Artificial Intelligence in Music Education: A Critical Review

This paper reviews the principal approaches to using Artificial Intelligence in Music Education. Music is a challenging domain for Artificial Intelligence in Education (AI-ED) because music is, in general, an open-ended domain demanding creativity and problem-seeking on the part of learners and teachers. In addition, Artificial Intelligence theories of music are far from complete, and music education typically emphasises factors other than the communication of ‘knowledge’ to students. This paper reviews critically some of the principal problems and possibilities in a variety of AI-ED approaches to music education. Approaches considered include: Intelligent Tutoring Systems for Music; Music Logo Systems; Cognitive Support Frameworks that employ models of creativity; highly interactive interfaces that employ AI theories; AI-based music tools; and systems to support negotiation and reflection. A wide variety of existing music AI-ED systems are used to illustrate the key issues, techniques and methods associated with these approaches to AI-ED in Music

Artificial intelligence, education and music : the use of artificial intelligence to encourage and facilitate music composition by novices

The goal of the research described in this thesis is to find ways of using artificial intelligence to encourage and facilitate music composition by musical novices, particularly those without traditional musical skills. Two complementary approaches are presented. We show how two recent cognitive theories of harmony can be used to design a new kind of direct manipulation tool for music, known as "Harmony Space", with the expressivity to allow novices to sketch, analyse, modify and compose harmonic sequences simply and clearly by moving two-dimensional patterns on a computer screen linker to a synthesizer. Harmony Space provides novices with a way of describing and controlling harmonic structures and relationships using a single, principled, uniform spatial metaphor at various musical levels; note level, interval level, chord level, harmonic succession level and key level. A prototype interface has been implemented to demonstrate the coherence and feasibility of the design. An investigation with a small number of subjects demonstrates that Harmony Space considerably reduces the prerequisites required for novices to learn about, sketch, analyse and experiment with harmony - activities that would normally be very difficult for them without considerable theoretical knowledge or instrumental skill. The second part of the thesis presents work towards a knowledge-based tutoring system to help novices using the interface to compose chord sequences. It is argued that traditional, remedial intelligent tutoring systems approaches are inadequate for tutoring in domains that require open-ended thinking. The foundation of a new approach is developed based on the exploration and transformation of case studies described in terms of chunks, styles and plans. This approach draws on a characterisation of creativity due to Johnson-Laird (1988). Programs have been implemented to illustrate the feasibility of key parts of the new approach

ARTIFICIAL INTELLIGENCE TO MASTER ENGLISH LISTENING SKILLS FOR NON-ENGLISH MAJOR STUDENTS

Technology plays an important role in people’s day-to-day life and various aspects of life  including education also use technology. Artificial Intelligence is regarded as an example of the advancement of technology. The purpose of this study is to investigate students’ perceptions of using Artificial Intelligence mobile applications to improve English listening skills. It was under phenomenological qualitative research characterized by an interdisciplinary approach, mainly education and technology. The online interview was used to gain information from students’ on the specific theme of artificial intelligence mobile applications in improving English listening skills. The survey consists of seven questions which become category such as 1. The Knowledge of Artificial Intelligence; 2. The Knowledge of Tune In, Joox Music, VOA Learning English Listening every day, and Netflix; 3. The Use of the Applications; 4. The Reason to Use the Applications; 5. The Use of Applications in Improving English listening Skills; 6. The Influence of the Applications toward The Users; 7. The Most Effective and Efficient Applications to Improve English Listening Skills. This survey was conducted at the Faculty of Psychology in Universitas Sarjanawiyata took part in this study. Participants were three females and two males. The results showed that the most effective and efficient Artificial Intelligence mobile application to improve English listening skills is Netflix

INSAM Journal of Contemporary Music, Art and Technology 2

The subject of machine learning and creativity, as well as its appropriation in arts is the focus of this issue with our Main theme of – Artificial Intelligence in Music, Arts, and Theory. In our invitation to collaborators, we discussed our standing preoccupation with the exploration of technology in contemporary theory and artistic practice. The invitation also noted that this time we are encouraged and inspired by Catherine Malabou’s new observations regarding brain plasticity and the metamorphosis of (natural and artificial) intelligence. Revising her previous stance that the difference between brain plasticity and computational architecture is not authentic and grounded, Malabou admits in her new book, Métamorphoses de l'intelligence: Que faire de leur cerveau bleu? (2017), that plasticity – the potential of neuron architecture to be shaped by environment, habits, and education – can also be a feature of artificial intelligence. “The future of artificial intelligence,” she writes, “is biological.” We wanted to provoke a debate about what machines can learn and what we can learn from them, especially regarding contemporary art practices. On this note, I am happy to see that our proposition has provoked intriguing and unique responses from various different disciplines including: theory of art, aesthetics of music, musicology, and media studies. The pieces in the (Inter)view section deal with machine and computational creativity, as well as the some of the principles of contemporary art. Reviews give us an insight into a couple of relevant reading points for this discussion and a retrospective of one engaging festival that also fits this theme

Shell CLIPS as a means of studying expert systems

Робота з програмним інструментарієм – один із головних напрямків сучасної шкільної інформатики, оскільки він дає можливість ознайомити учнів з інформаційними технологіями, з можливими сферами їх застосування в навчанні та в майбутній професійній діяльності. Традиційно вивчення теми “Штучний інтелект. Експертні системи” починається з подання прикладів штучного інтелекту, бо історично першим науковим напрямком, який обумовив появу самого терміну “штучний інтелект”, була імітація на ЕОМ творчих процесів: складання віршів і музики, доведення теорем, гра в шахи та шашки, переклад текстів тощо.Working with software tools - one of the main areas of modern science school because it gives an opportunity to inform students of information technologies with potential application in the fields of education and future careers. Traditionally, the study of the topic "Artificial Intelligence. Expert systems "begins with the presentation of examples of artificial intelligence, because historically the first scientific direction, which led to the emergence of the term" artificial intelligence "was an imitation of computer art processes: preparation of poetry and music, theorem proving, playing chess and checkers, translation of texts, etc

Testing genetic algorithm, recombination strategies and the normalized compression distance for computer-generated music

This is an electronic version of the paper presented at the WSEAS International Conference on Artificial Intelligence, Knowledge Engineering and Data Bases (AIKED 2006) held in Madrid (Spain) on 2006This paper analyzes the use of the normalized compression distance as a fitness function for the automatic generation of music by means of genetic algorithms, and tests the effect on performance of several genetic recombination procedures. The minimization of the distance of the generated music to a set of musical guides or targets makes it possible to obtain computer-generated music that reminds the style of a certain human author. In spite of the simplicity of the algorithm, the procedure obtains interesting results. The paper includes some considerations on the use of procedures that improve the performance of heavytailed distribution processes.This work has been sponsored by the Spanish Ministry of Education and Science (MEC), project number TSI2005-08225-C07-06

Siamese residual neural network for musical shape evaluation in piano performance assessment.

Understanding and identifying musical shape plays an important role in music education and performance assessment. To simplify the otherwise time- and cost-intensive musical shape evaluation, in this paper we explore how artificial intelligence (AI) driven models can be applied. Considering musical shape evaluation as a classification problem, a light-weight Siamese residual neural network (S-ResNN) is proposed to automatically identify musical shapes. To assess the proposed approach in the context of piano musical shape evaluation, we have generated a new dataset, namely MSED-4k, containing 4116 music pieces derived by 147 piano preparatory exercises and performed in 28 categories of musical shapes. The experimental results show that the S-ResNN significantly outperforms a number of benchmark methods in terms of the precision, recall and F1 score

The Faculty Notebook, September 2016

The Faculty Notebook is published periodically by the Office of the Provost at Gettysburg College to bring to the attention of the campus community accomplishments and activities of academic interest. Faculty are encouraged to submit materials for consideration for publication to the Associate Provost for Faculty Development. Copies of this publication are available at the Office of the Provost

Employing Crowdsourcing for Enriching a Music Knowledge Base in Higher Education

This paper describes the methodology followed and the lessons learned from employing crowdsourcing techniques as part of a homework assignment involving higher education students of computer science. Making use of a platform that supports crowdsourcing in the cultural heritage domain students were solicited to enrich the metadata associated with a selection of music tracks. The results of the campaign were further analyzed and exploited by students through the use of semantic web technologies. In total, 98 students participated in the campaign, contributing more than 6400 annotations concerning 854 tracks. The process also led to the creation of an openly available annotated dataset, which can be useful for machine learning models for music tagging. The campaign's results and the comments gathered through an online survey enable us to draw some useful insights about the benefits and challenges of integrating crowdsourcing into computer science curricula and how this can enhance students' engagement in the learning process.Comment: To be published in The 4th International Conference on Artificial Intelligence in Education Technology (AIET 2023), Berlin, Germany, 31 June-2 July 2023. For The GitHub code for the created music dataset, see https://github.com/vaslyb/MusicCro

Creativity and authenticity: perspectives of creative value, utility and quality

This paper is written from the perspective of creative practitioners in sound, music and the visual arts teaching in UK higher education. Primarily concerned with the understanding of creativity as a developmental capacity and identifiable and measurable process and outcome, what began initially as a focused discussion about the assessment of creative artefacts developed progressively into a more general analysis of creative value in terms of reception and developmental experience. Recognising the impact of new technologies and the changing conceptions of creative technique and craft, collaboration and origination, and diversification of attendant interpretive meanings inherent with new artistic forms, the study is an attempt to establish a position from which pedagogic practices can be honed and refined to meet the expectations and needs of contemporary practitioners and educational contexts. The objective in any educational experience and any process of artistic creation being to enrich and to effectively inform further development steps, value is therefore a highly diverse and granular commodity, measurable on many different scales, and capable of understanding in many different ways. This is a study of considerations and perspectives and ways of understanding and working with creative value and an attempt to develop a framework through which to base creative decisions as educators and practitioners. Creativity models tend to emphasise utility and originality as the key factors in determining creative value; the wider recognition and impact of the outcomes of creative endeavour preeminent in the interpretation and attribution of quality and significance. Whilst most evident and analytically objectifiable in the study of reception and in the analysis of outcomes, creative practices and processes nevertheless feature more prominently in the interpretation of value in some fields. Whilst the products of the creative practice of artists, musicians and writers retain the centre ground in the discourse of creativity, the authentication of creative endeavour is nevertheless closely connected to the narratives surrounding the inception and development of the work and the security of the connection established between the creative object and the creative originator; the intangible and entirely conceptual matter of attribution and provenance often proving more significant than physical artefact in substantiating at least commercial value in many cases. Investigating the potential for a meaningful definition of ‘authentic creativity’, notions of novelty, ignorance, forgery, fakery, reproduction and patterning, provide a basis for consideration of creativity both as an unstable concept and in parallel as a metaphor for the human condition. Considering the discourse of authenticity and aesthetics, this paper explores different perspectives of creativity as lived experience and positions analysis in the narratives of insight, imagination, and the romanticism of discovery and talent. Introducing an analysis of creativity through a series of conceptual models to illustrate key concepts and ideas, this essay presents a discussion rooted in a context of collapsing distinctions between the natural and the artificial, the authentic and the inauthentic, the original and the copy, and develops a tentative definition of authentic creativity and creative authenticity for wider consideration. That creativity matters in education and society is widely acknowledged and appreciated. This paper argues for a greater focus on the lived experience of creativity and the significance of determining value in terms of human experience over productivity