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JythonMusic is an environment for music making and creative programming. It is meant for musicians and programmers alike, of all levels and backgrounds.
JythonMusic provides composers and software developers with libraries for music making, image manipulation, building graphical user interfaces, and connecting to external devices, such as digital pianos, smartphones, and tablets.
JythonMusic is based on Python programming. It is easy to learn for beginners, and powerful enough for experts.
- Even more surprising: music provided by the researchers proved to be more beneficial than no music at all. It seems that unfamiliar, or uninteresting, music is best for safe driving.
- Dolby Atmos Music is reinventing how songs are made and experienced, allowing you to feel your music fully without limitations. Feel music in a whole new way.
- Musician programmers (or programmer musicians), who seek inspiration, and a new, comprehensive way to interweave music composition, music performance, and computing. For more information, see B. Brown, Making Music with Computers: Creative Programming in Python, Chapman & Hall/CRC Textbooks in Computing, May 2014.
Used in education
JythonMusic is used in computer programming classes combining music and art. Here is a first-year university class performing Terry Riley’s “In C”.
Used in music
JythonMusic supports musicians with its familiar music data structure based upon note/sound events, and provides methods for organizing, manipulating and analyzing such musical data. JythonMusic scores can be played back in real-time, rendered as MIDI or XML, and drive external synthesizers and DAWs (e.g., Ableton, LogicPro, and PureData).
JythonMusic can connect to external MIDI controllers and OSC devices (e.g., smartphones and tablets) for musical or other purposes. Here is an interface utilizing Myo armbands and PureData to control a performance half-way around the world.
Used in art
JythonMusic is used in art projects. It works well with other tools, like MIT Processing and PureData. Here is an interactive multimedia art installation developed using JythonMusic.
Used in research
JythonMusic is designed to be extendible, encouraging you to build upon its functionality by programming in Jython to create your own musical compositions, tools, and instruments. Here is a hyperinstrument consisting of guitar and computer, for a research project in computer-aided music composition.
It is free
JythonMusic is free, in the spirit of other tools, like PureData and MIT Processing. It is an open source project.
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JythonMusic is 100% Jython and works on Windows, Mac OS, Linux, or any other platform with Java support.
It comes with a textbook
JythonMusic comes with a textbook. The textbook is intended for
- students in computing in the arts, or music technology courses
- musicians, who are beginning programmers, to learn Python in a musical way
- programmers, who are beginning musicians, to learn essential music concepts in a programming way
- musician programmers (or programmer musicians), who seek inspiration, and a new, comprehensive way to interweave music composition, music performance, and computing.
For more information, see
- B. Manaris and A. Brown, Making Music with Computers: Creative Programming in Python, Chapman & Hall/CRC Textbooks in Computing, May 2014. (see Amazon, and CRC Press links)
- B. Manaris, B. Stevens, and A.R. Brown, “JythonMusic: An environment for teaching algorithmic music composition, dynamic coding and musical performativity”, Journal of Music, Technology & Education, 9: 1, pp. 33–56, May 2016. (doi: 10.1386/jmte.9.1.33_1)
This material supports the AP Computer Science Principles Curriculum.
Credits
JythonMusic is developed by Bill Manaris, Kenneth Hanson, Dana Hughes, David Johnson, Seth Stoudenmier, Christopher Benson, Margaret Marshall, and William Blanchett.
JythonMusic is based on the jMusic computer-assisted composition framework, created by Andrew Brown and Andrew Sorensen.
The JEM editor is based on the TigerJython editor developed by Tobias Kohn.
JythonMusic also incorporates the jSyn synthesizer by Phil Burk, and other cross-platform programming tools.
Various components have been supported by the US National Science Foundation (DUE-1323605, DUE-1044861, IIS-0736480, IIS-0849499 and IIS-1049554).
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ENERGY NOT EFFORT
This is one of the most confusing concepts in singing. Energy in the tone is what we want and Effort is something we want to desperately to avoid. Energy is created naturally when our vocal instrument is in balance and our body is involved in the singing process. It feels good. It feels easy. Sometimes it occurs naturally and other times we may have to make adjustments. Effort usually occurs when singers use their throat muscles/membranes and vocal cords improperly to create volume. We should actually feel and see very little happening in our throat area.AIRFLOW
Never hold your breath while singing. The airflow is what creates and carries your vocal tone, so keep it flowing. Avoid Clavicular Breathing and Belly Breathing -- instead, learn the proper way to breathe for singing, called diaphragmatic breathing. Fill the lower portion of your lungs as if you had an inner tube around your waist, evenly filling the entire area.MIRROR
Training in front of a mirror can help a singer discover many things about their instrument, as well as confirm that other actions are being done correctly. Be sure to rely on a mirror during vocal training, but be able to leave the mirror to face an audience.COPE WITH THE UNEXPECTED
Singing events and challenges occur with every performance. Deal with them the SMART way. Figure out which part of your vocal instrument is out of balance and make an instant adjustment. If you are not sure what actually makes up your “vocal instrument” you would definitely benefit from learning vocal mechanics.
OPEN YOUR MOUTH WIDER
Nine times out of ten this will help you achieve a stronger, more defined vocal tone. FEATHERS
When learning to sing your full range and accomplish the desired one voice (same power with similar tone throughout the whole range) singers often experience cracks and breaks. One way to test this is to practice a siren. Slide on the syllable “he” from the bottom of your range to the top. If you do not experience cracks or breaks, try it on all syllables at all volumes. When you find yourself faced with this challenge, it is the common response to “try harder” or “give more effort” on those notes. This is not the way to solve this issue. What you want to do is to lighten up just a bit on these notes, let them float like a feather instead of trying harder and stomping on them. Understand that most often this is caused because muscles and membranes not having the memory they need to make the transition you require, as quickly as you want it made. Repetition will give them memory, so keep practicing. Lighten up just a bit on those notes and sing through the break. Don’t develop the habit of stopping when you “crack” or it will come back to bite you later.QUIT SINGING THROUGH YOUR NOSE
Nasal tone qualities occur when there is too much resonance in your nasal cavity and not enough sympathetic resonance or overtones being created in other cavities. One quick fix is to simply open your mouth taller.PLACEMENT OF YOUR TONE
PLACEMENT OF YOUR TONE refers to where the tone is centered. Mastering tone placement will make your singing incredibly easy and consistent. Some people are born with the skill of good tone placement and others have to really work at it. To get technical, there is both a horizontal and vertical placement. For example: horizontal placement, the tone can be centered at the front of your mouth, the middle or the back (back never preferred). For example: vertical placement, draw a line from the middle of your chin to the top middle of your head. The higher the note, the higher the placement.QUIT BAD HABITS
Quit smoking. Quit talking too loudly. Quit talking too much. Quit clenching your jaw. Quit holding your breath. Quit beating yourself up for vocal imperfections.HUMMING
Humming should be easy and sound alive. If you cannot hum well, you are not singing up to your potential. Humming is a good way to determine which part of your vocal instrument is not warmed up or pulling its weight. When you hum you should be able to feel the resonant vibration on the front of your face.While True: Learn() Soundtrack Crackle
GUESSING GAMES
Never guess the pitch you are about to sing. Hear the note in your head before you open your mouth.LIFT YOUR DIAPHRAGM
So many singers learn to “belly breath” (breathe into the belly) and therefore tend to think that lifting their diaphragm feels similar to holding in their stomach. You can sing like this, but you are only using half your resources and not making full use of the power provided by the muscles in the back. To get your best breath for singing, you want to fill up your abdomen like an inner tube, you should feel expansion all the way around your body…yes, even in your back. Then to compress the air and support the vocal tone release, you lift the diaphragm muscle straight up from the center of your body. If you are used to the other way, it takes some practice to get the new diaphragm muscle memory, but well worth the effort!RESONANCE
Resonance is commonly defined as the “key to your signature voice.” As singers, we are far more interested on how we manipulate it that it’s textbook definition. Resonance is created by the sound wave/frequency you are creating is shaped and amplified by dancing in a resonating cavity (chest, mouth, nasal, sinus). The resonating cavity we have the most control over is the size and shape of our mouth. So play around with the size and shape of the mouth to hear changes in your resonance. With regard to mouth shape, taller is preferred over wider.YOUR STYLE
So many students avoid improving certain mechanical skills because they claim that it is their style. While it is true that certain things a singer does, shape of their mouth, how they pronounce words, etc., contributes to their signature voice… improving how you create your tone will only make your signature voice better. Don’t back away from understanding your voice; learn all you can about your instrument in order to create your best sound.YOU CAN SING
Making an impact on a room is as much about expression as it is physical ability. Take the time to understand your current skill level and exercise your vocal machine to help it become as balanced as possible at your current level. Make a plan for improvement, but ACCEPT your current level and love it. Face every song performance like a football player approaches the field. Forget about everything else except for the current play and how much you love the game. Say to yourself, YOU CAN SING and give it everything you've got.VOLUME AND POWER
Volume and power should be gained by using the muscles in the back and abdomen. If you are losing your voice after 4-6 songs or if you hear a lot of “effort” in your tone (it doesn’t float in a pure fashion), then you are probably using your throat.INCREASE YOUR BREATHING SKILLS
Increase your breathing capacity and control by doing breathing exercises every day. Be sure to avoid patterned breathing. Singers must negotiate phrase lengths of all different sizes, so it is important to be versatile.DIAPHRAGMATIC SUPPORT
Develop the strength and coordination of the diaphragm and become a pro at controlling the speed of the airflow released, the quantity of the airflow released and the consistency of the airflow released.WATER WATER WATER
Drink room temperature water as often as you can to keep hydrated. If you only have cold or hot water available, swish it around in your mouth for a moment. This action will keep related muscles from being startled or stressed by different temperatures. Keep in mind that if you only drink water when you feel the dehydration during performance, the water you intake will be dispersed to the larger muscles in the body, not your vocal cords. In order to avoid vocal dehydration during performance, pay attention to your body's hydration all-day, every-day.TONE PLACEMENT
Learning the facts about tone placement and resonance make a huge difference in the abilities of a singer. In simple terms, a singer has numerous body cavities (nasal cavity, chest cavity, etc.) and amplifiers (bones, ligaments, etc.) that act as resonators. Focusing the vocal tone through the proper resonating chamber with the proper support is a major key to controlling and developing your personal sound.HIGH NOTES
High notes require consistent and steady fast moving airflow. Many students tend to hold their breath as they sing higher. Let the air flow. Try increasing your airflow and gauge your result.RAISE THE SOFT PALATE
Creating a larger space inside your mouth by raising the soft palate, or fleshy part of the back of our throat, helps achieve a deeper more well rounded singing tone.
One way to achieve this is to think of biting into a large apple. At SingSmart™ we like to call this APPLE AH. To practice, pretend you are about to bite into an imaginary apple and sing AH. Remember, it takes repetition of this action to retrain those muscles to hold that position so do this on a regular basis for many weeks while you practice. Before you know it, this action will be moved into your subconscious and you will be singing with a lifted soft palate and creating a much warmer, rounder vocal tone.AND, singing will be easier.
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