Constraint Application with Higher-Order Programming for Modeling Music Theories

Anders, Torsten; Miranda, Eduardo Reck

doi:10.1162/comj.2010.34.2.25

Cited by 9 publications

(5 citation statements)

References 8 publications

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“…Unlike the HMM of Allan (2002), which consists of probability distributions learned from a training set of chorale harmonizations, CHORAL is based on the programmer's hand-coded rules. While use of hand-coded rules persists (Phon-Amnuaisuk et al, 2006;Anders & Miranda, 2010), we suggest that reliance on music theorists' observations is not ideal, because the quality and quantity of observations varies across composers and periods. With Markov-type models, however, the same training process has the potential to generalize to music databases from different composers/periods.…”

Section: Existing Algorithms For Stylistic Compositionmentioning

confidence: 92%

“…The use of hand-coded rules (or constraints) to guide the generation of a passage of music was mentioned in Section 2.1 (Ebciǒglu, 1994;Phon-Amnuaisuk et al, 2006;Anders & Miranda, 2010;Elowsson & Friberg, 2012). We questioned whether such systems alone are viable beyond relatively restricted tasks in stylistic composition.…”

Section: Computational Models Of Musical Stylementioning

confidence: 99%

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Developing and evaluating computational models of musical style

Collins

Laney

Willis

et al. 2015

AIEDAM

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Full title: Developing and evaluating computational models of musical style Abstract: Stylistic composition is a creative musical activity, in which students as well as renowned composers write according to the style of another composer or period. We describe and evaluate two computational models of stylistic composition, called Racchman-Oct2010 and Racchmaninof-Oct2010.The former is a constrained Markov model and the latter embeds this model in an analogy-based design system. Racchmaninof-Oct2010 applies a pattern discovery algorithm called SIACT and a perceptually validated formula for rating pattern importance, to guide the generation of a new target design from an existing source design. A listening study is reported concerning human judgments of music excerpts that are, to varying degrees, in the style of mazurkas by Frédédric Chopin (1810-1849). The listening study acts as an evaluation of the two computational models and a third, benchmark system called Experiments in Musical Intelligence (EMI). Judges' responses indicate that some aspects of musical style, such as phrasing and rhythm, are being modeled effectively by our algorithms. Judgments are also used to identify areas for future improvements. We discuss the broader implications of this work for the fields of engineering and design, where there is potential to make use of our models of hierarchical repetitive structure. Data and code to accompany this paper are available from www.tomcollinsresearch.net

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Section: Existing Algorithms For Stylistic Compositionmentioning

confidence: 92%

Section: Computational Models Of Musical Stylementioning

confidence: 99%

Developing and evaluating computational models of musical style

Collins

Laney

Willis

et al. 2015

AIEDAM

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“…We adopted a computational paradigm referred to as constraint satisfaction problem to implement a generative music system that generates sequences of chord progressions in real-time Miranda 2011, Anders andMiranda 2010). The input to the system is a stream of pairs of hypothetic brain data, which controls higher-level aspects of chord progressions.…”

Section: Towards a Bcmi For Controlling Tonalitymentioning

confidence: 99%

Brain–Computer Music Interfacing: Interdisciplinary Research at the Crossroads of Music, Science and Biomedical Engineering

Miranda

2014

Guide to Brain-Computer Music Interfacing

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Research into Brain-Computer Music Interfacing (BCMI) involves three major challenges: the extraction of meaningful control information from signals emanating from the brain, the design of generative music techniques that respond to such information and the definition of ways in which such technology can effectively improve the lives of people with special needs and address therapeutic needs. This chapter discussed the first two challenges, in particularly the music technology side of BCMI research, which has been largely overlooked by colleagues working in this field. After a brief historical account of the field, the author reviews the pioneering research into BCMI that has been developed at Plymouth University's Interdisciplinary Centre for Computer Music Research (ICCMR) within the last decade or so. The chapter introduces examples illustrating ICCMR's developments and glances at current work informed by cognitive experiments.

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“…one hand, with the generality of using arbitrary control structures proposed by BackTalk on the other hand. Strasheela advocates constraint applicators based on higherorder programming [Anders and Miranda 2011]. A constraint is a procedure and a constraint applicator is a higher-order procedure expecting a music representation and a constraint as arguments.…”

Section: Musicmentioning

confidence: 99%

Constraint programming systems for modeling music theories and composition

Anders

Miranda

2011

ACM Comput. Surv.

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Constraint programming is well suited for the computational modeling of music theories and composition: its declarative and modular approach shares similarities with the way music theory is traditionally expressed, namely by a set of rules which describe the intended result. Various music theory disciplines have been modeled, including counterpoint, harmony, rhythm, form, and instrumentation. Because modeling music theories "from scratch" is a complex task, generic music constraint programming systems have been proposed that predefine the required building blocks for modeling a range of music theories. After introducing the field and its problems in general, this survey compares these generic systems according to a number of criteria such as the range of music theories these systems support.

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Constraint Application with Higher-Order Programming for Modeling Music Theories

Cited by 9 publications

References 8 publications

Developing and evaluating computational models of musical style

Developing and evaluating computational models of musical style

Brain–Computer Music Interfacing: Interdisciplinary Research at the Crossroads of Music, Science and Biomedical Engineering

Constraint programming systems for modeling music theories and composition

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