The London Creative Industries

This lecture draws from the Creative Industries Observatory research on the London creative industries and in particular provides some initial insights into the networks and relationships which exist including organisational structure, size, and location. Consideration has been given to clustering and markets. In particular attention has been paid to the levels of creativity found in the London creative industries and the possible implications for public policy intervention. These findings are based on a shared definitional framework, and can be compared with other cities

Creating Persian-like music using computational intelligence

Dastgāh are modal systems in traditional Persian music. Each Dastgāh consists of a group of melodies called Gushé, classified in twelve groups about a century ago (Farhat, 1990). Prior to that time, musical pieces were transferred through oral tradition. The traditional music productions revolve around the existing Dastgāh, and Gushe pieces. In this thesis computational intelligence tools are employed in creating novel Dastgāh-like music.There are three types of creativity: combinational, exploratory, and transformational (Boden, 2000). In exploratory creativity, a conceptual space is navigated for discovering new forms. Sometimes the exploration results in transformational creativity. This is due to meaningful alterations happening on one or more of the governing dimensions of an item. In combinational creativity new links are established between items not previously connected. Boden stated that all these types of creativity can be implemented using artificial intelligence.Various tools, and techniques are employed, in the research reported in this thesis, for generating Dastgāh-like music. Evolutionary algorithms are responsible for navigating the space of sequences of musical motives. Aesthetical critics are employed for constraining the search space in exploratory (and hopefully transformational) type of creativity. Boltzmann machine models are applied for assimilating some of the mechanisms involved in combinational creativity. The creative processes involved are guided by aesthetical critics, some of which are derived from a traditional Persian music database.In this project, Cellular Automata (CA) are the main pattern generators employed to produce raw creative materials. Various methodologies are suggested for extracting features from CA progressions and mapping them to musical space, and input to audio synthesizers. The evaluation of the results of this thesis are assisted by publishing surveys which targeted both public and professional audiences. The generated audio samples are evaluated regarding their Dastgāh-likeness, and the level of creativity of the systems involved

Public consciousness, political conscience and memory in Latin American nueva canción

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The Conference Review Process

This presentation is for students on the 3rd year ECS Multimedia course where students run their own conference, and submit and review papers. In this presentation we explain the academic review process, look at the structure of a review, and give some examples of positive and negative reviews

Algorithmic music composition: a survey

This paper surveys some of the methods used for algorithmic composition and their evolution during the last decades. Algorithmic composition was motivated by the natural need to assist and to develop the process of music creation. Techniques and applications of algorithmic composition are broad spectrum, ranging from methods that produce entire works with no human intervention, up to methods were both composer and computer work closely together in real-time. Common algorithms used for music composition are based in stochastic, deterministic, chaotic and artificial intelligence methods.N/

An Explanation of Anomalous Hexachords in Four Serial Works by Igor Stravinsky

Igor Stravinsky\u27s precompositional process was so methodical that his move to serialism is no surprise. After becoming acquainted with the music of Schoenberg and Webern, Stravinsky was moved to experiment with serial techniques. He rejected many of the conventional approaches developed by the serial architects, only to adopt the technique at its basic form—the use of a series of pitches—and cultivate it into his own compositional style. Stravinsky continued to refine his style throughout his serial period (1951–1966) as each composition grew increasingly more serial than the last. For each work composed after 1960, Stravinsky constructed rotation arrays, a serial technique he adopted from Ernst Krenek. These arrays consisted of a twelve-tone row partitioned into hexachords, with each hexachord rotated to create five additional permutations per hexachord. These permutations were then transposed so that the first pitch of the original hexachord was retained for each permutation. This operation was performed on four series forms: prime, inversion, retrograde, and inversion of the retrograde (favored by Stravinsky over the traditional retrograde inversion form). It is from his rotational arrays that Stravinsky systematically chose hexachords to compose A Sermon, a Narrative, and a Prayer (1961); The Flood (1962); Abraham and Isaac (1963); and Requiem Canticles (1966). Though his precompositional charts are very specific in determining pitch application, it is difficult to account for the use of some hexachords that are found in these works but not found in Stravinsky\u27s charts, as the hexachords do not explicitly appear in the charts. Many analysts have glossed over these incongruities. For instance, Joseph Straus mentions very little about these “anomalous hexachords” in Stravinsky\u27s Late Music (2001); and Claudio Spies completely ignores the hexachords in question. In this paper I will identify these anomalous hexachords and attempt to explain their derivation from Stravinsky\u27s charts

Production As Analysis In Commercial Music Recordings

Since the 1960s, scholarship of popular music in the fields of musicology and music theory has blossomed (Kajanová 2013). The inclusion of the social sciences and humanities in music analysis has allowed for new methodologies in commercial music analysis. Although new methodologies have been developed around popular song analysis, they are notably absent in the field of music production (Blake 2012, 1). In this thesis, I will assert that music production is an under-explored facet of commercial music that offers abundant opportunities for analysis