Mimi4x: an interactive audio-visual installation for high-level structural improvisation

François, Alexandre R. J.; Schankler, Isaac; Chew, Elaine

doi:10.1504/ijart.2013.053557

Cited by 10 publications

(8 citation statements)

References 11 publications

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“…In the 50s, the first piece composed entirely by a computer, "The Illiac Suite", was generated by a stochastic rule-based system [13]. More recently, a number of systems based on Markov models were developed for simple melody generation [14,15], to harmonization [16,17] and improvisation systems [18,19,20]. In recent years deep learning models have entered the scene [21,22,23,24,25,26,27,28].…”

Section: Generation Techniques For Musicmentioning

confidence: 99%

MorpheuS: Generating Structured Music with Constrained Patterns and Tension

Herremans

Chew

2019

IEEE Trans. Affective Comput.

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Automatic music generation systems have gained in popularity and sophistication as advances in cloud computing have enabled large-scale complex computations such as deep models and optimization algorithms on personal devices. Yet, they still face an important challenge, that of long-term structure, which is key to conveying a sense of musical coherence. We present the MorpheuS music generation system designed to tackle this problem. MorpheuS' novel framework has the ability to generate polyphonic pieces with a given tension profile and long-and short-term repeated pattern structures. A mathematical model for tonal tension quantifies the tension profile and state-of-the-art pattern detection algorithms extract repeated patterns in a template piece. An efficient optimization metaheuristic, variable neighborhood search, generates music by assigning pitches that best fit the prescribed tension profile to the template rhythm while hard constraining long-term structure through the detected patterns. This ability to generate affective music with specific tension profile and long-term structure is particularly useful in a game or film music context. Music generated by the MorpheuS system has been performed live in concerts.

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Section: Generation Techniques For Musicmentioning

confidence: 99%

MorpheuS: Generating Structured Music with Constrained Patterns and Tension

Herremans

Chew

2019

IEEE Trans. Affective Comput.

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“…For example, a system can listen to a person's playing and learn her or his style in real time, and improvise with the player in the same style [Pachet 2003;Assayag et al 2006]. Another type of interactive system incorporates a user's feedback in the music generation process, using it either as critique for reinforcement learning [Franklin 2001] or as a source of parameters in music generation [François et al 2013].…”

Section: Function and Design Concepts In Automatic Music Generation S...mentioning

confidence: 99%

“…Interaction [Assayag et al 2006;Weinberg and Driscoll 2006;François et al 2007;Dubnov and Assayag 2012;François et al 2013;Nika et al 2015] Rhythm [Weinberg and Driscoll 2006] Incremental parsing…”

Section: Factor Oraclesmentioning

confidence: 99%

A Functional Taxonomy of Music Generation Systems

2017

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Digital advances have transformed the face of automatic music generation since its beginnings at the dawn of computing. Despite the many breakthroughs, issues such as the musical tasks targeted by different machines and the degree to which they succeed remain open questions. We present a functional taxonomy for music generation systems with reference to existing systems. The taxonomy organizes systems according to the purposes for which they were designed. It also reveals the inter-relatedness amongst the systems. This design-centered approach contrasts with predominant methods-based surveys, and facilitates the identification of grand challenges so as to set the stage for new breakthroughs.

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“…Comme OMax (Assayag, Bloch, Chemillier, Cont, Dubnov, 2006 ;Lévy et al, 2012), dans la lignée duquel le projet décrit dans cet article est construit, les systèmes de « co-improvisation » créent de nouvelles improvisations en naviguant dans une repré-sentation extraite du jeu d'un musicien capté en temps réel. Un paradigme similaire sous-tend également des travaux tels que (Pachet, 2003) ou (François et al, 2013). Le parcours de la mémoire musicale suit pas après pas la logique interne du maté-riau capté et peut laisser à un opérateur le soin de contrôler la génération.…”

Section: Systèmes Informatiques Pour L'improvisation : éTat De L'art unclassified

“…Comme la plupart des systèmes utilisant l'oracle des facteurs pour des applications d'improvisation musicale (Assayag, Bloch, Chemillier, Cont, Dubnov, 2006 ;Bonnasse-Gahot, 2013 ;Surges, Dubnov, 2013 ;François et al, 2013 ;Donze et al, 2013) on en fait ici une utilisation détournée en exploitant des liens de constructions pour introduire de la « surprise » par rapport à la séquence d'origine, et non pas pour procéder à une recherche de motifs à proprement parler. On utilise en effet sa fonction de construction, la fonction de lien suffixiel, pour indexer des similarités internes à la séquence étiquetant la mémoire.…”

Section: Parcours Linéaire Ou Non-linéaire De La Mémoireunclassified

Improvisation musicale homme-machine guidée par un scénario temporel

Nika¹,

Chemillier²

2014

Techniques et sciences informatiques

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To cite this version:Jérôme Nika, Marc Chemillier. Improvisation musicale homme-machine guidée par un scénario temporel. Technique et Science Informatiques, Hermès-Lavoisier, 2015 Cet article propose un modèle pour l'improvisation musicale guidée par une structure formalisée. Il exploite les connaissances a priori du contexte d'improvisation pour introduire de l'anticipation dans le processus de génération. « Improviser » signifie ici articuler une mémoire musicale annotée avec un « scénario » guidant l'improvisation (par exemple une progression harmonique dans le cas du jazz). Le scénario et la séquence étiquetant la mémoire sont représentés comme des mots construits sur un même alphabet. Cet alphabet définit les classes d'équivalences choisies pour décrire les éléments musicaux constituant la mémoire. La navigation dans cette mémoire assure la cohérence et l'homogénéité du résultat musical en exploitant les motifs communs aux deux séquences tout en étant capable de s'éloigner du matériau musical d'origine. Le modèle et l'architecture d'ordonnancement décrits dans cet article sont implémen-tés dans le système d'improvisation ImproteK, utilisé à plusieurs reprises avec des musiciens experts.ABSTRACT. This paper presents a computer model for musical improvisation guided by a formalized structure. It uses the prior knowledge of the temporal structure of the improvisation to introduce some anticipation in the music generation process. In this framework "improvising" amounts to articulating an annotated memory and a "scenario" guiding and constraining the improvisation (for example a given chord progression in the case of jazz improvisation). The scenario and the sequence describing the musical memory are represented as words defined over the same alphabet. This alphabet describes the equivalence classes chosen to label the musical contents of the online or offline memory. The navigation through this memory searches for continuity in the musical discourse by exploiting similar patterns in the sequences, as well as the ability to go beyond the simple copy of their associated musical contents. The model and the scheduling architecture described in this paper are implemented in the improvisation software ImproteK which has been used at several occasions with expert musicians.1 MOTS-CLÉS : improvisation musicale guidée, scénario, recherche de motifs, recherche de préfixes, indexation, apprentissage, interaction, ImproteK.

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Mimi4x: an interactive audio-visual installation for high-level structural improvisation

Cited by 10 publications

References 11 publications

MorpheuS: Generating Structured Music with Constrained Patterns and Tension

MorpheuS: Generating Structured Music with Constrained Patterns and Tension

A Functional Taxonomy of Music Generation Systems

Improvisation musicale homme-machine guidée par un scénario temporel

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