To play with feeling? the opportunity of aesthetics in computational musical creativity

The research field of Computational Creativity (CC) has been defined as “The philosophy, science and engineering of computational systems which, by taking on particular responsibilities, exhibit behaviours that..

Spatially Rendering Decomposed Recordings - Integrating Score-Informed Source Separation and Semantic Playback Technologies

In this contribution, we present a system for creating novel renderings of a given music recording that aurally highlight certain musical aspects or semantics using spatial localiza-tions. The system decomposes a monaural audio recording into separate events using score-informed source separa-tion techniques and prepares them for an interactive mobile player that renders audio based on semantic information. We demonstrate the capabilities of the system by means of an example using an immersive chroma helix model which the listener can navigate in realtime using mobile sensor controls. 1

Multiple Viewpoint Systems: Time Complexity and the Construction of Domains for Complex Musical Viewpoints

date-modified: 2012-02-29 16:11:06 +0000date-modified: 2012-02-29 16:11:06 +0000date-modified: 2012-02-29 16:11:06 +0000date-modified: 2012-02-29 16:11:06 +000

Segmentation and grouping structures in jazz chord sequences: An information-theoretic approach

Aural presentationAural presentatio

Crossroads: Interactive Music Systems Transforming Performance, Production and Listening

date-added: 2017-12-22 18:26:58 +0000 date-modified: 2017-12-22 18:38:33 +0000 keywords: mood-based interaction, intelligent music production, HCI local-url: https://qmro.qmul.ac.uk/xmlui/handle/123456789/12502 publisher-url: http://mcl.open.ac.uk/music-chi/uploads/19/HCIMUSIC_2016_paper_15.pdf bdsk-url-1: https://qmro.qmul.ac.uk/xmlui/bitstream/handle/123456789/12502/Barthet%20Crossroads%3A%20Interactive%20Music%20Systems%202016%20Accepted.pdfdate-added: 2017-12-22 18:26:58 +0000 date-modified: 2017-12-22 18:38:33 +0000 keywords: mood-based interaction, intelligent music production, HCI local-url: https://qmro.qmul.ac.uk/xmlui/handle/123456789/12502 publisher-url: http://mcl.open.ac.uk/music-chi/uploads/19/HCIMUSIC_2016_paper_15.pdf bdsk-url-1: https://qmro.qmul.ac.uk/xmlui/bitstream/handle/123456789/12502/Barthet%20Crossroads%3A%20Interactive%20Music%20Systems%202016%20Accepted.pdfdate-added: 2017-12-22 18:26:58 +0000 date-modified: 2017-12-22 18:38:33 +0000 keywords: mood-based interaction, intelligent music production, HCI local-url: https://qmro.qmul.ac.uk/xmlui/handle/123456789/12502 publisher-url: http://mcl.open.ac.uk/music-chi/uploads/19/HCIMUSIC_2016_paper_15.pdf bdsk-url-1: https://qmro.qmul.ac.uk/xmlui/bitstream/handle/123456789/12502/Barthet%20Crossroads%3A%20Interactive%20Music%20Systems%202016%20Accepted.pdfWe discuss several state-of-the-art systems that propose new paradigms and user workflows for music composition, production, performance, and listening. We focus on a selection of systems that exploit recent advances in semantic and affective computing, music information retrieval (MIR) and semantic web, as well as insights from fields such as mobile computing and information visualisation. These systems offer the potential to provide transformative experiences for users, which is manifested in creativity, engagement, efficiency, discovery and affect

Navigating Ontological Structures based on Feature Metadata Using the Semantic Music Player

date-added: 2017-12-22 19:18:33 +0000 date-modified: 2017-12-22 19:59:04 +0000 keywords: ontology, mobile applications, mobile audio ontology, web application local-url: http://ismir2015.uma.es/LBD/LBD26.pdf publisher-url: http://ismir2015.uma.es/LBD/LBD19.pdf bdsk-url-1: https://qmro.qmul.ac.uk/xmlui/bitstream/handle/123456789/16154/Thalmann%20Navigating%20Ontological%20Structures%202015%20Published.pdfdate-added: 2017-12-22 19:18:33 +0000 date-modified: 2017-12-22 19:59:04 +0000 keywords: ontology, mobile applications, mobile audio ontology, web application local-url: http://ismir2015.uma.es/LBD/LBD26.pdf publisher-url: http://ismir2015.uma.es/LBD/LBD19.pdf bdsk-url-1: https://qmro.qmul.ac.uk/xmlui/bitstream/handle/123456789/16154/Thalmann%20Navigating%20Ontological%20Structures%202015%20Published.pdfdate-added: 2017-12-22 19:18:33 +0000 date-modified: 2017-12-22 19:59:04 +0000 keywords: ontology, mobile applications, mobile audio ontology, web application local-url: http://ismir2015.uma.es/LBD/LBD26.pdf publisher-url: http://ismir2015.uma.es/LBD/LBD19.pdf bdsk-url-1: https://qmro.qmul.ac.uk/xmlui/bitstream/handle/123456789/16154/Thalmann%20Navigating%20Ontological%20Structures%202015%20Published.pd

Cross entropy as a measure of musical contrast

We present a preliminary study of using the information theoretic concept of cross-entropy to measure musical contrast in a symbolic context, with a focus on melody. We measure cross-entropy using the Information Dynamics Of Music (IDyOM) framework. Whilst our long term aim is to understand the use of contrast in Sonata form, in this paper we take a more general perspective and look at a broad spread of Western art music of the common practice era. Our results suggest that cross-entropy has a useful role as an objective measure of contrast, but that a fuller picture will require more work

Re-Representing Metaphor: Modelling metaphor perception using dynamically contextual distributional semantics

In this paper, we present a novel context-dependent approach to modelling word meaning, and apply it to the modelling of metaphor. In distributional semantic approaches, words are represented as points in a high dimensional space generated from co-occurrence statistics; the distances between points may then be used to quantifying semantic relationships. Contrary to other approaches which use static, global representations, our approach discovers contextualised representations by dynamically projecting low-dimensional subspaces; in these \textit{ad hoc} spaces, words can be re-represented in an open-ended assortment of geometrical and conceptual configurations as appropriate for particular contexts. We hypothesise that this context-specific re-representation enables a more effective model of the semantics of metaphor than standard static approaches. We test this hypothesis on a dataset of English word dyads rated for degrees of metaphoricity, meaningfulness, and familiarity by human participants. We demonstrate that our model captures these ratings more effectively than a state-of-the-art static model, and does so via the amount of contextualising work inherent in the re-representational process