Morpheus Music Download Free

[Paul]

Morpheuswas a file sharing and searching peer-to-peer client for Microsoft Windows, developed and distributed by the company StreamCast, that originally used the OpenNap protocol, but later supported many different peer-to-peer protocols. On April 22, 2008, distributor StreamCast Networks filed for Chapter 7 bankruptcy after a long legal battle with music companies; all of their employees were laid off and the official download at www.morpheus.com stopped being available, though for a small period the website remained online. As of October 29, 2008, the official Morpheus website is offline, including all other websites owned by StreamCast Networks, specifically MusicCity.com, Streamcastnetworks.com and NeoNetwork.com.

Users of the Morpheus community have set up a website (at GnutellaForums.com) where the Morpheus software can still be downloaded. At that site, there is a support forum and support chat room setup from the site[2] and within the client.

The current version of Morpheus, version 5.5.1, contains no adware or spyware, and no additional software is bundled with Morpheus.[citation needed] However, when Morpheus is open and running, the interface contains online ads that are used to support the application.

During installation, an optional peer-to-peer Morpheus Toolbar is offered. Both the Morpheus application and the Morpheus Toolbar can be easily uninstalled with Windows Add/Remove Programs commands. However, this was not the case with previous versions.

MorpheuS morphs a template piece into a newly generated piece with long term structure and a predefined emotional content. Full details are available in the following scientific papers: Herremans, D, Chew, E. 2017. MorpheuS: generating structured music with constrained patterns and tension. IEEE Transactions on Affective Computing. PP:99 Herremans, D, Chew, E. 2016. MorpheuS: Automatic music generation with recurrent pattern constraints and tension profiles. Proceedings of IEEE TENCON, Singapore.

Bio Katerina Kosta is a machine learning researcher at Jukedeck, working as part of the composition team, whose aim is to develop machine learning systems for music generation. She pursued her PhD at the Centre for Digital Music, Queen Mary University of London, conducting research on modelling dynamic variations in expressive music performance. She received degrees from University of Athens (Mathematics) and Filippos Nakas Conservatory, Athens (Piano), and a Sound and Music Computing Masters from the Music Technology Group, UPF, Barcelona.

Bio Dr. Simon Lui is currently Music Director at Tencent, one of the largest Internet and technology companies, as well as the largest and most valuable gaming and social media company in the world. Tencent Music entertainment has over 120 million paying subscribers. Prof. Lui received his PhD degree in Computer Science from The Hong Kong University of Science and Technology in 2011. His primary research interests are audio engineering and semantic audio information retrieval. Simon was awarded the Marie Curie Fellowship in 2011 and performing mobile audio research project in the Institute of Computer Science of Foundation for Research and Technology -- Hellas. Simon has extensive experience in mobile application development especially for audio app. He has been the consultant of SenseStream Limited in 2004, the Chief Technology Officer of Technology Method Inc in 2011, and he started his own business of mobile application development since 2009. Simon has 7 inventions on the iPhone/iPad platform, including no. 1 best selling apps in Hong Kong, Taiwan, Malaysia, Indonesia and Canada iPhone/iPad app store. His story was widely reported by international media, including CNN international, IEEE Institute, and various magazines, newspapers and television programs.

This set of 3+3 pieces by MorpheuS was presented for the first time at the Partnerships concert, 23 May 2017, curated by Bob Sturm and Oded Ben-Tal. The music was recorded live by Ebenezer Acquah at St Dunstan and All Saints Church in Stepney, London and performed by Elaine Chew:

The MorpheuS Haydn 110 piece was recently featured in the PRISM concert series in Stanford, see the announcement in The Examiner and at the With/Without concert in London. The resulting lecture talk given by Elaine Chew is available below (MorpheuS starts at 23:00):

MorpheuS was featured in a documentary called 'Algorithms' by Channel News Asia. MorpheuS is a music generation algorithm developed by Prof. Elaine Chew and myself at Queen Mary University of London. In the documentary, a string quartet consisting of musicians from the Singapore Symphony Orchestra perform a piece composed by MorpheuS (at around 17min in), followed by an interview about my research (21min in).

There are quiet codes weaved into the fabric of modern life, silently crunching mountains of big data, and helping us solve problems based on the results they derive. They are known as Algorithms - complex webs of code that can determine anything. From whether you should watch this show, to telling police departments if you're going to commit a crime, and where. But can math, and the computers that calculate it, be wrong?

Elaine Chew is Professor of Digital Media in theSchool of Electronic Engineering and Computer Science at Queen Mary University of London(QMUL) where she is affiliated with the Centrefor Digital Music. Prior to joining QMUL in 2011,she was a tenured associate professor at theUniversity of Southern California, where she wasthe inaugural holder of the Viterbi Early CareerChair. She was a recipient of the US PresidentialEarly Career Award in Science and Engineering and NSF CAREER Award, and the Edward,Frances, and Shirley B. Daniels Fellow at the Radcliffe Institute forAdvanced Study. She is also an alum of the NAS Kavli Frontiers ofScience and NAE Frontiers of Engineering Symposia. Her researchcenters on the mathematical and computational modeling of musicstructure, musical prosody, music cognition, and ensemble interaction.She is author of over 100 peer-reviewed chapters and articles, andauthor and editor of 8 books and journal special issues on musicand computing. She has served as program and general chair of theInternational Conferences on Music Information Retrieval (2008) and ofMathematics and Computation in Music (2009, 2015), and was invitedconvenor of the Mathemusical Conversations international workshop in2015. She was awarded PhD and SM degrees in operations research atthe Massachusetts Institute of Technology, and a BAS in mathematicaland computational sciences (hon) and music (distinction) at StanfordUniversity

Anja Volk holds master degrees in both Mathematics (1998) and Musicology (1996) and a PhD in the field of computational musicology (2002) from Humboldt University Berlin, Germany. Her area of specialisation is the development and application of computational and mathematical models for music research. The results of her research have substantially contributed to areas such as music information retrieval, computational musicology, digital cultural heritage, music cognition, and mathematical music theory. After two post-doc periods at the University of Southern California and Utrecht University, she has been awarded a prestigious VIDI grant from the Netherlands Organisation for Scientific Research in 2010, which allowed her to start her own research group MUSIVA on the topic of music similarity. She is a board member of the International Society for Mathematics and Computation in Music (SMCM) and of the Computational advisory board of the Lorentz Center, International center for workshops in the sciences. She co-organized the launch of the Transactions of the International Society for Music Information Retrieval, the open access journal of the ISMIR society, and is serving as Editor-in-Chief for the journal's first term.

When I was eleven, I was listening to the Beatles, the Byrds, and the Rolling Stones on radio, which sparked my interest in the electric guitar. Later, from 1966 on, I listened to Hendrix and Clapton as well as to Mike Bloomfield, and tried to play like that, which I sometimes succeeded in when I got my first Hfner Semi-Hollow Body electric guitar. Because of the possibility of overdriving, I chose a Grundig TK5 tape recorder as the amplifier.

My friend Udo Heinemann (later singer of the Berlin band Pille Palle and tter Ptter) and I had learned the first guitar chords with the boy scouts and practiced them diligently. At the age of 14 we played with changing drummers and those who wanted to be at school parties (e.g. Bee Gees, Hollies, Rolling Stones, Cream).

In 1974 the idea came up to record these pieces as a demo on tape. The rehearsal room was small, insulated with mattresses and egg boxes, and was located in the basement of the Warburg elementary school. The recording technology was simple: Revox machine and two microphones. The music was only released on CD in 2001 by Garden of Delights.

Originally it was a play on words made up of morphine and Orpheus. We later found out that Morpheus is the god of dreams. Conny and Robert left in 1975, partly for musical reasons, partly for technical reasons. Since Peter also played guitar, he switched to bass, which gave the music a certain conciseness through his playing style and use of the Fender Precision Bass.

Concerning the guitar sound, the following peculiarity might have to be noted: I owned a Hoyer 5060 stereo guitar that I played on two amps. One of the two channels was clean, and one with echo, phaser and distortion. The guitar had been upgraded with an additional Tele Pick Up in the middle and Fender Jazzmaster Vibrato.

Important. It is often the nucleus for new ideas and pieces. Today Morpheus is a real jam band with newcomer Michael Mantel (keyboard). Heinrich is no longer there. We play weekly, but with no serious performance ambitions. We also have a session with various instrumentalists from Kassel and the surrounding area once a week.

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