Music and Artificial Intelligence: Second International Conference, Icmai 2002, Edinburgh, Scotland, Uk, September 12-14, 2002, Proceedings

ISBN-13: 9783540441458 / Angielski / Miękka / 2002 / 212 str.

C. Anagnostopoulou; M. Ferrand; A. Smaill

Opis

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(LaboratoiredeMechaniqueetd Acoustique, France) TableofContents InvitedTalks StructureandInterpretationofMusicConcepts: Musicfroma ComputationalPerspective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 MiraBalaban ExpressiveGesture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 AntonioCamurri RegularContributions AGeneralParsingModelforMusicandLanguage . . . . . . . . . . . . . . . . . . . . . 5 RensBod TheSpiralArray: AnAlgorithmforDeterminingKeyBoundaries . . . . . . . 18 ElaineChew RepresentationandDiscoveryofVerticalPatternsinMusic . . . . . . . . . . . . . 32 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, KarinH]othker CombiningGrammar-BasedandMemory-BasedModelsofPerceptionof TimeSignatureandPhase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Spis treści

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.