The Machine Learning Algorithm as Creative Musical Tool

Machine learning is the capacity of a computational system to learn structures from datasets in order to make prediction in front of newly seen datasets. Such approach offers a significant advantage in music scenarios in which musicians can teach the system to learn an idiosyncratic style, or can break the rules to explore the system capacity in unexpected ways. In this chapter we draw on music, machine learning, and human-computer interaction to elucidate an understanding of machine learning algorithms as creative tools for music and the sonic arts. We motivate a new understanding of learning algorithms as human-computer interfaces. We show that, like other interfaces, learning algorithms can be characterised by the ways their affordances intersect with goals of human users. We also argue that the nature of interaction between users and algorithms impacts the usability and usefulness of those algorithms in profound ways. This human-centred view of machine learning motivates our concluding discussion of what it means to employ machine learning as a creative tool

Designing and evaluating the usability of a machine learning API for rapid prototyping music technology

To better support creative software developers and music technologists' needs, and to empower them as machine learning users and innovators, the usability of and developer experience with machine learning tools must be considered and better understood. We review background research on the design and evaluation of application programming interfaces (APIs), with a focus on the domain of machine learning for music technology software development. We present the design rationale for the RAPID-MIX API, an easy-to-use API for rapid prototyping with interactive machine learning, and a usability evaluation study with software developers of music technology. A cognitive dimensions questionnaire was designed and delivered to a group of 12 participants who used the RAPID-MIX API in their software projects, including people who developed systems for personal use and professionals developing software products for music and creative technology companies. The results from the questionnaire indicate that participants found the RAPID-MIX API a machine learning API which is easy to learn and use, fun, and good for rapid prototyping with interactive machine learning. Based on these findings, we present an analysis and characterization of the RAPID-MIX API based on the cognitive dimensions framework, and discuss its design trade-offs and usability issues. We use these insights and our design experience to provide design recommendations for ML APIs for rapid prototyping of music technology. We conclude with a summary of the main insights, a discussion of the merits and challenges of the application of the CDs framework to the evaluation of machine learning APIs, and directions to future work which our research deems valuable

Music Generation by Deep Learning - Challenges and Directions

In addition to traditional tasks such as prediction, classification and translation, deep learning is receiving growing attention as an approach for music generation, as witnessed by recent research groups such as Magenta at Google and CTRL (Creator Technology Research Lab) at Spotify. The motivation is in using the capacity of deep learning architectures and training techniques to automatically learn musical styles from arbitrary musical corpora and then to generate samples from the estimated distribution. However, a direct application of deep learning to generate content rapidly reaches limits as the generated content tends to mimic the training set without exhibiting true creativity. Moreover, deep learning architectures do not offer direct ways for controlling generation (e.g., imposing some tonality or other arbitrary constraints). Furthermore, deep learning architectures alone are autistic automata which generate music autonomously without human user interaction, far from the objective of interactively assisting musicians to compose and refine music. Issues such as: control, structure, creativity and interactivity are the focus of our analysis. In this paper, we select some limitations of a direct application of deep learning to music generation, analyze why the issues are not fulfilled and how to address them by possible approaches. Various examples of recent systems are cited as examples of promising directions.Comment: 17 pages. arXiv admin note: substantial text overlap with arXiv:1709.01620. Accepted for publication in Special Issue on Deep learning for music and audio, Neural Computing & Applications, Springer Nature, 201

The Original Beat: An Electronic Music Production System and Its Design

The barrier to entry in electronic music production is high. It requires expensive, complicated software, extensive knowledge of music theory and experience with sound generation. Digital Audio Workstations (DAWs) are the main tools used to piece together digital sounds and produce a complete song. While these DAWs are great for music professionals, they have a steep learning curve for beginners and they must run native on a user’s computer. For a novice to begin creating music takes much more time, eort, and money than it should. We believe anyone who is interested in creating electronic music deserves a simple way to digitize their ideas and hear results. With this idea in mind, we created a web based, co-creative system to allow beginners and pros alike to easily create electronic digital music. We outline the requirements for such a system and detail the design and architecture. We go through the specifics of the system we implemented covering the front-end, back-end, server, and generation algorithms. Finally, we will review our development time-line, examine the challenges and risks that arose when building our system, and present future improvements

Generating Rembrandt: Artificial Intelligence, Copyright, and Accountability in the 3A Era--The Human-like Authors are Already Here- A New Model

Artificial intelligence (AI) systems are creative, unpredictable, independent, autonomous, rational, evolving, capable of data collection, communicative, efficient, accurate, and have free choice among alternatives. Similar to humans, AI systems can autonomously create and generate creative works. The use of AI systems in the production of works, either for personal or manufacturing purposes, has become common in the 3A era of automated, autonomous, and advanced technology. Despite this progress, there is a deep and common concern in modern society that AI technology will become uncontrollable. There is therefore a call for social and legal tools for controlling AI systems’ functions and outcomes. This Article addresses the questions of the copyrightability of artworks generated by AI systems: ownership and accountability. The Article debates who should enjoy the benefits of copyright protection and who should be responsible for the infringement of rights and damages caused by AI systems that independently produce creative works. Subsequently, this Article presents the AI Multi- Player paradigm, arguing against the imposition of these rights and responsibilities on the AI systems themselves or on the different stakeholders, mainly the programmers who develop such systems. Most importantly, this Article proposes the adoption of a new model of accountability for works generated by AI systems: the AI Work Made for Hire (WMFH) model, which views the AI system as a creative employee or independent contractor of the user. Under this proposed model, ownership, control, and responsibility would be imposed on the humans or legal entities that use AI systems and enjoy its benefits. This model accurately reflects the human-like features of AI systems; it is justified by the theories behind copyright protection; and it serves as a practical solution to assuage the fears behind AI systems. In addition, this model unveils the powers behind the operation of AI systems; hence, it efficiently imposes accountability on clearly identifiable persons or legal entities. Since AI systems are copyrightable algorithms, this Article reflects on the accountability for AI systems in other legal regimes, such as tort or criminal law and in various industries using these systems

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