Music and artificial intelligence : Second International Conference, ICMAI 2002, Edinburgh, Scotland, UK, September 12-14, 2002 : proceedings
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Music and artificial intelligence : Second International Conference, ICMAI 2002, Edinburgh, Scotland, UK, September 12-14, 2002 : proceedings
(Lecture notes in computer science, 2445 . Lecture notes in artificial intelligence)
Springer, c2002
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Library, Research Institute for Mathematical Sciences, Kyoto University数研
L/N||LNCS||244502041325
Note
Includes bibliographical references and index
"International Conference on Music and Artificial Intelligence (ICMAI 02)"--Pref
Description and Table of Contents
Description
Thisvolumecontainsthefullresearchpapersofthe2nd International Con- renceonMusicandArti?cialIntelligence(ICMAI02),heldinSt. Cecilia'sHall, Edinburgh,UK,12-14September2002. Theconferencewasjointlyorganizedby theFacultyofMusicandtheDivisionofInformatics,UniversityofEdinburgh. Eachofthepapersinthisvolumewasrefereedbyatleastthreereviewersfrom theProgramCommittee. AdditionalpaperswereacceptedasWork-in-Progress reports,publishedseparatelybytheDivisionofInformaticsoftheUniversity ofEdinburgh. Theconferenceprogramalsoincludedround-tablediscussions, electronicmusicconcerts,earlykeyboardintrumentdemonstrations,andvarious socialevents. Thefocusoftheconferencewasontheinterplaybetweenmusicaltheoryand practiceontheonehandandtechniquesandmethodsfromArti?cialIntelligence, includingcomputationalcognitivemodelingofmusicalprocesses,ontheother. Weareespeciallyinterestedinissuesofmusicalrepresentationandanalysis, associatedalgorithms,andtheevaluationofmusicalartefacts. MusicpresentsmanychallengesforAIandInformaticsingeneral. Whilethe analogieswithnaturallanguageandwithvisionareproductive,musicrequires novelsolutionstoitsownrepresentationalandalgorithmicproblems.
Forthe musician,workinthisareacontributestowardsmusicologicalstudy,composition, performance,interactivesystems,andsoundsynthesis. Threedistinguishedscholarsinthearea,MiraBalaban,Jean-ClaudeRisset, andAntonioCamurri,agreedtogivetheinvitedkeynotes. Thesetalkscovered di?erentfeaturesofmusicalexperienceanditsrelationtoArti?cialIntelligence, namelymusicalconcepts,composition,andperformance. Morespeci?cally,Jean- ClaudeRisset'stopicwasMusicalCompositionandArti?cialIntelligence:Some Precedents and Prospects,MiraBalaban'swas Structure and Interpretation of Music Concepts - Music from a Computational Perspective,andAntonio- murri'swasComputationalModelsofExpressiveGesture. Thepapersintheconferencedealtwithawiderangeofaspectsofcurrent research,includingstructural,harmonic,andreductionalmusicanalysis,pattern representationanddiscoveryinbothmonophonicandpolyphonicmusic,music perceptionofmelodyandrhythm,therelationbetweenmusicandnaturallan- age,similarityandcategorization,musicandintonation,musicalexpressionand performance,soundprocessing,soundclassi?cations,commercialapplications, andmusicontheweb. Acknowledgements.
Theeditorsaregratefulforallthehelpofthosewho madethepublicationofthisvolumepossible,andespeciallyDarrellConklin, VI Organization PeterNelson,EmiliosCambouropoulos,AlisonPease,andMarkSteedman;also, JordanFleming,EwenMaclean,andRobertDow;andtheFacultyofMusicand theDivisionofInformatics,UniversityofEdinburghfor?nancialsupport. July2002 ChristinaAnagnostopoulou MiguelFerrand AlanSmaill OrganizingCommittee AlanSmaill(Chair) ChristinaAnagnostopoulou(Co-chair) MiguelFerrand PeterNelson AlisonPease MarkSteedman ProgramCommittee ?
JensArnspang(Alborg) GillianHayes(Edinburgh) MiraBalaban(Ben-Gurion) HenkjanHoning(Nijmegen) MartaOlivettiBelardinelli(Rome) JukkaLouhivuori(Jyvaskyla) RensBod(Amsterdam) TodMachover(MIT-MediaLab) CarolaBoehm(Glasgow) GuerinoMazzola(ZurichandVienna) AmilcarCardoso(Coimbra) StephenMcAdams(IRCAM) EmiliosCambouropoulos(Thessaloniki)EduardoMiranda(SONYCSL-Paris) ElaineChew(USC) PeterNelson(Edinburgh) DarrellConklin(ZymoGenetics) Fran,coisPachet(SONYCSL-Paris) IanCross(Cambridge) StephenTravisPope(SantaBarbara) RogerDannenberg(CMU) AlanSmaill(Edinburgh) PeterDesain(Nijmegen) MarkSteedman(Edinburgh) AnastasiaGeorgaki(Athens) DavidTemperley(Rochester) InvitedSpeakers MiraBalaban(Ben-GurionUniversity,Israel) AntonioCamurri(UniversityofGenoa,Italy) Jean-ClaudeRisset(LaboratoiredeM'echaniqueetd'14September2002. Theconferencewasjointlyorganizedby theFacultyofMusicandtheDivisionofInformatics,UniversityofEdinburgh. Eachofthepapersinthisvolumewasrefereedbyatleastthreereviewersfrom theProgramCommittee. AdditionalpaperswereacceptedasWork-in-Progress reports,publishedseparatelybytheDivisionofInformaticsoftheUniversity ofEdinburgh.
Theconferenceprogramalsoincludedround-tablediscussions, electronicmusicconcerts,earlykeyboardintrumentdemonstrations,andvarious socialevents. Thefocusoftheconferencewasontheinterplaybetweenmusicaltheoryand practiceontheonehandandtechniquesandmethodsfromArti?cialIntelligence, includingcomputationalcognitivemodelingofmusicalprocesses,ontheother. Weareespeciallyinterestedinissuesofmusicalrepresentationandanalysis, associatedalgorithms,andtheevaluationofmusicalartefacts. MusicpresentsmanychallengesforAIandInformaticsingeneral. Whilethe analogieswithnaturallanguageandwithvisionareproductive,musicrequires novelsolutionstoitsownrepresentationalandalgorithmicproblems. Forthe musician,workinthisareacontributestowardsmusicologicalstudy,composition, performance,interactivesystems,andsoundsynthesis. Threedistinguishedscholarsinthearea,MiraBalaban,Jean-ClaudeRisset, andAntonioCamurri,agreedtogivetheinvitedkeynotes. Thesetalkscovered di?erentfeaturesofmusicalexperienceanditsrelationtoArti?cialIntelligence, namelymusicalconcepts,composition,andperformance. Morespeci?cally,Jean- ClaudeRisset'stopicwasMusicalCompositionandArti?cialIntelligence:Some Precedents and Prospects,MiraBalaban'swas Structure and Interpretation of Music Concepts - Music from a Computational Perspective,andAntonio- murri'swasComputationalModelsofExpressiveGesture.
Thepapersintheconferencedealtwithawiderangeofaspectsofcurrent research,includingstructural,harmonic,andreductionalmusicanalysis,pattern representationanddiscoveryinbothmonophonicandpolyphonicmusic,music perceptionofmelodyandrhythm,therelationbetweenmusicandnaturallan- age,similarityandcategorization,musicandintonation,musicalexpressionand performance,soundprocessing,soundclassi?cations,commercialapplications, andmusicontheweb. Acknowledgements. Theeditorsaregratefulforallthehelpofthosewho madethepublicationofthisvolumepossible,andespeciallyDarrellConklin, VI Organization PeterNelson,EmiliosCambouropoulos,AlisonPease,andMarkSteedman;also, JordanFleming,EwenMaclean,andRobertDow;andtheFacultyofMusicand theDivisionofInformatics,UniversityofEdinburghfor?nancialsupport. July2002 ChristinaAnagnostopoulou MiguelFerrand AlanSmaill OrganizingCommittee AlanSmaill(Chair) ChristinaAnagnostopoulou(Co-chair) MiguelFerrand PeterNelson AlisonPease MarkSteedman ProgramCommittee ?
JensArnspang(Alborg) GillianHayes(Edinburgh) MiraBalaban(Ben-Gurion) HenkjanHoning(Nijmegen) MartaOlivettiBelardinelli(Rome) JukkaLouhivuori(Jyvaskyla) RensBod(Amsterdam) TodMachover(MIT-MediaLab) CarolaBoehm(Glasgow) GuerinoMazzola(ZurichandVienna) AmilcarCardoso(Coimbra) StephenMcAdams(IRCAM) EmiliosCambouropoulos(Thessaloniki)EduardoMiranda(SONYCSL-Paris) ElaineChew(USC) PeterNelson(Edinburgh) DarrellConklin(ZymoGenetics) FranccoisPachet(SONYCSL-Paris) IanCross(Cambridge) StephenTravisPope(SantaBarbara) RogerDannenberg(CMU) AlanSmaill(Edinburgh) PeterDesain(Nijmegen) MarkSteedman(Edinburgh) AnastasiaGeorgaki(Athens) DavidTemperley(Rochester) InvitedSpeakers MiraBalaban(Ben-GurionUniversity,Israel) AntonioCamurri(UniversityofGenoa,Italy) Jean-ClaudeRisset(LaboratoiredeM'echaniqueetd'Acoustique,France) TableofContents InvitedTalks StructureandInterpretationofMusicConcepts:Musicfroma ComputationalPerspective...1 MiraBalaban ExpressiveGesture...4 AntonioCamurri RegularContributions AGeneralParsingModelforMusicandLanguage ...5 RensBod TheSpiralArray:AnAlgorithmforDeterminingKeyBoundaries ...18 ElaineChew RepresentationandDiscoveryofVerticalPatternsinMusic ...3
2 DarrellConklin DiscoveringMusicalStructureinAudioRecordings...43 RogerB. Dannenberg,NingHu RealTimeTrackingandVisualisationofMusicalExpression ...58 SimonDixon,WernerGoebl,GerhardWidmer AutomaticClassi?cationofDrumSounds:AComparisonofFeature SelectionMethodsandClassi?cationTechniques...69 PerfectoHerrera,AlexandreYeterian,FabienGouyon SomeFormalProblemswithSchenkerianRepresentationsofTonal Structure ...81 TimHorton RespirationRe?ectingMusicalExpression:AnalysisofRespiration duringMusicalPerformancebyInductiveLogicProgramming ...94 SohIgarashi,TomonobuOzaki,KoichiFurukawa MimeticDevelopmentofIntonation ...107 EduardoReckMiranda InteractingwithaMusicalLearningSystem:TheContinuator ...119 Fran,coisPachet VIII TableofContents RecognitionofIsolatedMusicalPatternsUsingHiddenMarkovModels ...133 AggelosPikrakis,SergiosTheodoridis,DimitrisKamarotos AModelforthePerceptionofTonalMelodies...144 Dirk-JanPovel ControlLanguageforHarmonisationProcess ...155 SomnukPhon-Amnuaisuk EvaluatingMelodicSegmentation...168 ChristianSpevak,BelindaThom,KarinHothker CombiningGrammar-BasedandMemory-BasedModelsofPerceptionof TimeSignatureandPhase ...183 NetaSpiro ABayesianApproachtoKey-Finding ...1
95 DavidTemperley AuthorIndex...207 StructureandInterpretationofMusicConcepts: MusicfromaComputationalPerspective MiraBalaban DepartmentofInformationSystemsEngineering Ben-GurionUniversityoftheNegev,Israel. mira@cs. bgu. ac. il Researchinthe?eldofComputer-Musicisdirectedtowardsconstructionof computersystemsforcomposition,performanceofmusicaltasks,musictra- ing,signalprocessingandextensionoftraditionalmusicsounds,notationstudy, musicanalysis,storageandcommunicationofmusicaldata,andmusicinf- mationretrievalandclassi?cation. Computerapplicationsinmusicleadtothe developmentofcomputationalmodels. ExamplesaretheworksofWinograd, Ebcioglu,Laske,Cope,Bamberger,Berger&GangandOrlarey. Berger&Gang usearti?cialneuralnetworkstoinvestigatemusicperception,Orlareyetal. - troducethenotionofConcreteAbstraction(borrowedfromLambdaCalculus) asabasisfortheirpurelyfunctionalcompositionenvironment,whileWinograd usesaSystemicGrammarapproachborrowedfromLinguistics. Inspiteofrichactivityinmusicologyandincomputermusic,thereislittle research(ifatall)onthedevelopmentofacomputationalbasisforcomputer music(e. g. ,Schenker,Narmour,LerdhalandJackendo?).
Mostcomputermusic systemsindeedhavehugemusicalknowledgeandintuitionsembeddedinthem, butcannotpointonunderlyingexplicitcomputationalbasis. Clearlythey- sumesomelevelofprimitives,andusedi?erentabstractionlevelsandkinds,but thesearenotanchoredincomputationalmodelsthataccountfortheirbasics, organization,usageandsemantics. Inasense,thissituationremindsoneofthe earlydaysofNaturalLanguageProcessing,whenalargeamountoflinguistic knowledgewasembeddedinhugesemanticnetworks. Inthistalkweproposetoinitiateastudyofcomputationalframeworks formusicknowledge. Theideaistomakethemusicknowledgethatunderlies computer-musicapplications(eitherintentionallyornot)explicit. Asastarting point,wesuggesttostudy music schemas. HereishowMusicologistDahlia Cohen(dept. ofMusicology,HebrewUniversity,Israel)describestherolethat musicschemasplayinmusicunderstanding: Listeningtomusic(perceptionandreaction)anditsmemorization,are cognitiveactivitiesthatdependon schemas thatarecreated,unc- sciously,atanearlyage. Theschemasrepresentrelationshiptypes- tweenmusicaleventsthataredictatedbyprinciplesoforganization,in variousabstractionlevels. Theschemastriggerexpectationsthatmay ormaynotberealized.
Musicisdistinguishedfromotherartsinhaving thesystematicorganizationasthesolemeansfortriggeringvarioustypes ofreactions(whereasotherartsemploynon-artistic,non-organizational meansforreactiontriggering).
Table of Contents
Invited Talks.- Structure and Interpretation of Music Concepts: Music from a Computational Perspective.- Expressive Gesture.- Regular Contributions.- A General Parsing Model for Music and Language.- The Spiral Array: An Algorithm for Determining Key Boundaries.- Representation and Discovery of Vertical Patterns in Music.- Discovering Musical Structure in Audio Recordings.- Real Time Tracking and Visualisation of Musical Expression.- Automatic Classification of Drum Sounds: A Comparison of Feature Selection Methods and Classification Techniques.- Some Formal Problems with Schenkerian Representations of Tonal Structure.- Respiration Reflecting Musical Expression: Analysis of Respiration during Musical Performance by Inductive Logic Programming.- Mimetic Development of Intonation.- Interacting with a Musical Learning System: The Continuator.- Recognition of Isolated Musical Patterns Using Hidden Markov Models.- A Model for the Perception of Tonal Melodies.- Control Language for Harmonisation Process.- Evaluating Melodic Segmentation.- Combining Grammar-Based and Memory-Based Models of Perception of Time Signature and Phase.- A Bayesian Approach to Key-Finding.
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