Creative Chord Sequence Generation for Electronic Dance Music

This paper describes the theory and implementation of a digital audio workstation plug-in for chord sequence generation. The plug-in is intended to encourage and inspire a composer of electronic dance music to explore loops through chord sequence pattern definition, position locking and generation into unlocked positions. A basic cyclic first-order statistical model is extended with latent diatonicity variables which permits sequences to depart from a specified key. Degrees of diatonicity of generated sequences can be explored and parameters for voicing the sequences can be manipulated. Feedback on the concepts, interface, and usability was given by a small focus group of musicians and music producers.This research was supported by the project I2C8 (Inspiring to Create) which is funded by the European Union's Horizon 2020 Research and Innovation programme under grant agreement number 754401

AN APPROACH TO MACHINE DEVELOPMENT OF MUSICAL ONTOGENY

This Thesis pursues three main objectives: (i) to use computational modelling to explore how music is perceived, cognitively processed and created by human beings; (ii) to explore interactive musical systems as a method to model and achieve the transmission of musical influence in artificial worlds and between humans and machines; and (iii) to experiment with artificial and alternative developmental musical routes in order to observe the evolution of musical styles. In order to achieve these objectives, this Thesis introduces a new paradigm for the design of computer interactive musical systems called the Ontomemetical Model of Music Evolution - OMME, which includes the fields of musical ontogenesis and memetlcs. OMME-based systems are designed to artificially explore the evolution of music centred on human perceptive and cognitive faculties. The potential of the OMME is illustrated with two interactive musical systems, the Rhythmic Meme Generator (RGeme) and the Interactive Musical Environments (iMe). which have been tested in a series of laboratory experiments and live performances. The introduction to the OMME is preceded by an extensive and critical overview of the state of the art computer models that explore musical creativity and interactivity, in addition to a systematic exposition of the major issues involved in the design and implementation of these systems. This Thesis also proposes innovative solutions for (i) the representation of musical streams based on perceptive features, (ii) music segmentation, (iii) a memory-based music model, (iv) the measure of distance between musical styles, and (v) an impi*ovisation-based creative model

Computational Creativity and Music Generation Systems: An Introduction to the State of the Art

Computational Creativity is a multidisciplinary field that tries to obtain creative behaviors from computers. One of its most prolific subfields is that of Music Generation (also called Algorithmic Composition or Musical Metacreation), that uses computational means to compose music. Due to the multidisciplinary nature of this research field, it is sometimes hard to define precise goals and to keep track of what problems can be considered solved by state-of-the-art systems and what instead needs further developments. With this survey, we try to give a complete introduction to those who wish to explore Computational Creativity and Music Generation. To do so, we first give a picture of the research on the definition and the evaluation of creativity, both human and computational, needed to understand how computational means can be used to obtain creative behaviors and its importance within Artificial Intelligence studies. We then review the state of the art of Music Generation Systems, by citing examples for all the main approaches to music generation, and by listing the open challenges that were identified by previous reviews on the subject. For each of these challenges, we cite works that have proposed solutions, describing what still needs to be done and some possible directions for further research

Empirical evidence for musical syntax processing? Computer simulations reveal the contribution of auditory short-term memory

During the last decade, it has been argued that (1) music processing involves syntactic representations similar to those observed in language, and (2) that music and language share similar syntactic-like processes and neural resources. This claim is important for understanding the origin of music and language abilities and, furthermore, it has clinical implications. The Western musical system, however, is rooted in psychoacoustic properties of sound, and this is not the case for linguistic syntax. Accordingly, musical syntax processing could be parsimoniously understood as an emergent property of auditory memory rather than a property of abstract processing similar to linguistic processing. To support this view, we simulated numerous empirical studies that investigated the processing of harmonic structures, using a model based on the accumulation of sensory information in auditory memory. The simulations revealed that most of the musical syntax manipulations used with behavioral and neurophysiological methods as well as with developmental and cross-cultural approaches can be accounted for by the auditory memory model. This led us to question whether current research on musical syntax can really be compared with linguistic processing. Our simulation also raises methodological and theoretical challenges to study musical syntax while disentangling the confounded low-level sensory influences. In order to investigate syntactic abilities in music comparable to language, research should preferentially use musical material with structures that circumvent the tonal effect exerted by psychoacoustic properties of sounds

The Butterfly Schema as a Product of the Tendency for Congruence and Hierarchical Selection in the Instrumental Musical Grammar of the Classical Period

Diverging explanations of local multiparametric schemata are found in music of the common practice period (c. 1600–c. 1900). Associative statistical theories describe schemata as situated structures in particular times and places, whereas generative theories present these constructions as features formed through stability in universal and general rule systems. Associative-statistical theories of schemata elucidate the culturally conditioned relationships between features (distinctive attributes commonly used in grammars and schemata), but do not show the influence of universal psychological constraints; generative theories reveal the implicit structure of music, but do not formalise particular grammatical features and contexts. A synthesis of generative and associative-statistical approaches is necessary to model the interaction between universal and particular constraints of grammars and schemata. This dissertation focuses on a novel localised schema formed in the Classical instrumental grammar, termed the butterfly schema. It is posited that the butterfly schema is generated by a tendency for congruence that is manifest in and between the particular features of this grammar. Computational musicology and psychology provide interdisciplinary insight on the formal possibilities and limitations of grammatical structure. Computational models of schemata and grammars show how the congruent features of musical structure can be represented and formalised. However, they also highlight the difficulties found in the automatic analyses of multiparametric relationships, and may be limited on account of their inductive frameworks. Psychological approaches are important for establishing universal laws of cognition, but are limited in their potential to account for the diversity of musical structuring in grammars. The synthesis of associative-statistical and generative approaches in the present dissertation permits modelling the combination of the universal and particular attributes of butterfly schemata. Butterfly schemata are dependent on the particular grammars of periods of history, but are constrained by the tendency for congruence, which is proposed to be a cognitive universal. The features of the butterfly schema and the Classical instrumental grammar are examined and compared against the features of the Baroque and Romantic grammars, showing how they are formed from diverse types of congruent structuring. The butterfly schema is a congruent grammatical category of the Classical instrumental grammar that comprises: chords that are close to the tonic in pitch space (with a chiastic tension curve starting and ending on the tonic); a textural and metrical structure that is regular and forms a regular duple hierarchy at the level of regular functional harmonic change and at two immediately higher levels; and simple harmonic-rhythm ratios (1:1 and 3:1). A survey conducted using arbitrary corpora in European instrumental music, c. 1750–c.1850, shows the distribution of butterfly schemata. Butterfly schemata are more common in the Classical-period sample (c. 1750–c. 1800) than in the Romantic-period sample (c. 1800–c.1850), suggesting that the tendency for congruence manifest in and between the features common in the Classical grammar generates butterfly schemata. A second component to the statistical analysis concerns the type of schemata observed, since the tendency for congruence is presumed to also apply to the type of features that form in butterfly schemata. Maximally congruent features are generated more commonly than minimally congruent features, indicating the influence of the tendency for congruence. This dissertation presents a formulation of the Classical instrumental grammar as a multiparametrically congruent system, and a novel explanation and integration of the concepts of grammars and schemata. A final component to the dissertation poses that the features of the Classical instrumental grammar and butterfly schema follow a distinct order of dependency, governed by the mechanism of selection in culture. Although the tendency for congruence governs all features of a grammar, features are also formed by the top-down action of culture which selects those features. Thus, a top-down hierarchical selection model is presented which describes how the butterfly schema is formed through the order of selection of features in the Classical instrumental grammar

Non-Standard Sound Synthesis with Dynamic Models

Full version unavailable due to 3rd party copyright restrictions.This Thesis proposes three main objectives: (i) to provide the concept of a new generalized non-standard synthesis model that would provide the framework for incorporating other non-standard synthesis approaches; (ii) to explore dynamic sound modeling through the application of new non-standard synthesis techniques and procedures; and (iii) to experiment with dynamic sound synthesis for the creation of novel sound objects. In order to achieve these objectives, this Thesis introduces a new paradigm for non-standard synthesis that is based in the algorithmic assemblage of minute wave segments to form sound waveforms. This paradigm is called Extended Waveform Segment Synthesis (EWSS) and incorporates a hierarchy of algorithmic models for the generation of microsound structures. The concepts of EWSS are illustrated with the development and presentation of a novel non-standard synthesis system, the Dynamic Waveform Segment Synthesis (DWSS). DWSS features and combines a variety of algorithmic models for direct synthesis generation: list generation and permutation, tendency masks, trigonometric functions, stochastic functions, chaotic functions and grammars. The core mechanism of DWSS is based in an extended application of Cellular Automata. The potential of the synthetic capabilities of DWSS is explored in a series of Case Studies where a number of sound object were generated revealing (i) the capabilities of the system to generate sound morphologies belonging to other non-standard synthesis approaches and, (ii) the capabilities of the system of generating novel sound objects with dynamic morphologies. The introduction of EWSS and DWSS is preceded by an extensive and critical overview on the concepts of microsound synthesis, algorithmic composition, the two cultures of computer music, the heretical approach in composition, non- standard synthesis and sonic emergence along with the thorough examination of algorithmic models and their application in sound synthesis and electroacoustic composition. This Thesis also proposes (i) a new definition for “algorithmic composition”, (ii) the term “totalistic algorithmic composition”, and (iii) four discrete aspects of non-standard synthesis

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