A computational framework for aesthetical navigation in musical search space

Paper presented at 3rd AISB symposium on computational creativity, AISB 2016, 4-6th April, Sheffield. Abstract. This article addresses aspects of an ongoing project in the generation of artificial Persian (-like) music. Liquid Persian Music software (LPM) is a cellular automata based audio generator. In this paper LPM is discussed from the view point of future potentials of algorithmic composition and creativity. Liquid Persian Music is a creative tool, enabling exploration of emergent audio through new dimensions of music composition. Various configurations of the system produce different voices which resemble musical motives in many respects. Aesthetical measurements are determined by Zipf’s law in an evolutionary environment. Arranging these voices together for producing a musical corpus can be considered as a search problem in the LPM outputs space of musical possibilities. On this account, the issues toward defining the search space for LPM is studied throughout this paper

Exploitation of Memetics for Melodic Sequences Generation

Music, or in narrower sense, melodic contours of the aesthetically arranged pitches and the respective durations attracts our cognition since the beginning and now shaping the way we think in the complex life of culture. From evolutionary school of thoughts we could learn our perspective of seeing the musical diversity of folk songs in Indonesian archipelago by hypothesizing the aligning memes throughout the data sets. By regarding the memeplexes constructed from the the Zipf-Mandelbrot Law in melodic sequences and some mathematical characteristics of songs e.g.: gyration and spiraling effect, we construct evolutionary steps i.e.: genetic algorithm as tools for generating melodic sequences as an alternating computational methods to model the cognitive processes creating songs. While we build a melodic-contour generator, we present the enrichment on seeing the roles of limitless landscape of creativity and innovation guided by particular inspirations in the creation of work of art in general

Cellular Automata and Music: A New Representation

For millenia, we’ve thought of musical composition as a purely human activity. However, we once also thought of an activity like chess to be purely human, but Deep Blue was able to defeat Kasparov in 1995 all the same. Could there perhaps be some tool or algorithm for musical composition that can replicate to some extent what human beings can do with music? This project explores this idea through the use of a tool called a cellular automaton. A cellular automaton is a grid space with a finite number of states for each of the ”cells” or ”squares” where a simple rule is applied, and through this rule amazingly complicated patterns emerge over many time steps. We tested the potential of these systems for choosing when and what notes to play in a musical composition. In this project, we mainly focused on creating a translator between music and cellular automata that matches music theory as closely as possible. Whether or not the tracks produced are musical or not could shed light on the computer’s ability to replicate high-level human activities

The Algorithmic Composition of Classical Music through Data Mining

The desire to teach a computer how to algorithmically compose music has been a topic in the world of computer science since the 1950’s, with roots of computer-less algorithmic composition dating back to Mozart himself. One limitation of algorithmically composing music has been the difficulty of eliminating the human intervention required to achieve a musically homogeneous composition. We attempt to remedy this issue by teaching a computer how the rules of composition differ between the six distinct eras of classical music by having it examine a dataset of musical scores, rather than explicitly telling the computer the formal rules of composition. To pursue this automated composition process, we examined the intersectionality of algorithmic composition with the machine learning concept of classification. Using a Naïve Bayes classifier, the computer classifies pieces of classical music into their respective era based upon a number of attributes. It then attempts to recreate each of the six classical styles using a technique inspired by cellular automata. The success of this process is twofold determined by feeding composition samples into a number of classifiers, as well as analysis by studied musicians. We concluded that there is potential for further hybridization of classification and composition techniques

Melody Harmonization

Vedci z oboru informačných technológií oddávna považovali hudbu za obzvlášť zaujímavé umenie. Pravdou je, že história hudby tvorenej počítačom je skoro tak dlhá ako história počítačovej vedy. Programy pre komponovanie, alebo tvorenie hudby" na rôznych úrovniach procesu kompozície boli vyvíjané už od 50tych rokov minulého storočia. Táto bakalárska práca uvádza hlavné prístupy v oblasti automatickej harmonizácie t.j. Problém produkovania hudobného aranžmá (nôt) z daných melódií, a sústreďuje sa na najpoužívanejšie techniky jeho riešenia. Hlavným cieľom tejto práce je návrh a implementácia softvérového systému pre automatickú harmonizáciu, ktorý by mal byť schopný naučiť sa pravidlá harmónie z databázy midi súborov. V tejto práci popíšem existujúce harmonizačné systémy a ďalej sa zameriam hlavne na princípy strojového učenia - teóriu a aplikáciu umelých neurónových sietí a ich použitie pre harmonizáciu.Computer scientists have long been considering music as a particularly interesting art Indeed, the history of computer music is almost as long as the history of computer science. Programs to compose music, or to make music" at various levels of the composition process have been designed since the 50s. This bachelor's thesis surveys the main approaches in the field of automatic harmonization, i.e. the problem of producing musical arrangements (scores) from given melodies, and focuses on the most widely used techniques to do so. The main goal of this paper is the issue of design and implementation of a software system for an automatic music harmonization which should learn the rules of harmony from the database of midi file. In the paper. In this thesis I describe existing systems for harmonization and furthermore I focus mainly on principles of machine learning - theory and application of Artificial Neural Networks and their use for harmonization.

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

Computational musicology: An Artificial Life approach

Abstract — Artificial Life (A-Life) and Evolutionary Algorithms (EA) provide a variety of new techniques for making and studying music. EA have been used in different musical applications, ranging from new systems for composition and performance, to models for studying musical evolution in artificial societies. This paper starts with a brief introduction to three main fields of application of EA in Music, namely sound design, creativity and computational musicology. Then it presents our work in the field of computational musicology. Computational musicology is broadly defined as the study of Music with computational modelling and simulation. We are interested in developing A-Life-based models to study the evolution of musical cognition in an artificial society of agents. In this paper we present the main components of a model that we are developing to study the evolution of musical ontogenies, focusing on the evolution of rhythms and emotional systems. The paper concludes by suggesting that A-Life and EA provide a powerful paradigm for computational musicology. I

Algorithmic Compositional Methods and their Role in Genesis: A Multi-Functional Real-Time Computer Music System

Algorithmic procedures have been applied in computer music systems to generate compositional products using conventional musical formalism, extensions of such musical formalism and extra-musical disciplines such as mathematical models. This research investigates the applicability of such algorithmic methodologies for real-time musical composition, culminating in Genesis, a multi-functional real-time computer music system written for Mac OS X in the SuperCollider object-oriented programming language, and contained in the accompanying DVD. Through an extensive graphical user interface, Genesis offers musicians the opportunity to explore the application of the sonic features of real-time sound-objects to designated generative processes via different models of interaction such as unsupervised musical composition by Genesis and networked control of external Genesis instances. As a result of the applied interactive, generative and analytical methods, Genesis forms a unique compositional process, with a compositional product that reflects the character of its interactions between the sonic features of real-time sound-objects and its selected algorithmic procedures. Within this thesis, the technologies involved in algorithmic methodologies used for compositional processes, and the concepts that define their constructs are described, with consequent detailing of their selection and application in Genesis, with audio examples of algorithmic compositional methods demonstrated on the accompanying DVD. To demonstrate the real-time compositional abilities of Genesis, free explorations with instrumentalists, along with studio recordings of the compositional processes available in Genesis are presented in audiovisual examples contained in the accompanying DVD. The evaluation of the Genesis system’s capability to form a real-time compositional process, thereby maintaining real-time interaction between the sonic features of real-time sound objects and its selected algorithmic compositional methods, focuses on existing evaluation techniques founded in HCI and the qualitative issues such evaluation methods present. In terms of the compositional products generated by Genesis, the challenges in quantifying and qualifying its compositional outputs are identified, demonstrating the intricacies of assessing generative methods of compositional processes, and their impact on a resulting compositional product. The thesis concludes by considering further advances and applications of Genesis, and inviting further dissemination of the Genesis system and promotion of research into evaluative methods of generative techniques, with the hope that this may provide additional insight into the relative success of products generated by real-time algorithmic compositional processes