FORMES: Composition and Scheduling of Processes

Rodet, Xavier; Cointe, Pierre

doi:10.2307/3679811

Cited by 39 publications

(17 citation statements)

References 8 publications

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“…Similar time structuring is proposed by several other authors (e.g. Rodet & Cointe, 1984;Dannenberg, 1989). describes a list of thirteen possible relationships.…”

Section: Explicit Time Structuringmentioning

confidence: 98%

Issues on the representation of time and structure in music

Honing

1993

Contemporary Music Review

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This article discusses the issues in the design of a representational system for music. Following decisions as to i~he primitives of such a system, their time structure and general structuring is discussed. Most of the issues are presented as controversies, using extremes to clarify the underlying problems. Associating time intervals and their constraints with the components of musical structure turns out to be essential. These constraints on time intervals model an important characteristic of musical knowledge and should be part of the representation, i.e. part of the syntax. It is concluded that a representation of music should, in the short run, be made as declarative, explicit and formal as possible, while actively awaiting representation languages that can deal with the presented issues in a more flexible way.

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“…Similar time structuring is proposed by several other authors (e.g. Rodet & Cointe, 1984;Dannenberg, 1989). describes a list of thirteen possible relationships.…”

Section: Explicit Time Structuringmentioning

confidence: 98%

Issues on the representation of time and structure in music

Honing

1993

Contemporary Music Review

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“…Let us start with evolved computer music systems, such as objectoriented systems (Pope, 1988), even if, as we have seen, they cannot be considered truly intelligent: KYMA (Scaletti, 1987), (Fagarazzi, 1990-this issue), Ios (Roads, 1983), PLA (Schottstaedt, 1983), FORMES (Rodet & Cointe, 1984) are the most significant examples. Even if they do not allow inference mechanisms, object-oriented systems include features of significant interest from an AI viewpoint, such as conceptual, object-oriented representations of music, and 'good' mechanisms such as inheritance and information encapsulation» The purpose of these computer music systems is to assist composer's activities.…”

Section: Toolsmentioning

confidence: 98%

“…-in the same way, a system based on object-oriented programming (OOP) (Stefik & Bobrow, 1986) techniques is not an AIS: until a few years ago, there was no completely clear distinction of the frontier between some AI research areas and OOP, since they share some common basic ideas (see below). What should be clear is that OOP refers only to a sophisticated class of programming techniques and environments, which are widely used, for example, for implementing a composer's assistant (Roads, 1983;Schottstaedt, 1983;Rodet & Cointe, 1984;Pope, 1988). All these systems do not have intelligent features, such as capacity of inference.…”

Section: What Does Artificial Intelligence Mean?mentioning

confidence: 99%

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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“…Availability of higher, more abstract programming languages (such as Lisp) and powerful microcomputers made the design of a system for music composition more realistic (e.g. Schottsteadt 1983, Rodet andCointe 1984). New developments in computer science, especially in AI research, excited a lot of new ideas in designing systems for music.…”

Section: Environments For Music Compositionmentioning

confidence: 99%

Report on the First AIM Conference Sankt Augustin, Germany September 1988

Desain¹,

Honing²

1989

Perspectives of New Music

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verarbeitung) in the neighbourhood of the small village Sankt Augustin (near Bonn, Germany) was the host of the first workshop on Artificial Intelligence and Music, organized by Christoph Lischka of the GMD. This institute comprises modern research facilities on different domains of computer science plus a real castle: Schloss Birlinghoven, all surrounded by hills and woodland. What the Schloss had in style it lacked in acoustics; the speakers at this conference had to insert a brief silence after each sentence for the reverberation to die out. This article will give some of our personal impressions of the workshop. They are grouped in research on environments for music composition (Cope, Potard, Rahn, Blevis, Modler), connectionist approaches to music (Lindster, Leman, Desain and Honing), expert systems for music (Camurri and Zaccaria, Widmer), and

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FORMES: Composition and Scheduling of Processes

Cited by 39 publications

References 8 publications

Issues on the representation of time and structure in music

Issues on the representation of time and structure in music

On the role of artificial intelligence in music research

Report on the First AIM Conference Sankt Augustin, Germany September 1988

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