iJazzARTIST: Intelligent Jazz Accompanist for Real-Time human-computer Interactive muSic improvisaTion

Κάποια από τα κυριότερα χαρακτηριστικά του αυτοσχεδιασμού σε πρότυπα τζαζ εκφράζονται μέσα από τη μουσική συνοδεία. Η συνεργασία μεταξύ ανθρώπων και τεχνητών συστημάτων για την επίτευξη αυτοσχεδιασμού σε πραγματικό χρόνο, υπό το πλαίσιο κοινής παρτιτούρας, αποτελεί ένα ιδιαίτερα ενδιαφέρον αντικείμενο μελέτης για τον τομέα της Ανάκτησης Μουσικής Πληροφορίας. Οι προϋπάρχουσες προσεγγίσεις που αφορούν στη διαδικασία της συνοδείας τζαζ αυτοσχεδιασμού, έχουν παρουσιάσει συστήματα που δε διαθέτουν την ικανότητα συμμόρφωσης με δυναμικά μεταβαλλόμενα περιβάλλοντα, εξαρτώμενα από τα αυτοσχέδια δεδομένα. Η παρούσα πτυχιακή εργασία παρουσιάζει ένα σύστημα συνοδείας, το οποίο διαθέτει την ικανότητα προσαρμογής τόσο στο τζαζ σόλο του μουσικού, όσο και τους περιορισμούς που έχουν προκαθοριστεί από την παρτιτούρα. Ο τεχνητός πράκτορας που αναπτύσσεται για το σκοπό αυτό, αποτελείται από δύο υποσυστήματα, ένα μοντέλο υπεύθυνο για την παραγωγή προβλέψεων που αφορούν το σόλο του μουσικού κι ένα δεύτερο υποσύστημα που παράγει την τελική μουσική συνοδεία, αξιοποιώντας την πληροφορία για τις προθέσεις του σολίστα που παρήγαγε το πρώτο μοντέλο. Και τα δύο προαναφερθέντα μοντέλα έχουν ως σχεδιαστική βάση τα Αναδρομικά Νευρωνικά Δίκτυα. Το σύνολο των δεδομένων που χρησιμοποιήθηκαν στην εκπαίδευση των μοντέλων υποβλήθηκαν σε επεξεργασία πολλών επιπέδων, συμπεριλαμβανομένης της πιθανολογικής βελτιστοποίησης, με στόχο τη διατήρηση και την επαύξηση της χρήσιμης πληροφορίας. Το τελικό σύστημα εξετάστηκε με τη χρήση δύο τζαζ προτύπων, παρουσιάζοντας προσαρμοστική ικανότητα ως προς τους αρμονικούς περιορισμούς, καθώς και ποικιλομορφία, εξαρτώμενη από τον αυτοσχεδιασμό του μουσικού. Τέλος, αναφέρονται κάποιες δυσκολίες που προέκυψαν, όπως επίσης και προτάσεις για περαιτέρω έρευνα.Some of the most essential characteristics of improvisation on jazz standards are reflected through the accompaniment. Given a lead sheet as common ground, the study of the collaborative process of music improvisation between a human and an artificial agent in a real time setting, is a scenario of great interest in the MIR domain. So far, the approaches concerning the jazz improvisation accompaniment procedure, have presented systems that lack the capability of performing the accompaniment generation task while at the same time adapting to dynamically variable constraints depending on new, improvised data. The thesis at hand, proposes a jazz accompaniment system capable of providing proper chord voicings to the solo, while complying with both the soloist's intentions as well as the previously defined constraints set by the lead sheet. The artificial agent consists of two sub-systems; a model responsible for predicting the human soloist's intentions and a second system performing the task of the accompaniment. The latter is achieved by modeling the artificial agent's predictions, after exploiting the information on the expectations of the human agent's intentions, previously calculated by the first model. Recurrent Neural Networks (RNNs) comprise both aforementioned models. The dataset used in the training process has undergone multi-staged processing including probabilistic refinement, aiming to keep and enrich the information which is requisite for the task. The system was tested on two cases of jazz standards, demonstrating ability of compliance with the harmonic constraints. Additionally, output variability depending on the solo improvisation has been indicated. Emerging limitations as well as potential future perspectives are discussed in the conclusion of this work

Composição com autómatos celulares

Os autómatos celulares são interessantes modelos teóricos para a modelagem de processos complexos, tornando-os mais fáceis de entender. Estes modelos têm sido utilizados em diversos ramos das ciências. Tal como outros modelos matemático-teóricos, os autómatos celulares têm potencial para ser utilizados em meios musicais. Esta Tese introduz o leitor, de forma abrangente, no universo dos autómatos celulares. Primeiramente, são explicadas as bases dos autómatos celulares, seguidas por exemplos de aplicações nas ciências. A segunda parte centra-se sobre as aplicações musicais de autómatos celulares, numa abordagem teórica, enquanto a terceira parte apresenta três casos de estudo que usam os processos teóricos definidos anteriormente.Cellular automata are interesting theoretical models for modelling complex processes to make them easier to understand. These models have been used in various branches of sciences. Just like other mathematical-theoretical models, cellular automata have a potential to be used for musical means. This thesis introduces the reader in a comprehensive way to the universe of cellular automata. First, the basics of cellular automata are explained, followed by examples of applications in the sciences. The second part focuses on the musical applications of cellular automata in a theoretical way, whereas the third part shows three case studies that use the processes set out in the previous part

L-Music: uma abordagem para composição musical assistida usando L-Systems

Generative music systems have been researched for an extended period of time. The scientific corpus of this research field is translating, currently, into the world of the everyday musician and composer. With these tools, the creative process of writing music can be augmented or completely replaced by machines. The work in this document aims to contribute to research in assisted music composition systems. To do so, a review on the state of the art of these fields was performed and we found that a plethora of methodologies and approaches each provide their own interesting results (to name a few, neural networks, statistical models, and formal grammars). We identified Lindenmayer Systems, or L-Systems, as the most interesting and least explored approach to develop an assisted music composition system prototype, aptly named L-Music, due to the ability of producing complex outputs from simple structures. L-Systems were initially proposed as a parallel string rewriting grammar to model algae plant growth. Their applications soon turned graphical (e.g., drawing fractals), and eventually they were applied to music generation. Given that our prototype is assistive, we also took the user interface and user experience design into its well-deserved consideration. Our implemented interface is straightforward, simple to use with a structured visual hierarchy and flow and enables musicians and composers to select their desired instruments; select L-Systems for generating music or create their own custom ones and edit musical parameters (e.g., scale and octave range) to further control the outcome of L-Music, which is musical fragments that a musician or composer can then use in their own works. Three musical interpretations on L-Systems were implemented: a random interpretation, a scale-based interpretation, and a polyphonic interpretation. All three approaches produced interesting musical ideas, which we found to be potentially usable by musicians and composers in their own creative works. Although positive results were obtained, the developed prototype has many improvements for future work. Further musical interpretations can be added, as well as increasing the number of possible musical parameters that a user can edit. We also identified the possibility of giving the user control over what musical meaning L-Systems have as an interesting future challenge.Sistemas de geração de música têm sido alvo de investigação durante períodos alargados de tempo. Recentemente, tem havido esforços em passar o conhecimento adquirido de sistemas de geração de música autónomos e assistidos para as mãos do músico e compositor. Com estas ferramentas, o processo criativo pode ser enaltecido ou completamente substituído por máquinas. O presente trabalho visa contribuir para a investigação de sistemas de composição musical assistida. Para tal, foi efetuado um estudo do estado da arte destas temáticas, sendo que foram encontradas diversas metodologias que ofereciam resultados interessantes de um ponto de vista técnico e musical. Os sistemas de Lindenmayer, ou L-Systems, foram selecionados como a abordagem mais interessante, e menos explorada, para desenvolver um protótipo de um sistema de composição musical assistido com o nome L-Music, devido à sua capacidade de produzirem resultados complexos a partir de estruturas simples. Os L-Systems, inicialmente propostos para modelar o crescimento de plantas de algas, são gramáticas formais, cujo processo de reescrita de strings acontece de forma paralela. As suas aplicações rapidamente evoluíram para interpretações gráficas (p.e., desenhar fractais), e eventualmente também foram aplicados à geração de música. Dada a natureza assistida do protótipo desenvolvido, houve uma especial atenção dada ao design da interface e experiência do utilizador. Esta, é concisa e simples, tendo uma hierarquia visual estruturada para oferecer uma orientação coesa ao utilizador. Neste protótipo, os utilizadores podem selecionar instrumentos; selecionar L-Systems ou criar os seus próprios, e editar parâmetros musicais (p.e., escala e intervalo de oitavas) de forma a gerarem excertos musicais que possam usar nas suas próprias composições. Foram implementadas três interpretações musicais de L-Systems: uma interpretação aleatória, uma interpretação à base de escalas e uma interpretação polifónica. Todas as interpretações produziram resultados musicais interessantes, e provaram ter potencial para serem utilizadas por músicos e compositores nos seus trabalhos criativos. Embora tenham sido alcançados resultados positivos, o protótipo desenvolvido apresenta múltiplas melhorias para trabalho futuro. Entre elas estão, por exemplo, a adição de mais interpretações musicais e a adição de mais parâmetros musicais editáveis pelo utilizador. A possibilidade de um utilizador controlar o significado musical de um L-System também foi identificada como uma proposta futura relevante

El fuzzy clustering y la similitud musical: aplicación a la composición asistida por ordenador

[ES] La composición musical asistida por ordenador es un área de conocimiento que tiene sus orígenes en la segunda mitad del siglo pasado. Durante sus más de sesenta años de existencia han aparecido numerosas propuestas para abordar el problema de la creatividad artificial aplicada al ámbito de la variación musical, la emulación de estilos, la escritura automatizada de contrapunto o la composición estocástica, entre muchos otros. En la presente memoria propondremos un nuevo método para la generación computacional de variaciones y transiciones a partir de material musical proporcionado por el compositor, ya sea de carácter melódico, rítmico, armónico o tímbrico. La originalidad de nuestro método radica en la construcción de nuevos algoritmos basados en las técnicas de agrupamiento difuso, capaces incorporar el orden de los elementos de los conjuntos de datos durante el proceso de partición. Para implementar computacionalmente estas técnicas hemos diseñado el software Mercury mediante el que realizaremos distintos experimentos cuyos resultados, en forma de transiciones musicales, ilustrarán la utilidad de nuestra propuesta. Completaremos la presente investigación con la composición de la obra Transiciones difusas, para cuarteto de cuerdas, adjunta como apéndice. La metodología propuesta implica formular una nueva medida de la disimilitud musical, aplicable de forma general a la comparación de dos secuencias numéricas cualesquiera, con las que se pueda representar cualquier tupla de atributos musicales. Es posible, por tanto, aplicar esta disimilitud sobre ámbitos más teóricos como los sistemas de afinación. Finalmente propondremos diversos métodos para estimar la compatibilidad entre un conjunto de notas y un sistema de afinación generando, en última instancia, transiciones entre diferentes sistemas.[CA] La composició musical assistida per ordinador és una àrea de coneixement que té els seus orígens a meitat del segle passat. Durant els seus més de seixanta anys d'existència han aparegut nombroses propostes per a abordar el problema de la creativitat artificial aplicada a l'àmbit de la generació de variacions, emulació d'estils, escriptura automatitzada de contrapunt i composició de música estocàstica, entre molts altres. En aquesta memòria proposarem un nou mètode per a crear variacions i transicions entre material musical preexistent, ja siga de caràcter melòdic, rítmic, harmònic o tímbric. L'originalitat del nostre mètode radica en la construcció d'algoritmes basats en la tècnica de fuzzy clustering, capaços de realitzar agrupaments en què es té en compte l'ordre dels elements dels conjunts de dades. Per a implementar aquestes tècniques, hem dissenyat el programari Mercury mitjançant el qual es realitzaran experiments amb transicions entre melodies, ritmes i seqüències harmòniques que il·lustraran la utilitat de la nostra proposta, i que culminaran amb la composició de l'obra Transicions difuses, adjunta com a apèndix. La metodologia proposada no només té conseqüències pràctiques, sinó que implica formular una nova mesura de la dissimilitud musical, aplicable de forma general a la comparació de qualsevol parell de seqüències numèriques, que puguen representar melodies, ritmes, harmonies o timbres. Un cop establert com valorar la dissimilitud, aquesta també pot aplicar-se a àmbits molt més teòrics, com són els sistemes d'afinació. Proposarem diversos mètodes per a estimar la compatibilitat entre un conjunt de notes i un sistema d'afinació i generar, en última instància, transicions entre dos sistemes d'afinació. Aquesta tasca pot facilitar la interpretació d'obres en un sistema d'afinació diferent d'aquell per al qual van ser concebudes, sempre que s'exigisca que el nivell de compatibilitat entre els dos sistemes siga acceptable.[EN] Computer-assisted composition is an area of knowledge that has its origins in the middle of the last century. During its more than sixty years of existence, numerous proposals have appeared to address the problem of artificial creativity applied to the field of generation of variations, emulation of styles, automated counterpoint writing, stochastic music composition, among many others. In this report we will propose a new method to create variations and transitions between pre-existing musical material, be it melodic, rhythmic, harmonic or timbre-related. The originality of our method lies in the construction of algorithms based on the technique of fuzzy clustering, capable of performing groupings in which the order of the elements of the data sets is taken into account. To implement these techniques, we designed the software Mercury through which experiments will be performed with transitions between melodies, rhythms and harmonic sequences that will illustrate the usefulness of our proposal, and that will culminate with the composition of the work Fuzzy Transitions, attached as an appendix. The proposed methodology not only has practical consequences, but also implies formulating a new measure of musical dissimilarity, applicable in a general way to the comparison of any pair of numerical sequences, which may represent melodies, rhythms, harmonies or timbres. Once established how to assess the dissimilarity, this can also be applied to much more theoretical areas, such as tuning systems. We will propose various methods to estimate the compatibility between a set of notes and an tuning system and, in the last instance, generate transitions between two tuning systems. This work can facilitate the interpretation of works in a tuning system different from that for which they were conceived, whenever it is required that the level of compatibility between both systems is acceptable.Martínez Rodríguez, BS. (2019). El fuzzy clustering y la similitud musical: aplicación a la composición asistida por ordenador [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/134056TESI