Describing and performing musical processes by means of Petri Nets

Camurri, Antonio; Haus, Goffredo; Zaccaria, Renato

doi:10.1080/09298218608570470

Cited by 7 publications

(4 citation statements)

References 5 publications

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“…In this section, some basic concepts on network formalisms are introduced. An unusual (in AI) and substantially different network formalism, Petri nets, is presented, emphasizing its relevance in AIM (Pope, 1986;Zaccaria, 1986a and1986b;Camurri, Giacomini, Ponassi & Zaccaria, 1988).…”

Section: Planningmentioning

confidence: 99%

“…The Ios system, for example, has been designed for orchestrating a composer-supplied score, according to user defined rules of orchestration. MAP (Music Actors by Petri nets) (Camurri, Haus Zaccaria, 1986b) is a Petri nets-based tool for music description and score generation. A user introduces a score in terms of Petri nets, in which nodes correspond to music objects.…”

Section: Toolsmentioning

confidence: 99%

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On the role of artificial intelligence in music research

Camurri

1990

Interface

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This paper gives a partial overview of what is currently going on in the emerging field known as Artificial Intelligence and Music (AIM). In particular, it focuses on Artificial Intelligence (AI) research areas which, according to a personal view, can significantly influence current music research. The paper highlights how AIM is not a field in which AI technology is merely applied to music. Both music and the AI field can benefit from studies in this discipline: music is a complex experimental domain which can be particularly useful in the formulation and verification of theories about intelligence. This hypothesis is confirmed by the recent works in this field, and particularly by the papers included in this issue of Interface. This paper attempts to set them against an AI global view. The author focuses on the role of some knowledge representation paradigms, such as logic-based formalisms and network representations. In particular, the role of time in AI formalisms is discussed. Another important related issue, scarcely considered in music research, regards planning and action theories. Furthermore, he discusses the necessity of integrating different formalisms into hybrid systems, to cope with the different complex problems existing in music activities. He emphasizes the importance of this topic showing, as a case study, some design issues on a particular music knowledge representation system.

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Section: Planningmentioning

confidence: 99%

Section: Toolsmentioning

confidence: 99%

On the role of artificial intelligence in music research

Camurri

1990

Interface

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“…Several capabilities of the system are provided by the Procne (PROlog tool Combining logics and semantic Mstworks) knowledge representation language (Costa et al 1988), and by a distributed network of autonomous agents, inspired to Brooks (1986) and Steels (1994), based on dynamic systems. The model and the system described here were derived by previous research we have done in the last decade: a first hybrid model we developed in the early eighties is MAP (Musical Actors by Petri nets), a sort of Actors system driven by a higher-level formalism based on Petri nets (Camurri et al 1986a). Then, a further prototype system has been designed and implemented, called KeyMusic (Camurri et al 1988), in which a more powerful higher-level approach, based on semantic networks of frames (based on the KEE knowledge engineering environment), has been developed.…”

Section: Introductionmentioning

confidence: 99%

A Cognitive Model and a Knowledge Representation System for Music and Multimedia

Camurri

Frixione

Innocenti

1994

Journal of New Music Research

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This article introduces a cognitive model and an experimental system for the representation and real-time processing of music and multimedia, based on both artificial intelligence (AI) and traditional techniques. First, it introduces some basic issues on the requirements of Al-based music systems and the class of problems faced by our system (music and multimedia composition, real-time performance, and analysis). Then, our proposal of a representation scheme -on the basis of an implemented system, called HARP -is described. It is based on the integration of different formalisms, able to manage the different nature and levels of music and multimedia objects, from the symbolic, knowledge level, dealing with multilevel, abstract representations and reasoning mechanisms, to the subsymbolic level, dealing with low-level processes, images, and physical signals. In our model, the symbolic level integrates a semantic network language of the family of KL-ONE with a temporal logic language and production rules. The subsymbolic level is modelled as a set of agents, mainly based on dynamic systems: some particular examples on the use of abstract potentials are described here. According to our bottom-up approach to AI and multimedia, we are mainly interested in the study and development of "autonomous" multimedia systems, that is, autonomous agents characterized by multimodal interaction with user(s) in unstructured and evolving environments. These particular scenarios include a theatrical automation project, where the system is delegated to manage and integrate sound, music and three-dimensional computer animation of humanoid figures interacting with real actors on stage, and a museal application, in which the system controls in real time the behaviour of a sensorbased autonomous mobile system in an exposition area, able to welcome, entertain, guide and instruct visitors.

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“…This kind of representation is crucial in the modelling of listening processes, and in the design of automata to perform or create music in real-time set-ups. Relevant previous work exists in the theoretical formulations of Kunst [2][3] and Leman [4][5][6], with respect to the modelling of the listening experience, and in real-time software systems with a strong theoretical base such as HARP [7][8] and various systems based on Petri nets [9][10]. The objective of this paper is to enhance the mathematical rigour underlying such work by formulating concepts based on temporal logic which might provide for musical systems the kind of basis for proof and formal design which it provides for computer science (see [11]).…”

Section: Introductionmentioning

confidence: 99%

Timing in music and modal temporal logic

Marsden¹

2007

Journal of Mathematics and Music

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. Details of the definitive version are available at www.informaworld.com.'In-time' representations of music in which the time represented is the same time as inhabited by the agent making or using the representation are contrasted with 'out-of-time' representations. Temporal logics with a similar 'in-time' perspective, and in particular those using operators S and U for 'since' and 'until', are explored as a means of representing musical situations, with particular reference to a paradigm 'triangle-player problem'. Illustrative implementations are given in the music software Pd. New versions of the operators S and U are defined to accommodate the musically important phenomena of regularly occurring events associated with metre, and to allow representations to reflect actual timings rather than relations of temporal order. Nesting of out-of-time representations within in-time representations then becomes possible and arises naturally as a way of representing certain kinds of musical situation.

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Describing and performing musical processes by means of Petri Nets

Cited by 7 publications

References 5 publications

On the role of artificial intelligence in music research

On the role of artificial intelligence in music research

A Cognitive Model and a Knowledge Representation System for Music and Multimedia

Timing in music and modal temporal logic

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