Generative rhythmic models

A system for generative rhythmic modeling is presented. The work aims to explore computational models of creativity, realizing them in a system designed for realtime generation of semi-improvisational music. This is envisioned as an attempt to develop musical intelligence in the context of structured improvisation, and by doing so to enable and encourage new forms of musical control and performance; the systems described in this work, already capable of realtime creation, have been designed with the explicit intention of embedding them in a variety of performance-based systems. A model of qaida, a solo tabla form, is presented, along with the results of an online survey comparing it to a professional tabla player's recording on dimensions of musicality, creativity, and novelty. The qaida model generates a bank of rhythmic variations by reordering subphrases. Selections from this bank are sequenced using a feature-based approach. An experimental extension into modeling layer- and loop-based forms of electronic music is presented, in which the initial modeling approach is generalized. Starting from a seed track, the layer-based model utilizes audio analysis techniques such as blind source separation and onset-based segmentation to generate layers which are shuffled and recombined to generate novel music in a manner analogous to the qaida model.M.S.Committee Chair: Chordia, Parag; Committee Member: Freeman, Jason; Committee Member: Weinberg, Gi

Study on Perception-Action Scheme for Human-Robot Musical Interaction in Wind Instrumental Play

制度:新 ; 報告番号:甲3337号 ; 学位の種類:博士(工学) ; 授与年月日:2011/2/25 ; 早大学位記番号:新564

Embodied Cognitive Science of Music. Modeling Experience and Behavior in Musical Contexts

Recently, the role of corporeal interaction has gained wide recognition within cognitive musicology. This thesis reviews evidence from different directions in music research supporting the importance of body-based processes for the understanding of music-related experience and behaviour. Stressing the synthetic focus of cognitive science, cognitive science of music is discussed as a modeling approach that takes these processes into account and may theoretically be embedded within the theory of dynamic systems. In particular, arguments are presented for the use of robotic devices as tools for the investigation of processes underlying human music-related capabilities (musical robotics)