in the fertility of the soil, but this fecundity can potentially be recovered as molecular nitrogen in the atmosphere is "fixed" and converted to ammonia by natural phenomena such as lightning and by leguminous plants that are "nitrogen-fixing" such as clover, peas, and green beans.

Fire has been used by humans in rituals, in agriculture for clearing land, for cooking, generating heat and light, for signaling, propulsion purposes, smelting, forging, incineration of waste, cremation, and as a weapon or mode of destruction.

Physical properties

Chemistry

The fire tetrahedron

Fires start when a flammable or a combustible material, in combination with a sufficient quantity of an oxidizer such as oxygen gas or another oxygen-rich compound (though non-oxygen oxidizers exist), is exposed to a source of heat or ambient temperature above the flash point for the fuel/oxidizer mix, and is able to sustain a rate of rapid oxidation that produces a chain reaction. This is commonly called the fire tetrahedron. Fire cannot exist without all of these elements in place and in the right proportions. For example, a flammable liquid will start burning only if the fuel and oxygen are in the right proportions. Some fuel-oxygen mixes may require a catalyst, a substance that is not consumed, when added, in any chemical reaction during combustion, but which enables the reactants to combust more readily.

Once ignited, a chain reaction must take place whereby fires can sustain their own heat by the further release of heat energy in the process of combustion and may propagate, provided there is a continuous supply of an oxidizer and fuel.

If the oxidizer is oxygen from the surrounding air, the presence of a force of gravity, or of some similar force caused by acceleration, is necessary to produce convection, which removes combustion products and brings a supply of oxygen to the fire. Without gravity, a fire rapidly surrounds itself with its own combustion products and non-oxidizing gases from the air, which exclude oxygen and extinguish the fire. Because of this, the risk of fire in a spacecraft is small when it is coasting in inertial flight. This does not apply if oxygen is supplied to the fire by some process other than thermal convection.

Fire can be extinguished by removing any one of the elements of the fire tetrahedron. Consider a natural gas flame, such as from a stove-top burner. The fire can be extinguished by any of the following:

  • turning off the gas supply, which removes the fuel source;
  • covering the flame completely, which smothers the flame as the combustion both uses the available oxidizer (the oxygen in the air) and displaces it from the area around the flame with CO2;
  • application of water, which removes heat from the fire faster than the fire can produce it (similarly, blowing hard on a flame will displace the heat of the currently burning gas from its fuel source, to the same end), or
  • application of a retardant chemical such as Halon to the flame, which retards the chemical reaction itself until the rate of combustion is too slow to maintain the chain reaction.

In contrast, fire is intensified by increasing the overall rate of combustion. Methods to do this include balancing the input of fuel and oxidizer to stoichiometric proportions, increasing fuel and oxidizer input in this balanced mix, increasing the ambient temperature so the fire's own heat is better able to sustain combustion, or providing a catalyst, a non-reactant medium in which the fuel and oxidizer can more readily react.

Flame

Northwest Crown Fire Experiment, Canada
 
Photo of a fire taken with a 1/4000th of a second exposure
 
Fire is affected by gravity. Left: Flame on Earth; Right: Flame on the ISS

A flame is a mixture of reacting gases and solids emitting visible, infrared, and sometimes ultraviolet light, the frequency spectrum of which depends on the chemical composition of the burning material and intermediate reaction products. In many cases, such as the burning of organic matter, for example wood, or the incomplete combustion of gas, incandescent solid particles called soot produce the familiar red-orange glow of "fire". This light has a continuous spectrum. Complete combustion of gas has a dim blue color due to the emission of single-wavelength radiation from various electron transitions in the excited molecules formed in the flame. Usually oxygen is involved, but hydrogen burning in chlorine also produces a flame, producing hydrogen chloride (HCl). Other possible combinations producing flames, amongst many, are fluorine and hydrogen, and hydrazine and nitrogen tetroxide. Hydrogen and hydrazine/UDMH flames are similarly pale blue, while burning boron and its compounds, evaluated in mid-20th century as a high energy fuel for jet and rocket engines, emits intense green flame, leading to its informal nickname of "Green Dragon".

The glow of a flame is complex. Black-body radiation is emitted from soot, gas, and fuel particles, though the soot particles are too small to behave like perfect blackbodies. There is also photon emission by de-excited atoms and molecules in the gases. Much of the radiation is emitted in the visible and infrared bands. The color depends on temperature for the black-body radiation, and on chemical makeup for the emission spectra. The dominant color in a flame changes with temperature. The photo of the forest fire in Canada is an excellent example of this variation. Near the ground, where most burning is occurring, the fire is white, the hottest color possible for organic material in general, or yellow. Above the yellow region, the color changes to orange, which is cooler, then red, which is cooler still. Above the red region, combustion no longer occurs, and the uncombusted carbon particles are visible as black smoke.

The common distribution of a flame under normal gravity conditions depends on convection, as soot tends to rise to the top of a general flame, as in a candle in normal gravity conditions, making it yellow. In micro gravity or zero gravity, such as an environment in outer space, convection no longer occurs, and the flame becomes spherical, with a tendency to become more blue and more efficient (although it may go out if not moved steadily, as the CO2 from combustion does not disperse as readily in micro gravity, and tends to smother the flame). There are several possible explanations for this difference, of which the most likely is that the temperature is sufficiently evenly distributed that soot is not formed and complete combustion occurs. Experiments by NASA reveal that diffusion flames in micro gravity allow more soot to be completely oxidized after they are produced than diffusion flames on Earth, because of a series of mechanisms that behave differently in micro gravity when compared to normal gravity conditions. These discoveries have potential applications in applied science and industry, especially concerning fuel efficiency.

In combustion engines, various steps are taken to eliminate a flame. The method depends mainly on whether the fuel is oil, wood, or a high-energy fuel such as jet fuel.

Typical adiabatic temperatures

The adiabatic flame temperature of a given fuel and oxidizer pair is that at which the gases achieve stable combustion.

Fire science & ecology

Every natural ecosystem has its own fire regime, and the organisms in those ecosystems are adapted to or dependent upon that fire regime. Fire creates a mosaic of different habitat patches, each at a different stage of succession. Different species of plants, animals, and microbes specialize in exploiting a particular stage, and by creating these different types of patches, fire allows a greater number of species to exist within a landscape.

Fire science is a branch of physical science which includes fire behavior, dynamics, and combustion. Applications of fire science include fire protection, fire investigation, and wildfire management.

Fossil record

The fossil record of fire first appears with the establishment of a land-based flora in the Middle Ordovician period, 470 million years ago, permitting the accumulation of oxygen in the atmosphere as never before, as the new hordes of land plants pumped it out as a waste product. When this concentration rose above 13%, it permitted the possibility of wildfire. Wildfire is first recorded in the Late Silurian fossil record, 420 million years ago, by fossils of charcoalified plants. Apart from a controversial gap in the Late Devonian, charcoal is present ever since. The level of atmospheric oxygen is closely related to the prevalence of charcoal: clearly oxygen is the key factor in the abundance of wildfire. Fire also became more abundant when grasses radiated and became the dominant component of many ecosystems, around 6 to 7 million years ago; this kindling provided tinder which allowed for the more rapid spread of fire. These widespread fires may have initiated a positive feedback process, whereby they produced a warmer, drier climate more conducive to fire.

Human control

Bushman starting a fire in Namibia
 
Process of ignition of a match

The ability to control fire was a dramatic change in the habits of early humans. Making fire to generate heat and light made it possible for people to cook food, simultaneously increasing the variety and availability of nutrients and reducing disease by killing organisms in the food. The heat produced would also help people stay warm in cold weather, enabling them to live in cooler climates. Fire also kept nocturnal predators at bay. Evidence of cooked food is found from 1 million years ago, although fire was probably not used in a controlled fashion until 400,000 years ago. There is some evidence that fire may have been used in a controlled fashion about 1 million years ago. Evidence becomes widespread around 50 to 100 thousand years ago, suggesting regular use from this time; interestingly, resistance to air pollution started to evolve in human populations at a similar point in time. The use of fire became progressively more sophisticated, with it being used to create charcoal and to control wildlife from 'tens of thousands' of years ago.

Fire has also been used for centuries as a method of torture and execution, as evidenced by death by burning as well as torture devices such as the iron boot, which could be filled with water, oil, or even lead and then heated over an open fire to the agony of the wearer.

Painting of the Cathedral and the Academy building after the Great Fire of Turku, by Gustaf Wilhelm Finnberg, 1827

By the Neolithic Revolution, during the introduction of grain-based agriculture, people all over the world used fire as a tool in landscape management. These fires were typically controlled burns or "cool fires", as opposed to uncontrolled "hot fires", which damage the soil. Hot fires destroy plants and animals, and endanger communities. This is especially a problem in the forests of today where traditional burning is prevented in order to encourage the growth of timber crops. Cool fires are generally conducted in the spring and autumn. They clear undergrowth, burning up biomass that could trigger a hot fire should it get too dense. They provide a greater variety of environments, which encourages game and plant diversity. For humans, they make dense, impassable forests traversable. Another human use for fire in regards to landscape management is its use to clear land for agriculture. Slash-and-burn agriculture is still common across much of tropical Africa, Asia and South America. "For small farmers, it is a convenient way to clear overgrown areas and release nutrients from standing vegetation back into the soil", said Miguel Pinedo-Vasquez, an ecologist at the Earth Institute’s Center for Environmental Research and Conservation. However this useful strategy is also problematic. Growing population, fragmentation of forests and warming climate are making the earth's surface more prone to ever-larger escaped fires. These harm ecosystems and human infrastructure, cause health problems, and send up spirals of carbon and soot that may encourage even more warming of the atmosphere – and thus feed back into more fires. Globally today, as much as 5 million square kilometres – an area more than half the size of the United States – burns in a given year.

There are numerous modern applications of fire. In its broadest sense, fire is used by nearly every human being on earth in a controlled setting every day. Users of internal combustion vehicles employ fire every time they drive. Thermal power stations provide electricity for a large percentage of humanity.

Hamburg after four fire-bombing raids in July 1943, which killed an estimated 50,000 people

The use of fire in warfare has a long history. Fire was the basis of all early thermal weapons. Homer detailed the use of fire by Greek soldiers who hid in a wooden horse to burn Troy during the Trojan war. Later the Byzantine fleet used Greek fire to attack ships and men. In the First World War, the first modern flamethrowers were used by infantry, and were successfully mounted on armoured vehicles in the Second World War. In the latter war, incendiary bombs were used by Axis and Allies alike, notably on Tokyo, Rotterdam, London, Hamburg and, notoriously, at Dresden; in the latter two cases firestorms were deliberately caused in which a ring of fire surrounding each city was drawn inward by an updraft caused by a central cluster of fires. The United States Army Air Force also extensively used incendiaries against Japanese targets in the latter months of the war, devastating entire cities constructed primarily of wood and paper houses. The use of napalm was employed in July 1944, towards the end of the Second World War; although its use did not gain public attention until the Vietnam War. Molotov cocktails were also used.

Use as fuel

Disability-adjusted life year for fires per 100,000 inhabitants in 2004
  no data
  less than 50
  50–100
  100–150
  150–200
  200–250
  250–300
  300–350
  350–400
  400–450
  450–500
  500–600
  more than 600

Setting fuel aflame releases usable energy. Wood was a prehistoric fuel, and is still viable today. The use of fossil fuels, such as petroleum, natural gas, and coal, in power plants supplies the vast majority of the world's electricity today; the International Energy Agency states that nearly 80% of the world's power came from these sources in 2002. The fire in a power station is used to heat water, creating steam that drives turbines. The turbines then spin an electric generator to produce electricity. Fire is also used to provide mechanical work directly, in both external and internal combustion engines.

The unburnable solid remains of a combustible material left after a fire is called clinker if its melting point is below the flame temperature, so that it fuses and then solidifies as it cools, and ash if its melting point is above the flame temperature.

Protection and prevention

Wildfire prevention programs around the world may employ techniques such as wildland fire use and prescribed or controlled burns. Wildland fire use refers to any fire of natural causes that is monitored but allowed to burn. Controlled burns are fires ignited by government agencies under less dangerous weather conditions.

Fire fighting services are provided in most developed areas to extinguish or contain uncontrolled fires. Trained firefighters use fire apparatus, water supply resources such as water mains and fire hydrants or they might use A and B class foam depending on what is feeding the fire.

Fire prevention is intended to reduce sources of ignition. Fire prevention also includes education to teach people how to avoid causing fires. Buildings, especially schools and tall buildings, often conduct fire drills to inform and prepare citizens on how to react to a building fire. Purposely starting destructive fires constitutes arson and is a crime in most jurisdictions.

Model building codes require passive fire protection and active fire protection systems to minimize damage resulting from a fire. The most common form of active fire protection is fire sprinklers. To maximize passive fire protection of buildings, building materials and furnishings in most developed countries are tested for fire-resistance, combustibility and flammability. Upholstery, carpeting and plastics used in vehicles and vessels are also tested.

Where fire prevention and fire protection have failed to prevent damage, fire insurance can mitigate the financial impact.

This visualization shows fires detected in the United States from July 2002 through July 2011. Look for fires that reliably burn each year in western states and across the Southeast.

Restoration

Fire-damaged restaurant waiting for demolition

Different restoration methods and measures are used depending on the type of fire damage that occurred. Restoration after fire damage can be performed by property management teams, building maintenance personnel, or by the homeowners themselves; however, contacting a certified professional fire damage restoration specialist is often regarded as the safest way to restore fire damaged property due to their training and extensive experience. Most are usually listed under "Fire and Water Restoration" and they can help speed repairs, whether for individual homeowners or for the largest of institutions.

Fire and Water Restoration companies are regulated by the appropriate state's Department of Consumer Affairs – usually the state contractors license board. In California, all Fire and Water Restoration companies must register with the California Contractors State License Board. Presently, the California Contractors State License Board has no specific classification for "water and fire damage restoration." Hence, the Contractor's State License Board requires both an asbestos certification (ASB) as well as a demolition classification (C-21) in order to perform Fire and Water Restoration work.

Computer music

From Wikipedia, the free encyclopedia

Computer music is the application of computing technology in music composition, to help human composers create new music or to have computers independently create music, such as with algorithmic composition programs. It includes the theory and application of new and existing computer software technologies and basic aspects of music, such as sound synthesis, digital signal processing, sound design, sonic diffusion, acoustics, electrical engineering and psychoacoustics. The field of computer music can trace its roots back to the origins of electronic music, and the first experiments and innovations with electronic instruments at the turn of the 20th century.

History

CSIRAC, Australia's first digital computer, as displayed at the Melbourne Museum

Much of the work on computer music has drawn on the relationship between music and mathematics, a relationship which has been noted since the Ancient Greeks described the "harmony of the spheres".

Musical melodies were first generated by the computer originally named the CSIR Mark 1 (later renamed CSIRAC) in Australia in 1950. There were newspaper reports from America and England (early and recently) that computers may have played music earlier, but thorough research has debunked these stories as there is no evidence to support the newspaper reports (some of which were obviously speculative). Research has shown that people speculated about computers playing music, possibly because computers would make noises, but there is no evidence that they actually did it.

The world's first computer to play music was the CSIR Mark 1 (later named CSIRAC), which was designed and built by Trevor Pearcey and Maston Beard from the late 1940s. Mathematician Geoff Hill programmed the CSIR Mark 1 to play popular musical melodies from the very early 1950s. In 1950 the CSIR Mark 1 was used to play music, the first known use of a digital computer for the purpose. The music was never recorded, but it has been accurately reconstructed. In 1951 it publicly played the "Colonel Bogey March" of which only the reconstruction exists. However, the CSIR Mark 1 played standard repertoire and was not used to extend musical thinking or composition practice, as Max Mathews did, which is current computer-music practice.

The first music to be performed in England was a performance of the British National Anthem that was programmed by Christopher Strachey on the Ferranti Mark 1, late in 1951. Later that year, short extracts of three pieces were recorded there by a BBC outside broadcasting unit: the National Anthem, "Ba, Ba Black Sheep, and "In the Mood" and this is recognised as the earliest recording of a computer to play music as the CSIRAC music was never recorded. This recording can be heard at the this Manchester University site. Researchers at the University of Canterbury, Christchurch declicked and restored this recording in 2016 and the results may be heard on SoundCloud.

Two further major 1950s developments were the origins of digital sound synthesis by computer, and of algorithmic composition programs beyond rote playback. Max Mathews at Bell Laboratories developed the influential MUSIC I program and its descendants, further popularising computer music through a 1963 article in Science. Amongst other pioneers, the musical chemists Lejaren Hiller and Leonard Isaacson worked on a series of algorithmic composition experiments from 1956-9, manifested in the 1957 premiere of the Illiac Suite for string quartet.

In Japan, experiments in computer music date back to 1962, when Keio University professor Sekine and Toshiba engineer Hayashi experimented with the TOSBAC computer. This resulted in a piece entitled TOSBAC Suite, influenced by the Illiac Suite. Later Japanese computer music compositions include a piece by Kenjiro Ezaki presented during Osaka Expo '70 and "Panoramic Sonore" (1974) by music critic Akimichi Takeda. Ezaki also published an article called "Contemporary Music and Computers" in 1970. Since then, Japanese research in computer music has largely been carried out for commercial purposes in popular music, though some of the more serious Japanese musicians used large computer systems such as the Fairlight in the 1970s.

The programming computer for Yamaha's first FM synthesizer GS1. CCRMA, Stanford University

Early computer-music programs typically did not run in real time, although the first experiments on CSIRAC and the Ferranti Mark 1 did operate in real time. From the late 1950s, with increasingly sophisticated programming, programs would run for hours or days, on multimillion-dollar computers, to generate a few minutes of music. One way around this was to use a 'hybrid system' of digital control of an analog synthesiser and early examples of this were Max Mathews' GROOVE system (1969) and also MUSYS by Peter Zinovieff (1969).

Until now partial use has been exploited for musical research into the substance and form of sound (convincing examples are those of Hiller and Isaacson in Urbana, Illinois USA; Iannis Xenakis in Paris and Pietro Grossi in Florence, Italy).

In May 1967 the first experiments in computer music in Italy were carried out by the S 2F M studio in Florence in collaboration with General Electric Information Systems Italy. Olivetti-General Electric GE 115 (Olivetti S.p.A.) is used by Grossi as a performer: three programmes were prepared for these experiments. The programmes were written by Ferruccio Zulian and used by Pietro Grossi for playing Bach, Paganini, and Webern works and for studying new sound structures.

In the late 1970s these systems became commercialised, notably by systems like the Roland MC-8 Microcomposer, where a microprocessor-based system controls an analog synthesizer, released in 1978. John Chowning's work on FM synthesis from the 1960s to the 1970s allowed much more efficient digital synthesis, eventually leading to the development of the affordable FM synthesis-based Yamaha DX7 digital synthesizer, released in 1983. In addition to the Yamaha DX7, the advent of inexpensive digital chips and microcomputers opened the door to real-time generation of computer music. In the 1980s, Japanese personal computers such as the NEC PC-88 came installed with FM synthesis sound chips and featured audio programming languages such as Music Macro Language (MML) and MIDI interfaces, which were most often used to produce video game music, or chiptunes. By the early 1990s, the performance of microprocessor-based computers reached the point that real-time generation of computer music using more general programs and algorithms became possible.

Interesting sounds must have a fluidity and changeability that allows them to remain fresh to the ear. In computer music this subtle ingredient is bought at a high computational cost, both in terms of the number of items requiring detail in a score and in the amount of interpretive work the instruments must produce to realize this detail in sound.

Advances

Advances in computing power and software for manipulation of digital media have dramatically affected the way computer music is generated and performed. Current-generation micro-computers are powerful enough to perform very sophisticated audio synthesis using a wide variety of algorithms and approaches. Computer music systems and approaches are now ubiquitous, and so firmly embedded in the process of creating music that we hardly give them a second thought: computer-based synthesizers, digital mixers, and effects units have become so commonplace that use of digital rather than analog technology to create and record music is the norm, rather than the exception.

Research

Despite the ubiquity of computer music in contemporary culture, there is considerable activity in the field of computer music, as researchers continue to pursue new and interesting computer-based synthesis, composition, and performance approaches. Throughout the world there are many organizations and institutions dedicated to the area of computer and electronic music study and research, including the ICMA (International Computer Music Association), C4DM (Centre for Digital Music), IRCAM, GRAME, SEAMUS (Society for Electro Acoustic Music in the United States), CEC (Canadian Electroacoustic Community), and a great number of institutions of higher learning around the world.

Music composed and performed by computers

Later, composers such as Gottfried Michael Koenig and Iannis Xenakis had computers generate the sounds of the composition as well as the score. Koenig produced algorithmic composition programs which were a generalisation of his own serial composition practice. This is not exactly similar to Xenakis' work as he used mathematical abstractions and examined how far he could explore these musically. Koenig's software translated the calculation of mathematical equations into codes which represented musical notation. This could be converted into musical notation by hand and then performed by human players. His programs Project 1 and Project 2 are examples of this kind of software. Later, he extended the same kind of principles into the realm of synthesis, enabling the computer to produce the sound directly. SSP is an example of a program which performs this kind of function. All of these programs were produced by Koenig at the Institute of Sonology in Utrecht in the 1970s. In the 2000s, Andranik Tangian developed a computer algorithm to determine the time event structures for rhythmic canons and rhythmic fugues, which were then "manually" worked out into harmonic compositions Eine kleine Mathmusik I and Eine kleine Mathmusik II performed by computer; for scores and recordings see.

Computer-generated scores for performance by human players

Computers have also been used in an attempt to imitate the music of great composers of the past, such as Mozart. A present exponent of this technique is David Cope. He wrote computer programs that analyse works of other composers to produce new works in a similar style. He has used this program to great effect with composers such as Bach and Mozart (his program Experiments in Musical Intelligence is famous for creating "Mozart's 42nd Symphony"), and also within his own pieces, combining his own creations with that of the computer.

Melomics, a research project from the University of Málaga (Spain), developed a computer composition cluster named Iamus, which composes complex, multi-instrument pieces for editing and performance. Since its inception, Iamus has composed a full album in 2012, appropriately named Iamus, which New Scientist described as "The first major work composed by a computer and performed by a full orchestra." The group has also developed an API for developers to utilize the technology, and makes its music available on its website.

Computer-aided algorithmic composition

Diagram illustrating the position of CAAC in relation to other Generative music Systems

Computer-aided algorithmic composition (CAAC, pronounced "sea-ack") is the implementation and use of algorithmic composition techniques in software. This label is derived from the combination of two labels, each too vague for continued use. The label computer-aided composition lacks the specificity of using generative algorithms. Music produced with notation or sequencing software could easily be considered computer-aided composition. The label algorithmic composition is likewise too broad, particularly in that it does not specify the use of a computer. The term computer-aided, rather than computer-assisted, is used in the same manner as computer-aided design.

Machine improvisation

Machine improvisation uses computer algorithms to create improvisation on existing music materials. This is usually done by sophisticated recombination of musical phrases extracted from existing music, either live or pre-recorded. In order to achieve credible improvisation in particular style, machine improvisation uses machine learning and pattern matching algorithms to analyze existing musical examples. The resulting patterns are then used to create new variations "in the style" of the original music, developing a notion of stylistic reinjection. This is different from other improvisation methods with computers that use algorithmic composition to generate new music without performing analysis of existing music examples.

Statistical style modeling

Style modeling implies building a computational representation of the musical surface that captures important stylistic features from data. Statistical approaches are used to capture the redundancies in terms of pattern dictionaries or repetitions, which are later recombined to generate new musical data. Style mixing can be realized by analysis of a database containing multiple musical examples in different styles. Machine Improvisation builds upon a long musical tradition of statistical modeling that began with Hiller and Isaacson's Illiac Suite for String Quartet (1957) and Xenakis' uses of Markov chains and stochastic processes. Modern methods include the use of lossless data compression for incremental parsing, prediction suffix tree, string searching and more. Style mixing is possible by blending models derived from several musical sources, with the first style mixing done by S. Dubnov in a piece NTrope Suite using Jensen-Shannon joint source model. Later the use of factor oracle algorithm (basically a factor oracle is a finite state automaton constructed in linear time and space in an incremental fashion) was adopted for music by Assayag and Dubnov and became the basis for several systems that use stylistic re-injection.

Implementations

The first implementation of statistical style modeling was the LZify method in Open Music, followed by the Continuator system that implemented interactive machine improvisation that interpreted the LZ incremental parsing in terms of Markov models and used it for real time style modeling developed by François Pachet at Sony CSL Paris in 2002. Matlab implementation of the Factor Oracle machine improvisation can be found as part of Computer Audition toolbox. There is also an NTCC implementation of the Factor Oracle machine improvisation.

OMax is a software environment developed in IRCAM. OMax uses OpenMusic and Max. It is based on researches on stylistic modeling carried out by Gerard Assayag and Shlomo Dubnov and on researches on improvisation with the computer by G. Assayag, M. Chemillier and G. Bloch (a.k.a. the OMax Brothers) in the Ircam Music Representations group. One of the problems in modeling audio signals with factor oracle is the symbolization of features from continuous values to a discrete alphabet. This problem was solved in the Variable Markov Oracle (VMO) available as python implementation, using an information rate criteria for finding the optimal or most informative representation.

Live coding

Live coding (sometimes known as 'interactive programming', 'on-the-fly programming', 'just in time programming') is the name given to the process of writing software in realtime as part of a performance. Recently it has been explored as a more rigorous alternative to laptop musicians who, live coders often feel, lack the charisma and pizzazz of musicians performing live.

Musical improvisation

From Wikipedia, the free encyclopedia
 
Improvisation plays a central role in jazz; musicians learn progressions using scale and chord tones (Pictured is Johnny Hodges)

Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians. Sometimes musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music and many other kinds of music. One definition is a "performance given extempore without planning or preparation". Another definition is to "play or sing (music) extemporaneously, by inventing variations on a melody or creating new melodies, rhythms and harmonies". Encyclopædia Britannica defines it as "the extemporaneous composition or free performance of a musical passage, usually in a manner conforming to certain stylistic norms but unfettered by the prescriptive features of a specific musical text. Improvisation is often done within (or based on) a pre-existing harmonic framework or chord progression. Improvisation is a major part of some types of 20th-century music, such as blues, rock music, jazz, and jazz fusion, in which instrumental performers improvise solos, melody lines and accompaniment parts.

Throughout the eras of the Western art music tradition, including the Medieval, Renaissance, Baroque, Classical, and Romantic periods, improvisation was a valued skill. J. S. Bach, Handel, Mozart, Beethoven, Chopin, Liszt, and many other famous composers and musicians were known especially for their improvisational skills. Improvisation might have played an important role in the monophonic period. The earliest treatises on polyphony, such as the Musica enchiriadis (ninth century), indicate that added parts were improvised for centuries before the first notated examples. However, it was only in the fifteenth century that theorists began making a hard distinction between improvised and written music.

Some classical music forms contained sections for improvisation, such as the cadenza in solo concertos, or the preludes to some keyboard suites by Bach and Handel, which consist of elaborations of a progression of chords, which performers are to use as the basis for their improvisation. Handel, Scarlatti, and Bach all belonged to a tradition of solo keyboard improvisation, in which they improvised on the harpsichord or pipe organ. In the Baroque era, performers improvised ornaments and basso continuo keyboard players improvised chord voicings based on figured bass notation. However, in the 20th and early 21st century, as "common practice" Western art music performance became institutionalized in symphony orchestras, opera houses and ballets, improvisation has played a smaller role. At the same time, some contemporary composers from the 20th and 21st century have increasingly included improvisation in their creative work.

In Indian classical music, improvisation is a core component and an essential criterion of performances. In Iranian, Indian, Afghan, Pakistani, and Bangladeshi classical music, raga is the "tonal framework for composition and improvisation". The Encyclopædia Britannica defines a raga as "a melodic framework for improvisation and composition".

In Western music

Medieval period

Although melodic improvisation was an important factor in European music from the earliest times, the first detailed information on improvisation technique appears in ninth-century treatises instructing singers on how to add another melody to a pre-existent liturgical chant, in a style called organum. Throughout the Middle Ages and Renaissance, improvised counterpoint over a cantus firmus (a practice found both in church music and in popular dance music) constituted a part of every musician's education, and is regarded as the most important kind of unwritten music before the Baroque period.

Renaissance period

Following the invention of music printing at the beginning of the sixteenth century, there is more detailed documentation of improvisational practice, in the form of published instruction manuals, mainly in Italy. In addition to improvising counterpoint over a cantus firmus, singers and instrumentalists improvised melodies over ostinato chord patterns, made elaborate embellishments of melodic lines, and invented music extemporaneously without any predetermined schemata. Keyboard players likewise performed extempore, freely formed pieces.

Baroque period

The kinds of improvisation practised during the Renaissance—principally either the embellishing of an existing part or the creation of an entirely new part or parts—continued into the early Baroque, though important modifications were introduced. Ornamentation began to be brought more under the control of composers, in some cases by writing out embellishments, and more broadly by introducing symbols or abbreviations for certain ornamental patterns. Two of the earliest important sources for vocal ornamentation of this sort are Giovanni Battista Bovicelli's Regole, passaggi di musica (1594), and the preface to Giulio Caccini's collection, Le nuove musiche (1601/2)

Melodic instruments

Eighteenth-century manuals make it clear that performers on the flute, oboe, violin, and other melodic instruments were expected not only to ornament previously composed pieces, but also spontaneously to improvise preludes.

Basso continuo

The basso continuo (accompaniment) was mainly improvised, the composer usually providing no more than a harmonic sketch called the figured bass. The process of improvisation was called realization.

Organ improvisation and church music

According to Encyclopædia Britannica, the "monodic textures that originated about 1600 … were ready-made, indeed in large measure intended, for improvisational enhancement, not only of the treble parts but also, almost by definition, of the bass, which was figured to suggest no more than a minimal chordal outline." Improvised accompaniment over a figured bass was a common practice during the Baroque era, and to some extent the following periods. Improvisation remains a feature of organ playing in some church services and are regularly also performed at concerts.

Dietrich Buxtehude and Johann Sebastian Bach were regarded in the Baroque period as highly skilled organ improvisers. During the 20th century, some musicians known as great improvisers such as Marcel Dupré, Pierre Cochereau and Pierre Pincemaille continued this form of music, in the tradition of the French organ school. Maurice Duruflé, a great improviser himself, transcribed improvisations by Louis Vierne and Charles Tournemire. Olivier Latry later wrote his improvisations as a compositions, for example Salve Regina.

Classical period

Keyboard improvisation

Classical music departs from baroque style in that sometimes several voices may move together as chords involving both hands, to form brief phrases without any passing tones. Though such motifs were used sparingly by Mozart, they were taken up much more liberally by Beethoven and Schubert. Such chords also appeared to some extent in baroque keyboard music, such as the 3rd movement theme in Bach's Italian Concerto. But at that time such a chord often appeared only in one clef at a time, (or one hand on the keyboard) and did not form the independent phrases found more in later music. Adorno mentions this movement of the Italian Concerto as a more flexible, improvisatory form, in comparison to Mozart, suggesting the gradual diminishment of improvisation well before its decline became obvious.

The introductory gesture of "tonic, subdominant, dominant, tonic", however, much like its baroque form, continues to appear at the beginning of high-classical and romantic piano pieces (and much other music) as in Haydn's sonata Hob.16/No. 52 and Beethoven's sonata opus 78.

Beethoven and Mozart cultivated mood markings such as con amore, appassionato, cantabile, and expressivo. In fact, it is perhaps because improvisation is spontaneous that it is akin to the communication of love.

Mozart and Beethoven

Beethoven and Mozart left excellent examples of what their improvisations were like, in the sets of variations and the sonatas which they published, and in their written out cadenzas (which illustrate what their improvisations would have sounded like). As a keyboard player, Mozart competed at least once in improvisation, with Muzio Clementi. Beethoven won many tough improvisatory battles over such rivals as Johann Nepomuk Hummel, Daniel Steibelt, and Joseph Woelfl.

Romantic period

Instrumental

Extemporization, both in the form of introductions to pieces, and links between pieces, continued to be a feature of keyboard concertising until the early 20th-century. Amongst those who practised such improvisation were Franz Liszt, Felix Mendelssohn, Anton Rubinstein, Paderewski, Percy Grainger and Pachmann. Improvisation in the area of 'art music' seems to have declined with the growth of recording.

Opera

After studying over 1,200 early Verdi recordings, Will Crutchfield concludes that "The solo cavatina was the most obvious and enduring locus of soloistic discretion in nineteenth-century opera". He goes on to identify seven main types of vocal improvisation used by opera singers in this repertory:

  • 1. The Verdian "full-stop" cadenza
  • 2. Arias without "full-stop": ballate, canzoni, and romanze
  • 3. Ornamentation of internal cadences
  • 4. Melodic variants (interpolated high notes, acciaccature, rising two-note "slide")
  • 5. Strophic variation and the problem of the cabaletta
  • 6. Facilitations (puntature, simplification of fioratura, etc.)
  • 7. Recitative

Modern opinions

Theodor Adorno

Toward the end of the section of Aesthetic Theory entitled "Art Beauty" (in the English edition), Theodor Adorno included a brief argument on improvisation's aesthetic value. Claiming that artworks must have a "thing-character" through which their spiritual content breaks, Adorno pointed out that the thing-character is in question in the improvised, yet present.  It may be assumed Adorno meant classical improvisation, not jazz, which he mostly excoriated. He held jazz, for example, to be antithetical to Beethoven.

There is more extensive treatment, essentially about traditional jazz, in Prisms and The Jargon of Authenticity.

Contemporary

Jazz

Improvisation is one of the basic elements that sets jazz apart from other types of music. The unifying moments in improvisation that take place in live performance are understood to encompass the performer, the listener, and the physical space that the performance takes place in. Even if improvisation is also found outside of jazz, it may be that no other music relies so much on the art of "composing in the moment", demanding that every musician rise to a certain level of creativity that may put the performer in touch with his or her unconscious as well as conscious states. The educational use of improvised jazz recordings is widely acknowledged. They offer a clear value as documentation of performances despite their perceived limitations. With these available, generations of jazz musicians are able to implicate styles and influences in their performed new improvisations. Many varied scales and their modes can be used in improvisation. They are often not written down in the process, but they help musicians practice the jazz idiom.

A common view of what a jazz soloist does could be expressed thus: as the harmonies go by, he selects notes from each chord, out of which he fashions a melody. He is free to embellish by means of passing and neighbor tones, and he may add extensions to the chords, but at all times a good improviser must follow the changes. ... [However], a jazz musician really has several options: he may reflect the chord progression exactly, he may "skim over" the progression and simply elaborate the background harmony, or he may fashion his own voice-leading which may clash at some points with the chords the rhythm section is playing.

Contemporary classical music

With the notable exception of liturgical improvisation on the organ, the first half of the twentieth century is marked by an almost total absence of actual improvisation in art music. Since the 1950s, some contemporary composers have placed fewer restrictions on the improvising performer, using techniques such as vague notation (for example, indicating only that a certain number of notes must sound within a defined period of time). New Music ensembles formed around improvisation were founded, such as the Scratch Orchestra in England; Musica Elettronica Viva in Italy; Lukas Foss Improvisation Chamber Ensemble at the University of California, Los Angeles; Larry Austin's New Music Ensemble at the University of California, Davis; the ONCE Group at Ann Arbor; the Sonic Arts Group; and Sonics, the latter three funding themselves through concerts, tours, and grants. Significant pieces include Foss Time Cycles (1960) and Echoi (1963).

Other composers working with improvisation include Richard Barrett, Benjamin Boretz, Pierre Boulez, Joseph Brent, Sylvano Bussotti, Cornelius Cardew, Jani Christou, Douglas J. Cuomo, Alvin Curran, Stuart Dempster, Hugh Davies, Karlheinz Essl, Mohammed Fairouz, Rolf Gehlhaar, Vinko Globokar, Richard Grayson, Hans-Joachim Hespos, Barton McLean, Priscilla McLean, Stephen Nachmanovitch, Pauline Oliveros, Henri Pousseur, Todd Reynolds, Terry Riley, Frederic Rzewski, Saman Samadi, William O. Smith, Manfred Stahnke, Karlheinz Stockhausen, Toru Takemitsu, Richard Teitelbaum, Vangelis, Michael Vetter, Christian Wolff, Iannis Xenakis, Yitzhak Yedid, La Monte Young, Frank Zappa, Hans Zender, and John Zorn.

Contemporary popular music

Psychedelic- and progressive-rock music

British and American psychedelic rock acts of the 1960s and 1970s used improvisations to express themselves in a musical language. The progressive rock genre also began exploring improvisation as a musical expression, e.g. Henry Cow.

Silent-film music

In the realm of silent film-music performance, there were musicians (theatre organ players and piano players) whose improvised performances accompanying these film has been recognized as exceptional by critics, scholars, and audiences alike. Neil Brand was a composer who also performed improvisationally. Brand, along with Guenter A. Buchwald, Philip Carli, Stephen Horne, Donald Sosin, John Sweeney, and Gabriel Thibaudeau, all performed at the annual conference on silent film in Pordenone, Italy, "Le Giornate del Cinema Muto". In improvising for silent film, performers have to play music that matches the mood, style and pacing of the films they accompany. In some cases, musicians had to accompany films at first sight, without preparation. Improvisers needed to know a wide range of musical styles and have the stamina to play for sequences of films which occasionally ran over three hours. In addition to the performances, some pianists also taught master classes for those who wanted to develop their skill in improvising for films. When talkiesmotion pictures with sound–were introduced, these talented improvising musicians had to find other jobs. In the 2010s, there are a small number of film societies which present vintage silent films, using live improvising musicians to accompany the film.

Venues

Worldwide there are many venues dedicated to supporting live improvisation. In Melbourne since 1998, the Make It Up Club (held every Tuesday evening at Bar Open on Brunswick Street, Melbourne) has been presenting a weekly concert series dedicated to promoting avant-garde improvised music and sound performance of the highest conceptual and performative standards (regardless of idiom, genre, or instrumentation). The Make It Up Club has become an institution in Australian improvised music and consistently features artists from all over the world.

Music education

A number of approaches to teaching improvisation have emerged in jazz pedagogy, popular music pedagogy, the Dalcroze method, Orff-Schulwerk, and Satis Coleman's creative music. Current research in music education includes investigating how often improvisation is taught, how confident music majors and teachers are at teaching improvisation, neuroscience and psychological aspects of improvisation, and free-improvisation as a pedagogical approach.

Eastern music

A raga is one of the melodic modes used in Indian classical music. Joep Bor of the Rotterdam Conservatory of Music has defined Raga as "tonal framework for composition and improvisation". Nazir Jairazbhoy, chairman of UCLA's department of ethnomusicology, characterized ragas as separated by scale, line of ascent and descent, transilience, emphasized notes and register, and intonation and ornaments. A raga uses a series of five or more musical notes upon which a melody is constructed. However, the way the notes are approached and rendered in musical phrases and the mood they convey are more important in defining a raga than the notes themselves. In the Indian musical tradition, rāgas are associated with different times of the day, or with seasons. Indian classical music is always set in a rāga. Non-classical music such as popular Indian film songs and ghazals sometimes use rāgas in their compositions.

According to Encyclopædia Britannica, a raga, also spelled rag (in northern India) or ragam (in southern India), (from Sanskrit, meaning "colour" or "passion"), in the classical music of India, Bangladesh, and Pakistan, is "a melodic framework for improvisation and composition. A raga is based on a scale with a given set of notes, a typical order in which they appear in melodies, and characteristic musical motifs. The basic components of a raga can be written down in the form of a scale (in some cases differing in ascent and descent). By using only these notes, by emphasizing certain degrees of the scale, and by going from note to note in ways characteristic to the raga, the performer sets out to create a mood or atmosphere (rasa) that is unique to the raga in question. There are several hundred ragas in present use, and thousands are possible in theory."

Alapa (Sanskrit: "conversation") are "improvised melody structures that reveal the musical characteristics of a raga". "Alapa ordinarily constitutes the first section of the performance of a raga. Vocal or instrumental, it is accompanied by a drone (sustained-tone) instrument and often also by a melodic instrument that repeats the soloist's phrases after a lag of a few seconds. The principal portion of alapa is not metric but rhythmically free; in Hindustani music it moves gradually to a section known as jor, which uses a rhythmic pulse though no tala (metric cycle). The performer of the alapa gradually introduces the essential notes and melodic turns of the raga to be performed. Only when the soloist is satisfied that he has set forth the full range of melodic possibilities of the raga and has established its unique mood and personality will he proceed, without interruption, to the metrically organized section of the piece. If a drummer is present, as is usual in formal concert, his first beats serve as a signal to the listener that the alapa is concluded."

Artificial intelligence

Machine improvisation uses computer algorithms to create improvisation on existing music materials. This is usually done by sophisticated recombination of musical phrases extracted from existing music, either live or pre-recorded. In order to achieve credible improvisation in particular style, machine improvisation uses machine learning and pattern matching algorithms to analyze existing musical examples. The resulting patterns are then used to create new variations "in the style" of the original music, developing a notion of stylistic reinjection. This is different from other improvisation methods with computers that use algorithmic composition to generate new music without performing analysis of existing music examples.


Lie point symmetry

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