MUSIC-MAS: Modelling a Harmonic Composition System with Virtual Organizations to Assist Novice Composers

Many music students today experience difficulties in composing melodies without a prior harmonical guide. While harmony can be helpful in creating a melody the generation of harmony is challenging due to the many factors that must be taken into account, such as style, harmonic functions, musical consonance or aesthetics. Although various solutions have been proposed in the past, our study employs a different expert solution based on virtual organizations to make musical harmonies, which can assist novice improvisers and/or composers. The virtual organizations are implemented with Multi-Agent System (MAS) using PANGEA (Platform for Automatic coNstruction of orGanizations of intElligent Agents), a platform to develop different multiagent systems. The main goal is to simulate an expert multiagent system that can compose harmony following specific rules. To do so, the Harmony Search Algorithm is implemented as the main behavior of the composer agent, and adapted to a Belief-Desire-Intention architecture. The application of a VO has not been previously used in the development of this kind of expert system in music. We measured the quality of the music obtained, by minimizing a mathematical function. Additionally, we developed an evaluation test that positively validates the musical results from the perspective of consonance and usefulness of the composers

Application of Intermediate Multi-Agent Systems to Integrated Algorithmic Composition and Expressive Performance of Music

We investigate the properties of a new Multi-Agent Systems (MAS) for computer-aided composition called IPCS (pronounced “ipp-siss”) the Intermediate Performance Composition System which generates expressive performance as part of its compositional process, and produces emergent melodic structures by a novel multi-agent process. IPCS consists of a small-medium size (2 to 16) collection of agents in which each agent can perform monophonic tunes and learn monophonic tunes from other agents. Each agent has an affective state (an “artificial emotional state”) which affects how it performs the music to other agents; e.g. a “happy” agent will perform “happier” music. The agent performance not only involves compositional changes to the music, but also adds smaller changes based on expressive music performance algorithms for humanization. Every agent is initialized with a tune containing the same single note, and over the interaction period longer tunes are built through agent interaction. Agents will only learn tunes performed to them by other agents if the affective content of the tune is similar to their current affective state; learned tunes are concatenated to the end of their current tune. Each agent in the society learns its own growing tune during the interaction process. Agents develop “opinions” of other agents that perform to them, depending on how much the performing agent can help their tunes grow. These opinions affect who they interact with in the future. IPCS is not a mapping from multi-agent interaction onto musical features, but actually utilizes music for the agents to communicate emotions. In spite of the lack of explicit melodic intelligence in IPCS, the system is shown to generate non-trivial melody pitch sequences as a result of emotional communication between agents. The melodies also have a hierarchical structure based on the emergent social structure of the multi-agent system and the hierarchical structure is a result of the emerging agent social interaction structure. The interactive humanizations produce micro-timing and loudness deviations in the melody which are shown to express its hierarchical generative structure without the need for structural analysis software frequently used in computer music humanization

Sequential decision making in artificial musical intelligence

Over the past 60 years, artificial intelligence has grown from a largely academic field of research to a ubiquitous array of tools and approaches used in everyday technology. Despite its many recent successes and growing prevalence, certain meaningful facets of computational intelligence have not been as thoroughly explored. Such additional facets cover a wide array of complex mental tasks which humans carry out easily, yet are difficult for computers to mimic. A prime example of a domain in which human intelligence thrives, but machine understanding is still fairly limited, is music. Over the last decade, many researchers have applied computational tools to carry out tasks such as genre identification, music summarization, music database querying, and melodic segmentation. While these are all useful algorithmic solutions, we are still a long way from constructing complete music agents, able to mimic (at least partially) the complexity with which humans approach music. One key aspect which hasn't been sufficiently studied is that of sequential decision making in musical intelligence. This thesis strives to answer the following question: Can a sequential decision making perspective guide us in the creation of better music agents, and social agents in general? And if so, how? More specifically, this thesis focuses on two aspects of musical intelligence: music recommendation and human-agent (and more generally agent-agent) interaction in the context of music. The key contributions of this thesis are the design of better music playlist recommendation algorithms; the design of algorithms for tracking user preferences over time; new approaches for modeling people's behavior in situations that involve music; and the design of agents capable of meaningful interaction with humans and other agents in a setting where music plays a roll (either directly or indirectly). Though motivated primarily by music-related tasks, and focusing largely on people's musical preferences, this thesis also establishes that insights from music-specific case studies can also be applicable in other concrete social domains, such as different types of content recommendation. Showing the generality of insights from musical data in other contexts serves as evidence for the utility of music domains as testbeds for the development of general artificial intelligence techniques. Ultimately, this thesis demonstrates the overall usefulness of taking a sequential decision making approach in settings previously unexplored from this perspectiveComputer Science

Computational Creativity and Music Generation Systems: An Introduction to the State of the Art

Computational Creativity is a multidisciplinary field that tries to obtain creative behaviors from computers. One of its most prolific subfields is that of Music Generation (also called Algorithmic Composition or Musical Metacreation), that uses computational means to compose music. Due to the multidisciplinary nature of this research field, it is sometimes hard to define precise goals and to keep track of what problems can be considered solved by state-of-the-art systems and what instead needs further developments. With this survey, we try to give a complete introduction to those who wish to explore Computational Creativity and Music Generation. To do so, we first give a picture of the research on the definition and the evaluation of creativity, both human and computational, needed to understand how computational means can be used to obtain creative behaviors and its importance within Artificial Intelligence studies. We then review the state of the art of Music Generation Systems, by citing examples for all the main approaches to music generation, and by listing the open challenges that were identified by previous reviews on the subject. For each of these challenges, we cite works that have proposed solutions, describing what still needs to be done and some possible directions for further research

Deep Learning Techniques for Music Generation -- A Survey

This paper is a survey and an analysis of different ways of using deep learning (deep artificial neural networks) to generate musical content. We propose a methodology based on five dimensions for our analysis: Objective - What musical content is to be generated? Examples are: melody, polyphony, accompaniment or counterpoint. - For what destination and for what use? To be performed by a human(s) (in the case of a musical score), or by a machine (in the case of an audio file). Representation - What are the concepts to be manipulated? Examples are: waveform, spectrogram, note, chord, meter and beat. - What format is to be used? Examples are: MIDI, piano roll or text. - How will the representation be encoded? Examples are: scalar, one-hot or many-hot. Architecture - What type(s) of deep neural network is (are) to be used? Examples are: feedforward network, recurrent network, autoencoder or generative adversarial networks. Challenge - What are the limitations and open challenges? Examples are: variability, interactivity and creativity. Strategy - How do we model and control the process of generation? Examples are: single-step feedforward, iterative feedforward, sampling or input manipulation. For each dimension, we conduct a comparative analysis of various models and techniques and we propose some tentative multidimensional typology. This typology is bottom-up, based on the analysis of many existing deep-learning based systems for music generation selected from the relevant literature. These systems are described and are used to exemplify the various choices of objective, representation, architecture, challenge and strategy. The last section includes some discussion and some prospects.Comment: 209 pages. This paper is a simplified version of the book: J.-P. Briot, G. Hadjeres and F.-D. Pachet, Deep Learning Techniques for Music Generation, Computational Synthesis and Creative Systems, Springer, 201

Musical Acts and Musical Agents: theory, implementation and practice

Centre for Intelligent Systems and their ApplicationsMusical Agents are an emerging technology, designed to provide a range of new musical opportunities to human musicians and composers. Current systems in this area lack certain features which are necessary for a high quality musician; in particular, they lack the ability to structure their output in terms of a communicative dialogue, and reason about the responses of their partners. In order to address these issues, this thesis develops Musical Act Theory (MAT). This is a novel theory, which models musical interactions between agents, allowing a dialogue oriented analysis of music, and an exploration of intention and communication in the context of musical performance. The work here can be separated into four main contributions: a specification for a Musical Middleware system, which can be implemented computationally, and allows distributed agents to collaborate on music in real-time; a computational model of musical interaction, which allows musical agents to analyse the playing of others as part of a communicative process, and formalises the workings of the Musical Middleware system; MAMA, a musical agent system which embodies this theory, and which can function in a variety of Musical Middleware applications; a pilot experiment which explores the use of MAMA and the utility of MAT under controlled conditions. It is found that the Musical Middleware architecture is computationally implementable, and allows for a system which can respond to both direct musical communi- cation and extramusical inputs, including the use of a custom-built tangible interface. MAT is found to capture certain aspects of music which are of interest — an intuitive notion of performative actions in music, and an existing model of musical interaction. Finally, the fact that a number of different levels — theory, architecture and implementation — are tied together gives a coherent model which can be applied to many computational musical situations

AN EVOLUTIONARY APPROACH TO BIBLIOGRAPHIC CLASSIFICATION

This dissertation is research in the domain of information science and specifically, the organization and representation of information. The research has implications for classification of scientific books, especially as dissemination of information becomes more rapid and science becomes more diverse due to increases in multi-, inter-, trans-disciplinary research, which focus on phenomena, in contrast to traditional library classification schemes based on disciplines.The literature review indicates 1) human socio-cultural groups have many of the same properties as biological species, 2) output from human socio-cultural groups can be and has been the subject of evolutionary relationship analyses (i.e., phylogenetics), 3) library and information science theorists believe the most favorable and scientific classification for information packages is one based on common origin, but 4) library and information science classification researchers have not demonstrated a book classification based on evolutionary relationships of common origin.The research project supports the assertion that a sensible book classification method can be developed using a contemporary biological classification approach based on common origin, which has not been applied to a collection of books until now. Using a sample from a collection of earth-science digitized books, the method developed includes a text-mining step to extract important terms, which were converted into a dataset for input into the second step—the phylogenetic analysis. Three classification trees were produced and are discussed. Parsimony analysis, in contrast to distance and likelihood analyses, produced a sensible book classification tree. Also included is a comparison with a classification tree based on a well-known contemporary library classification scheme (the Library of Congress Classification).Final discussions connect this research with knowledge organization and information retrieval, information needs beyond science, and this type of research in context of a unified science of cultural evolution

Autism, new music technologies and cognition

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.Page 108 blank.Includes bibliographical references (p. 99-107).Central coherence accounts of autism have shown dysfunction in the processing of local versus global information that may be the source of symptoms in social behavior, communication and repetitive behavior. An application was developed to measure cognitive abilities in central coherence tasks as part of a music composition task. The application was evaluated in collaboration with the Spotlight Program, an interdisciplinary social pragmatics program for children with Asperger's syndrome. This research indicates that it is possible to embed cognitive measure as part of a novel music application. Implications for current treatment interventions, and longitudinal experimentation designs are presented.by Adam Boulanger.S.M

Adaptive and learning-based formation control of swarm robots

Autonomous aerial and wheeled mobile robots play a major role in tasks such as search and rescue, transportation, monitoring, and inspection. However, these operations are faced with a few open challenges including robust autonomy, and adaptive coordination based on the environment and operating conditions, particularly in swarm robots with limited communication and perception capabilities. Furthermore, the computational complexity increases exponentially with the number of robots in the swarm. This thesis examines two different aspects of the formation control problem. On the one hand, we investigate how formation could be performed by swarm robots with limited communication and perception (e.g., Crazyflie nano quadrotor). On the other hand, we explore human-swarm interaction (HSI) and different shared-control mechanisms between human and swarm robots (e.g., BristleBot) for artistic creation. In particular, we combine bio-inspired (i.e., flocking, foraging) techniques with learning-based control strategies (using artificial neural networks) for adaptive control of multi- robots. We first review how learning-based control and networked dynamical systems can be used to assign distributed and decentralized policies to individual robots such that the desired formation emerges from their collective behavior. We proceed by presenting a novel flocking control for UAV swarm using deep reinforcement learning. We formulate the flocking formation problem as a partially observable Markov decision process (POMDP), and consider a leader-follower configuration, where consensus among all UAVs is used to train a shared control policy, and each UAV performs actions based on the local information it collects. In addition, to avoid collision among UAVs and guarantee flocking and navigation, a reward function is added with the global flocking maintenance, mutual reward, and a collision penalty. We adapt deep deterministic policy gradient (DDPG) with centralized training and decentralized execution to obtain the flocking control policy using actor-critic networks and a global state space matrix. In the context of swarm robotics in arts, we investigate how the formation paradigm can serve as an interaction modality for artists to aesthetically utilize swarms. In particular, we explore particle swarm optimization (PSO) and random walk to control the communication between a team of robots with swarming behavior for musical creation

Music Learning with Massive Open Online Courses

Steels, Luc et al.-- Editors: Luc SteelsMassive Open Online Courses, known as MOOCs, have arisen as the logical consequence of marrying long-distance education with the web and social media. MOOCs were confidently predicted by advanced thinkers decades ago. They are undoubtedly here to stay, and provide a valuable resource for learners and teachers alike. This book focuses on music as a domain of knowledge, and has three objectives: to introduce the phenomenon of MOOCs; to present ongoing research into making MOOCs more effective and better adapted to the needs of teachers and learners; and finally to present the first steps towards 'social MOOCs’, which support the creation of learning communities in which interactions between learners go beyond correcting each other's assignments. Social MOOCs try to mimic settings for humanistic learning, such as workshops, small choirs, or groups participating in a Hackathon, in which students aided by somebody acting as a tutor learn by solving problems and helping each other. The papers in this book all discuss steps towards social MOOCs; their foundational pedagogy, platforms to create learning communities, methods for assessment and social feedback and concrete experiments. These papers are organized into five sections: background; the role of feedback; platforms for learning communities; experiences with social MOOCs; and looking backwards and looking forward. Technology is not a panacea for the enormous challenges facing today's educators and learners, but this book will be of interest to all those striving to find more effective and humane learning opportunities for a larger group of students.Funded by the European Commission's OpenAIRE2020 project.Peer reviewe