Genetic music

Algorithmic music composition has long been an active area of research in computer science, but the need for a human element only recently began to be more widely acknowledged. Interactive Evolutionary Computing (IEC), made popular by Karl Sims, effectively solves many high dimension problems, like music composition, involving creative and subjective elements. This work applies several Genetic Algorithm (GA) and Genetic Programming (GP) approaches, inspired by Karl Sims, to algorithmic music composition. The implementation of these IEC algorithms is described and their effectiveness compared

A visual workspace for constructing hybrid MDS algorithms and coordinating multiple views

Data can be distinguished according to volume, variable types and distribution, and each of these characteristics imposes constraints upon the choice of applicable algorithms for their visualisation. This has led to an abundance of often disparate algorithmic techniques. Previous work has shown that a hybrid algorithmic approach can be successful in addressing the impact of data volume on the feasibility of multidimensional scaling (MDS). This paper presents a system and framework in which a user can easily explore algorithms as well as their hybrid conjunctions and the data flowing through them. Visual programming and a novel algorithmic architecture let the user semi-automatically define data flows and the co-ordination of multiple views of algorithmic and visualisation components. We propose that our approach has two main benefits: significant improvements in run times of MDS algorithms can be achieved, and intermediate views of the data and the visualisation program structure can provide greater insight and control over the visualisation process

Physically inspired interactive music machines: making contemporary composition accessible?

Much of what we might call "high-art music" occupies the difficult end of listening for contemporary audiences. Concepts such as pitch, meter and even musical instruments often have little to do with such music, where all sound is typically considered as possessing musical potential. As a result, such music can be challenging to educationalists, for students have few familiar pointers in discovering and understanding the gestures, relationships and structures in these works. This paper describes on-going projects at the University of Hertfordshire that adopt an approach of mapping interactions within visual spaces onto musical sound. These provide a causal explanation for the patterns and sequences heard, whilst incorporating web interoperability thus enabling potential for distance learning applications. While so far these have mainly driven pitch-based events using MIDI or audio files, it is hoped to extend the ideas using appropriate technology into fully developed composition tools, aiding the teaching of both appreciation/analysis and composition of contemporary music

A methodological approach for algorithmic composition systems' parameter spaces aesthetic exploration

Algorithmic composition is the process of creating musical material by means of formal methods. As a consequence of its design, algorithmic composition systems are (explicitly or implicitly) described in terms of parameters. Thus, parameter space exploration plays a key role in learning the system's capabilities. However, in the computer music field, this task has received little attention. This is due in part, because the produced changes on the human perception of the outputs, as a response to changes on the parameters, could be highly nonlinear, therefore models with strongly predictable outputs are needed. The present work describes a methodology for the human perceptual (or aesthetic) exploration of generative systems' parameter spaces. As the systems' outputs are intended to produce an aesthetic experience on humans, audition plays a central role in the process. The methodology starts from a set of parameter combinations which are perceptually evaluated by the user. The sampling process of such combinations depends on the system under study and possible on heuristic considerations. The evaluated set is processed by a compaction algorithm able to generate linguistic rules describing the distinct perceptions (classes) of the user evaluation. The semantic level of the extracted rules allows for interpretability, while showing great potential in describing high and low-level musical entities. As the resulting rules represent discrete points in the parameter space, further possible extensions for interpolation between points are also discussed. Finally, some practical implementations and paths for further research are presented.Peer ReviewedPostprint (author's final draft

A virtual workspace for hybrid multidimensional scaling algorithms

In visualising multidimensional data, it is well known that different types of algorithms to process them. Data sets might be distinguished according to volume, variable types and distribution, and each of these characteristics imposes constraints upon the choice of applicable algorithms for their visualization. Previous work has shown that a hybrid algorithmic approach can be successful in addressing the impact of data volume on the feasibility of multidimensional scaling (MDS). This suggests that hybrid combinations of appropriate algorithms might also successfully address other characteristics of data. This paper presents a system and framework in which a user can easily explore hybrid algorithms and the data flowing through them. Visual programming and a novel algorithmic architecture let the user semi-automatically define data flows and the co-ordination of multiple views

Coordinating views for data visualisation and algorithmic profiling

A number of researchers have designed visualisation systems that consist of multiple components, through which data and interaction commands flow. Such multistage (hybrid) models can be used to reduce algorithmic complexity, and to open up intermediate stages of algorithms for inspection and steering. In this paper, we present work on aiding the developer and the user of such algorithms through the application of interactive visualisation techniques. We present a set of tools designed to profile the performance of other visualisation components, and provide further functionality for the exploration of high dimensional data sets. Case studies are provided, illustrating the application of the profiling modules to a number of data sets. Through this work we are exploring ways in which techniques traditionally used to prepare for visualisation runs, and to retrospectively analyse them, can find new uses within the context of a multi-component visualisation system

Software agents in music and sound art research/creative work: Current state and a possible direction

Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed

Self-karaoke patterns: an interactive audio-visual system for handsfree live algorithm performance

Self-karaoke Patterns, is an audiovisual study for improvised cello and live algorithms. The work is motivated in part by addressing the practical needs of the performer in ‘handsfree’ live algorithm contexts and in part an aesthetic concern with resolving the tension between conceptual dedication to autonomous algorithms and musical dedication to coherent performance. The elected approach is inspired by recent work investing the role of ‘shape’ in musical performance