Understanding music with AI : perspectives on music cognition

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Bibliographic Information

Understanding music with AI : perspectives on music cognition

edited by Mira Balaban, Kemal Ebcioğlu, and Otto Laske

AAAI Press, c1992

Available at  / 32 libraries

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"Copublished and distributed by the MIT Press."--T.p. verso

Includes bibliographical references and index

Description and Table of Contents

Description

This anthology provides an informative and timely introduction to ongoing research on music as a cognitive process, bringing a new coherence to the emerging science of musical activity. Following the foreword, which is based on a conversation with Marvin Minsky, 26 contributions explore musical composition, analysis, performance, perception, and learning and tutoring. Their goal is to discover how these activities can be interpreted, understood, modeled, and supported through the use of computer programs. Each chapter is put into perspective by the editors, and empirical investigations are framed by a discussion of the nature of cognitive musicology and of epistemological problems of modeling musical action. The contributions, drawn from two international workshops on AI and Music held in 1988 and 1989, are grouped in seven sections. Topics in these sections take up two views of the nature of cognitive musicology (Kugel, Laske), principles of modeling musical activity (Balaban, Bel, Blevis, Glasgow and Jenkins, Courtot, Smoliar), approaches to music composition (Ames and Domino, Laske, Marsella, Riecken), music analysis by synthesis (Cope, Ebcioglu, Maxwell), realtime performance of music (Bel and Kippen, Ohteru and Hashimoto), music perception (Desain and Honing, Jones, Miller and Scarborough, Linster), and learning/tutoring (Baker, Widmer).

Table of Contents

  • Part 1 Two views on cognitive musicology: artificial intelligence and music - cornerstone of cognitive musicology, O. Laske
  • beyond computational musicology, P. Kugel. Part 2 General problems in modeling musical activities: representing listening behaviour - problems and prospects, S.W. Smoliar
  • symbolic and sonic representations of sound-object structures, B. Bel
  • music structures - interleaving the temporal and hierarchical aspects in music, B. Balaban
  • on designing a typed music language, E.B. Blevis, et al
  • logical representation and induction for computer assisted composition, F. Courtot. Part 3 Music composition: cybernetic composer - an overview, C. Ames and M. Domino
  • Wolfgang - a system using emoting potentials to manage musical design, R.D. Riecken
  • on the application of problem reduction search to automated composition, S.C. Marsella and C.F. Schmidt
  • the observer tradition of knowledge acquisition, O. Laske. Part 4 Analysis: an expert system for harmonizing chorales in the style of J.S. Bach, K. Ebcioglu
  • an expert system for harmonic analysis of tonal music, H.J. Maxwell
  • on the algorithmic representation of musical style, D. Cope. Part 5 Performance: Bol processor grammars, B. Bel and J. Kippen
  • a new approach to music through vision, S. Ohteru and S. Hashimoto. Part 6 Perception: analyzing and representing musical rhythm, C. Linster
  • on the perception of metre, B.O. Miller, et al
  • the quantization problem - traditional and connectionist approaches, P. Desain and H. Honing. Part 7 Learning and tutoring: an architecture for an intelligent tutoring system, M.J. Baker
  • a knowledge intensive approach to mcachine learning in tonal music, G. Widmer.

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