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catalog abstract "Thisvolumecontainsthefullresearchpapersofthe2nd International Con- renceonMusicandArti?cialIntelligence(ICMAI02),heldinSt. Cecilia’sHall, Edinburgh,UK,12–14September2002. Theconferencewasjointlyorganizedby theFacultyofMusicandtheDivisionofInformatics,UniversityofEdinburgh. Eachofthepapersinthisvolumewasrefereedbyatleastthreereviewersfrom theProgramCommittee. AdditionalpaperswereacceptedasWork-in-Progress reports,publishedseparatelybytheDivisionofInformaticsoftheUniversity ofEdinburgh. Theconferenceprogramalsoincludedround-tablediscussions, electronicmusicconcerts,earlykeyboardintrumentdemonstrations,andvarious socialevents. Thefocusoftheconferencewasontheinterplaybetweenmusicaltheoryand practiceontheonehandandtechniquesandmethodsfromArti?cialIntelligence, includingcomputationalcognitivemodelingofmusicalprocesses,ontheother. Weareespeciallyinterestedinissuesofmusicalrepresentationandanalysis, associatedalgorithms,andtheevaluationofmusicalartefacts. MusicpresentsmanychallengesforAIandInformaticsingeneral. Whilethe analogieswithnaturallanguageandwithvisionareproductive,musicrequires novelsolutionstoitsownrepresentationalandalgorithmicproblems. Forthe musician,workinthisareacontributestowardsmusicologicalstudy,composition, performance,interactivesystems,andsoundsynthesis. Threedistinguishedscholarsinthearea,MiraBalaban,Jean-ClaudeRisset, andAntonioCamurri,agreedtogivetheinvitedkeynotes. Thesetalkscovered di?erentfeaturesofmusicalexperienceanditsrelationtoArti?cialIntelligence, namelymusicalconcepts,composition,andperformance. Morespeci?cally,Jean- ClaudeRisset’stopicwasMusicalCompositionandArti?cialIntelligence:Some Precedents and Prospects,MiraBalaban’swas Structure and Interpretation of Music Concepts – Music from a Computational Perspective,andAntonio- murri’swasComputationalModelsofExpressiveGesture. Thepapersintheconferencedealtwithawiderangeofaspectsofcurrent research,includingstructural,harmonic,andreductionalmusicanalysis,pattern representationanddiscoveryinbothmonophonicandpolyphonicmusic,music perceptionofmelodyandrhythm,therelationbetweenmusicandnaturallan- age,similarityandcategorization,musicandintonation,musicalexpressionand performance,soundprocessing,soundclassi?cations,commercialapplications, andmusicontheweb. Acknowledgements. Theeditorsaregratefulforallthehelpofthosewho madethepublicationofthisvolumepossible,andespeciallyDarrellConklin, VI Organization PeterNelson,EmiliosCambouropoulos,AlisonPease,andMarkSteedman;also, JordanFleming,EwenMaclean,andRobertDow;andtheFacultyofMusicand theDivisionofInformatics,UniversityofEdinburghfor?nancialsupport. July2002 ChristinaAnagnostopoulou MiguelFerrand AlanSmaill OrganizingCommittee AlanSmaill(Chair) ChristinaAnagnostopoulou(Co-chair) MiguelFerrand PeterNelson AlisonPease MarkSteedman ProgramCommittee ? JensArnspang(Alborg) GillianHayes(Edinburgh) MiraBalaban(Ben-Gurion) HenkjanHoning(Nijmegen) MartaOlivettiBelardinelli(Rome) JukkaLouhivuori(Jyvaskyla) RensBod(Amsterdam) TodMachover(MIT-MediaLab) CarolaBoehm(Glasgow) GuerinoMazzola(ZurichandVienna) AmilcarCardoso(Coimbra) StephenMcAdams(IRCAM) EmiliosCambouropoulos(Thessaloniki)EduardoMiranda(SONYCSL-Paris) ElaineChew(USC) PeterNelson(Edinburgh) DarrellConklin(ZymoGenetics) Fran¸coisPachet(SONYCSL-Paris) IanCross(Cambridge) StephenTravisPope(SantaBarbara) RogerDannenberg(CMU) AlanSmaill(Edinburgh) PeterDesain(Nijmegen) MarkSteedman(Edinburgh) AnastasiaGeorgaki(Athens) DavidTemperley(Rochester) InvitedSpeakers MiraBalaban(Ben-GurionUniversity,Israel) AntonioCamurri(UniversityofGenoa,Italy) Jean-ClaudeRisset(LaboratoiredeM´echaniqueetd’Acoustique,France) TableofContents InvitedTalks StructureandInterpretationofMusicConcepts:Musicfroma ComputationalPerspective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 MiraBalaban ExpressiveGesture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 AntonioCamurri RegularContributions AGeneralParsingModelforMusicandLanguage . . . . . . . . . . . . . . . . . . . . . 5 RensBod TheSpiralArray:AnAlgorithmforDeterminingKeyBoundaries . . . . . . . 18 ElaineChew RepresentationandDiscoveryofVerticalPatternsinMusic . . . . . . . . . . . . . 32 DarrellConklin DiscoveringMusicalStructureinAudioRecordings. . . . . . . . . . . . . . . . . . . . . 43 RogerB. Dannenberg,NingHu RealTimeTrackingandVisualisationofMusicalExpression . . . . . . . . . . . . 58 SimonDixon,WernerGoebl,GerhardWidmer AutomaticClassi?cationofDrumSounds:AComparisonofFeature SelectionMethodsandClassi?cationTechniques. . . . . . . . . . . . . . . . . . . . . . . 69 PerfectoHerrera,AlexandreYeterian,FabienGouyon SomeFormalProblemswithSchenkerianRepresentationsofTonal Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 TimHorton RespirationRe?ectingMusicalExpression:AnalysisofRespiration duringMusicalPerformancebyInductiveLogicProgramming . . . . . . . . . . . 94 SohIgarashi,TomonobuOzaki,KoichiFurukawa MimeticDevelopmentofIntonation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 EduardoReckMiranda InteractingwithaMusicalLearningSystem:TheContinuator . . . . . . . . . . . 119 Fran¸coisPachet VIII TableofContents RecognitionofIsolatedMusicalPatternsUsingHiddenMarkovModels . . . 133 AggelosPikrakis,SergiosTheodoridis,DimitrisKamarotos AModelforthePerceptionofTonalMelodies. . . . . . . . . . . . . . . . . . . . . . . . . 144 Dirk-JanPovel ControlLanguageforHarmonisationProcess . . . . . . . . . . . . . . . . . . . . . . . . . 155 SomnukPhon-Amnuaisuk EvaluatingMelodicSegmentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 ChristianSpevak,BelindaThom,KarinH¨othker CombiningGrammar-BasedandMemory-BasedModelsofPerceptionof TimeSignatureandPhase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 NetaSpiro ABayesianApproachtoKey-Finding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 DavidTemperley AuthorIndex. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 StructureandInterpretationofMusicConcepts: MusicfromaComputationalPerspective MiraBalaban DepartmentofInformationSystemsEngineering Ben-GurionUniversityoftheNegev,Israel. mira@cs. bgu. ac. il Researchinthe?eldofComputer-Musicisdirectedtowardsconstructionof computersystemsforcomposition,performanceofmusicaltasks,musictra- ing,signalprocessingandextensionoftraditionalmusicsounds,notationstudy, musicanalysis,storageandcommunicationofmusicaldata,andmusicinf- mationretrievalandclassi?cation. Computerapplicationsinmusicleadtothe developmentofcomputationalmodels. ExamplesaretheworksofWinograd, Ebcioglu,Laske,Cope,Bamberger,Berger&GangandOrlarey. Berger&Gang usearti?cialneuralnetworkstoinvestigatemusicperception,Orlareyetal. - troducethenotionofConcreteAbstraction(borrowedfromLambdaCalculus) asabasisfortheirpurelyfunctionalcompositionenvironment,whileWinograd usesaSystemicGrammarapproachborrowedfromLinguistics. Inspiteofrichactivityinmusicologyandincomputermusic,thereislittle research(ifatall)onthedevelopmentofacomputationalbasisforcomputer music(e. g. ,Schenker,Narmour,LerdhalandJackendo?). Mostcomputermusic systemsindeedhavehugemusicalknowledgeandintuitionsembeddedinthem, butcannotpointonunderlyingexplicitcomputationalbasis. Clearlythey- sumesomelevelofprimitives,andusedi?erentabstractionlevelsandkinds,but thesearenotanchoredincomputationalmodelsthataccountfortheirbasics, organization,usageandsemantics. Inasense,thissituationremindsoneofthe earlydaysofNaturalLanguageProcessing,whenalargeamountoflinguistic knowledgewasembeddedinhugesemanticnetworks. Inthistalkweproposetoinitiateastudyofcomputationalframeworks formusicknowledge. Theideaistomakethemusicknowledgethatunderlies computer-musicapplications(eitherintentionallyornot)explicit. Asastarting point,wesuggesttostudy music schemas. HereishowMusicologistDahlia Cohen(dept. ofMusicology,HebrewUniversity,Israel)describestherolethat musicschemasplayinmusicunderstanding: Listeningtomusic(perceptionandreaction)anditsmemorization,are cognitiveactivitiesthatdependon schemas thatarecreated,unc- sciously,atanearlyage. Theschemasrepresentrelationshiptypes- tweenmusicaleventsthataredictatedbyprinciplesoforganization,in variousabstractionlevels. Theschemastriggerexpectationsthatmay ormaynotberealized. Musicisdistinguishedfromotherartsinhaving thesystematicorganizationasthesolemeansfortriggeringvarioustypes ofreactions(whereasotherartsemploynon-artistic,non-organizational meansforreactiontriggering).".
catalog contributor b12632588.
catalog contributor b12632589.
catalog contributor b12632590.
catalog contributor b12632591.
catalog created "2002.".
catalog date "2002".
catalog date "2002.".
catalog dateCopyrighted "2002.".
catalog description "133 AggelosPikrakis,SergiosTheodoridis,DimitrisKamarotos AModelforthePerceptionofTonalMelodies. . . . . . . . . . . . . . . . . . . . . . . . . 144 Dirk-JanPovel ControlLanguageforHarmonisationProcess . . . . . . . . . . . . . . . . . . . . . . . . . 155 SomnukPhon-Amnuaisuk EvaluatingMelodicSegmentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 ChristianSpevak,BelindaThom,KarinH¨othker CombiningGrammar-BasedandMemory-BasedModelsofPerceptionof TimeSignatureandPhase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 NetaSpiro ABayesianApproachtoKey-Finding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 DavidTemperley AuthorIndex. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ".
catalog description "207 StructureandInterpretationofMusicConcepts: MusicfromaComputationalPerspective MiraBalaban DepartmentofInformationSystemsEngineering Ben-GurionUniversityoftheNegev,Israel. mira@cs. bgu. ac. il Researchinthe?eldofComputer-Musicisdirectedtowardsconstructionof computersystemsforcomposition,performanceofmusicaltasks,musictra- ing,signalprocessingandextensionoftraditionalmusicsounds,notationstudy, musicanalysis,storageandcommunicationofmusicaldata,andmusicinf- mationretrievalandclassi?cation. Computerapplicationsinmusicleadtothe developmentofcomputationalmodels. ExamplesaretheworksofWinograd, Ebcioglu,Laske,Cope,Bamberger,Berger&GangandOrlarey. Berger&Gang usearti?cialneuralnetworkstoinvestigatemusicperception,Orlareyetal. - troducethenotionofConcreteAbstraction(borrowedfromLambdaCalculus) asabasisfortheirpurelyfunctionalcompositionenvironment,whileWinograd usesaSystemicGrammarapproachborrowedfromLinguistics. ".
catalog description "58 SimonDixon,WernerGoebl,GerhardWidmer AutomaticClassi?cationofDrumSounds:AComparisonofFeature SelectionMethodsandClassi?cationTechniques. . . . . . . . . . . . . . . . . . . . . . . 69 PerfectoHerrera,AlexandreYeterian,FabienGouyon SomeFormalProblemswithSchenkerianRepresentationsofTonal Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 TimHorton RespirationRe?ectingMusicalExpression:AnalysisofRespiration duringMusicalPerformancebyInductiveLogicProgramming . . . . . . . . . . . 94 SohIgarashi,TomonobuOzaki,KoichiFurukawa MimeticDevelopmentofIntonation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 EduardoReckMiranda InteractingwithaMusicalLearningSystem:TheContinuator . . . . . . . . . . . 119 Fran¸coisPachet VIII TableofContents RecognitionofIsolatedMusicalPatternsUsingHiddenMarkovModels . . . ".
catalog description "Inspiteofrichactivityinmusicologyandincomputermusic,thereislittle research(ifatall)onthedevelopmentofacomputationalbasisforcomputer music(e. g. ,Schenker,Narmour,LerdhalandJackendo?). Mostcomputermusic systemsindeedhavehugemusicalknowledgeandintuitionsembeddedinthem, butcannotpointonunderlyingexplicitcomputationalbasis. Clearlythey- sumesomelevelofprimitives,andusedi?erentabstractionlevelsandkinds,but thesearenotanchoredincomputationalmodelsthataccountfortheirbasics, organization,usageandsemantics. Inasense,thissituationremindsoneofthe earlydaysofNaturalLanguageProcessing,whenalargeamountoflinguistic knowledgewasembeddedinhugesemanticnetworks. Inthistalkweproposetoinitiateastudyofcomputationalframeworks formusicknowledge. Theideaistomakethemusicknowledgethatunderlies computer-musicapplications(eitherintentionallyornot)explicit. Asastarting point,wesuggesttostudy music schemas. HereishowMusicologistDahlia Cohen(dept. ".
catalog description "Invited Talks -- Structure and Interpretation of Music Concepts: Music from a Computational Perspective -- Expressive Gesture -- Regular Contributions -- A General Parsing Model for Music and Language -- The Spiral Array: An Algorithm for Determining Key Boundaries -- Representation and Discovery of Vertical Patterns in Music -- Discovering Musical Structure in Audio Recordings -- Real Time Tracking and Visualisation of Musical Expression -- Automatic Classification of Drum Sounds: A Comparison of Feature Selection Methods and Classification Techniques -- Some Formal Problems with Schenkerian Representations of Tonal Structure -- Respiration Reflecting Musical Expression: Analysis of Respiration during Musical Performance by Inductive Logic Programming -- Mimetic Development of Intonation -- Interacting with a Musical Learning System: The Continuator -- Recognition of Isolated Musical Patterns Using Hidden Markov Models -- A Model for the Perception of Tonal Melodies -- Control Language for Harmonisation Process -- Evaluating Melodic Segmentation -- Combining Grammar-Based and Memory-Based Models of Perception of Time Signature and Phase -- A Bayesian Approach to Key-Finding.".
catalog description "Jean-ClaudeRisset(LaboratoiredeM´echaniqueetd’Acoustique,France) TableofContents InvitedTalks StructureandInterpretationofMusicConcepts:Musicfroma ComputationalPerspective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 MiraBalaban ExpressiveGesture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 AntonioCamurri RegularContributions AGeneralParsingModelforMusicandLanguage . . . . . . . . . . . . . . . . . . . . . 5 RensBod TheSpiralArray:AnAlgorithmforDeterminingKeyBoundaries . . . . . . . 18 ElaineChew RepresentationandDiscoveryofVerticalPatternsinMusic . . . . . . . . . . . . . 32 DarrellConklin DiscoveringMusicalStructureinAudioRecordings. . . . . . . . . . . . . . . . . . . . . 43 RogerB. Dannenberg,NingHu RealTimeTrackingandVisualisationofMusicalExpression . . . . . . . . . . . . ".
catalog description "July2002 ChristinaAnagnostopoulou MiguelFerrand AlanSmaill OrganizingCommittee AlanSmaill(Chair) ChristinaAnagnostopoulou(Co-chair) MiguelFerrand PeterNelson AlisonPease MarkSteedman ProgramCommittee ? JensArnspang(Alborg) GillianHayes(Edinburgh) MiraBalaban(Ben-Gurion) HenkjanHoning(Nijmegen) MartaOlivettiBelardinelli(Rome) JukkaLouhivuori(Jyvaskyla) RensBod(Amsterdam) TodMachover(MIT-MediaLab) CarolaBoehm(Glasgow) GuerinoMazzola(ZurichandVienna) AmilcarCardoso(Coimbra) StephenMcAdams(IRCAM) EmiliosCambouropoulos(Thessaloniki)EduardoMiranda(SONYCSL-Paris) ElaineChew(USC) PeterNelson(Edinburgh) DarrellConklin(ZymoGenetics) Fran¸coisPachet(SONYCSL-Paris) IanCross(Cambridge) StephenTravisPope(SantaBarbara) RogerDannenberg(CMU) AlanSmaill(Edinburgh) PeterDesain(Nijmegen) MarkSteedman(Edinburgh) AnastasiaGeorgaki(Athens) DavidTemperley(Rochester) InvitedSpeakers MiraBalaban(Ben-GurionUniversity,Israel) AntonioCamurri(UniversityofGenoa,Italy) ".
catalog description "MusicpresentsmanychallengesforAIandInformaticsingeneral. Whilethe analogieswithnaturallanguageandwithvisionareproductive,musicrequires novelsolutionstoitsownrepresentationalandalgorithmicproblems. Forthe musician,workinthisareacontributestowardsmusicologicalstudy,composition, performance,interactivesystems,andsoundsynthesis. Threedistinguishedscholarsinthearea,MiraBalaban,Jean-ClaudeRisset, andAntonioCamurri,agreedtogivetheinvitedkeynotes. Thesetalkscovered di?erentfeaturesofmusicalexperienceanditsrelationtoArti?cialIntelligence, namelymusicalconcepts,composition,andperformance. Morespeci?cally,Jean- ClaudeRisset’stopicwasMusicalCompositionandArti?cialIntelligence:Some Precedents and Prospects,MiraBalaban’swas Structure and Interpretation of Music Concepts – Music from a Computational Perspective,andAntonio- murri’swasComputationalModelsofExpressiveGesture. ".
catalog description "Thepapersintheconferencedealtwithawiderangeofaspectsofcurrent research,includingstructural,harmonic,andreductionalmusicanalysis,pattern representationanddiscoveryinbothmonophonicandpolyphonicmusic,music perceptionofmelodyandrhythm,therelationbetweenmusicandnaturallan- age,similarityandcategorization,musicandintonation,musicalexpressionand performance,soundprocessing,soundclassi?cations,commercialapplications, andmusicontheweb. Acknowledgements. Theeditorsaregratefulforallthehelpofthosewho madethepublicationofthisvolumepossible,andespeciallyDarrellConklin, VI Organization PeterNelson,EmiliosCambouropoulos,AlisonPease,andMarkSteedman;also, JordanFleming,EwenMaclean,andRobertDow;andtheFacultyofMusicand theDivisionofInformatics,UniversityofEdinburghfor?nancialsupport. ".
catalog description "Thisvolumecontainsthefullresearchpapersofthe2nd International Con- renceonMusicandArti?cialIntelligence(ICMAI02),heldinSt. Cecilia’sHall, Edinburgh,UK,12–14September2002. Theconferencewasjointlyorganizedby theFacultyofMusicandtheDivisionofInformatics,UniversityofEdinburgh. Eachofthepapersinthisvolumewasrefereedbyatleastthreereviewersfrom theProgramCommittee. AdditionalpaperswereacceptedasWork-in-Progress reports,publishedseparatelybytheDivisionofInformaticsoftheUniversity ofEdinburgh. Theconferenceprogramalsoincludedround-tablediscussions, electronicmusicconcerts,earlykeyboardintrumentdemonstrations,andvarious socialevents. Thefocusoftheconferencewasontheinterplaybetweenmusicaltheoryand practiceontheonehandandtechniquesandmethodsfromArti?cialIntelligence, includingcomputationalcognitivemodelingofmusicalprocesses,ontheother. Weareespeciallyinterestedinissuesofmusicalrepresentationandanalysis, associatedalgorithms,andtheevaluationofmusicalartefacts. ".
catalog description "ofMusicology,HebrewUniversity,Israel)describestherolethat musicschemasplayinmusicunderstanding: Listeningtomusic(perceptionandreaction)anditsmemorization,are cognitiveactivitiesthatdependon schemas thatarecreated,unc- sciously,atanearlyage. Theschemasrepresentrelationshiptypes- tweenmusicaleventsthataredictatedbyprinciplesoforganization,in variousabstractionlevels. Theschemastriggerexpectationsthatmay ormaynotberealized. Musicisdistinguishedfromotherartsinhaving thesystematicorganizationasthesolemeansfortriggeringvarioustypes ofreactions(whereasotherartsemploynon-artistic,non-organizational meansforreactiontriggering).".
catalog extent "viii, 206 p. :".
catalog identifier "354044145X (softcover : alk. paper)".
catalog isPartOf "Lecture notes in computer science ; 2445. Lecture notes in artificial intelligence".
catalog isPartOf "Lecture notes in computer science ; 2445.".
catalog isPartOf "Lecture notes in computer science. Lecture notes in artificial intelligence.".
catalog issued "2002".
catalog issued "2002.".
catalog language "eng".
catalog publisher "Berlin ; New York : Springer,".
catalog subject "781 21".
catalog subject "Artificial intelligence Musical applications Congresses.".
catalog subject "Artificial intelligence.".
catalog subject "Computer science.".
catalog subject "Information systems.".
catalog subject "ML73.5 .M84 2002".
catalog subject "Optical pattern recognition.".
catalog tableOfContents "Invited Talks -- Structure and Interpretation of Music Concepts: Music from a Computational Perspective -- Expressive Gesture -- Regular Contributions -- A General Parsing Model for Music and Language -- The Spiral Array: An Algorithm for Determining Key Boundaries -- Representation and Discovery of Vertical Patterns in Music -- Discovering Musical Structure in Audio Recordings -- Real Time Tracking and Visualisation of Musical Expression -- Automatic Classification of Drum Sounds: A Comparison of Feature Selection Methods and Classification Techniques -- Some Formal Problems with Schenkerian Representations of Tonal Structure -- Respiration Reflecting Musical Expression: Analysis of Respiration during Musical Performance by Inductive Logic Programming -- Mimetic Development of Intonation -- Interacting with a Musical Learning System: The Continuator -- Recognition of Isolated Musical Patterns Using Hidden Markov Models -- A Model for the Perception of Tonal Melodies -- Control Language for Harmonisation Process -- Evaluating Melodic Segmentation -- Combining Grammar-Based and Memory-Based Models of Perception of Time Signature and Phase -- A Bayesian Approach to Key-Finding.".
catalog title "Music and artificial intelligence : Second International Conference, ICMAI 2002, Edinburgh, Scotland, September 12-14, 2002 : proceedings / Christina Anagnostopoulou, Miguel Ferrand, Alan Smaill, eds.".
catalog type "text".