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Figure 11. The MX jazz demo
music piece coded in MX format simply drawing
the corresponding Music Petri Nets. The model
created by ScoreSynth is saved in MX too, and it
is linked to Structural layer of the file itself.
An important advantage of the MX standard
is represented by its usability in a multimodal
environment. Thanks to the multilayer approach in
music description, we have developed a number of
applications devoted to MX enjoyment, that is, to
process an MX file in order to offer an integrated
environment where the user can appreciate the
advantages of the MX format. In the following,
two applications will be presented: one dedicated
to jazz compositions and another one based on
an aria from Puccini's Tosca .
MX Jazz Demo (Baratè, Haus, Ludovico, &
Vercellesi, 2005), shown in Figure 11, features
two jazz pieces: King Porter Stomp , with two
versions of scores and three mapped audio/video
clips, and Crazy Rhythm , constituted by some
improvisations on a fixed harmonic grid. The
aim of the application is providing a tool to “navi-
gate” an MX file and its associated media files,
maintaining synchronization among all layers.
From this point of view, in MX Jazz Demo we
can load an MX file and open its heterogeneous
linked material. When a linked clip is played,
other media are shown synchronously: there is a
small rectangle which highlights the note being
played in the score part of the window, while the
active part of the MX file is shown, and the Chord
grid advances. The main part of the window is
dedicated to represent the current score. On the
top the currently playing MX element is shown,
according to the selected layer.
MX Jazz Demo faces some interesting repre-
sentational problems, such as structural descrip-
tions for those pieces that cannot be represented
by traditional notation. For instance, harmonic
grid is supported for jazz improvisation. Besides,
virtually any type of graphical representation of
music can be mapped in an MX file, even if not
explicitly supported by the original format (as
in Crazy Rhythm ); this confers great flexibility
and power to MX descriptive possibilities. An
interesting consequence of our approach is the
possibility to select a particular point of music (a
timing in a media file, a location in a score image,
a tag in the MX window), and have all the other
media automatically synchronized in real time,
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