Machine Models of Music' by Stephan Schwanauer, David Levitt

By Stephan Schwanauer, David Levitt

Machine versions of track brings jointly consultant versions starting from Mozart's "Musical cube online game" to a vintage article via Marvin Minsky and present study to demonstrate the wealthy impression that man made intelligence has had at the knowing and composition of conventional track and to illustrate the ways that track can push the bounds of conventional Al research.Major sections of the publication soak up pioneering study in generate-and-test composition (Lejaren Hiller, Barry Brooks, Jr., Stanley Gill); composition parsing (Allen uniqueness, Herbert Simon, Terry Winograd); heuristic composition (John Rothgeb, James Moorer, Steven Smoliar); generative grammars (Otto Laske, Gary Rader, Johan Sundberg, Fred Lerdahl); substitute theories (Marvin Minsky, James Meehan); composition instruments (Charles Ames, Kemal Ebcioglu, David Cope, C. Fry); and new instructions (David Levitt, Christopher Longuet-Higgins, Jamshed Bharucha, Stephan Schwanauer).Stephan Schwanauer is President of Mediasoft company. David Levitt is the founding father of HIP software program and head of audio items at VPL Research.

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Additional resources for Machine Models of Music'

Example text

G C FC L . D . O . O . K • • • G CJ . L . N . A . 8 . C Ca . A . . . 0 . H . F r D . . 0 . 0 . H . C . . L . GC M• • • J r• • • • I. 0. O . HCN. L . O . O . O . NC • • L . O . C. A . G . F . . KC • • I • • • N . K CJ . H . 0. D . F C A C C C K CI1 . N . M C G U t r O . J . D r N . . 0 . 0 . 0 . O . O . O . O . D . O . 0 . 0 . 0 . 0 . 0 . 0 . H C H CC . D . E . O . J . G C F . G . F . DC C C • • • • • • A C F c K . . . 1 . 0 . 0 . 0 . 0 . 0 . 0 . O . D. A. G . . I . J< r M C H . • M . K C M C H C V.

1 . 5, along with constraints for the following examples. The low probability of accidentals (sharps and flats) in the sample, less than one per cent, resulted in the presence of only one accidental in example 1 : the E flat for the forty-third and forty-fourth notes. Despite this, however, the hymn is not easy to sing and contains unnatural intervals. 2 exhibits several interesting i rreg­ ularities. 5). Although the trigram G F G exists nowhere in the sample, this combination appears twice in the example as indicated by the brack­ ets.

The common meter hymn tune has the additional advantage of providing a fairly large collection of compositions from different composers and centuries of origin. The hymns in the sample all begin on the last beat of a four-beat measure, and none have any notes shorter than an eighth note. Several analyses of the sample and syntheses of new hymn melodies were performed with a large-scale computer. The machine has random access storage of 250 sixteen-decimal digit numbers and separate magnetic drum storage of 4,000 numbers and 1 0,000 instructions.

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