1,720,967 research outputs found
Creatività Computazionale Musicale Basata su Analisi Musicologiche e Statistiche
No full textIl campo della Creatività Computazionale prova a ottenere comportamenti creativi dagli elaboratori, per migliorare la comprensione di cosa regola la creatività e approfondire cosa sia possibile ottenere dai sistemi informatici. Una applicazione comune in questo campo è la composizione automatica di musica, in quanto questa attività notoriamente richiede creatività.
In questa tesi descrivo i principali approcci alla generazione di musica, come anche alcune domande in questo campo che rimangono aperte. Nel lavoro qui descritto, mi focalizzo su due di queste, ovvero il ruolo delle emozioni e della socialità nella musica, e la struttura a lungo termine, cercando di capire il ruolo che questi due aspetti possono avere nella generazione di musica.
Un gioco serio per l’interazione sociale è qui presentato. Il gioco permette a due giocatori di creare liberamente un ritmo usando due pad ritmici MIDI. Il programma riesce a seguire il tempo e il metro che i due suonano, aggiungendo musica alla loro interazione, aumentando così il valore estetico della loro esperienza di gioco e sociale. Questo gioco si dimostra un mezzo efficace per creare una esperienza coinvolgente per gli utenti.
Viene presentato anche un sistema per l’analisi di strutture musicali. Questo algoritmo usa rappresentazioni ad hoc della musica, basate su rappresentazioni ad albero usate dai musicologi. Partendo da queste rappresentazioni di base che erano note in letteratura, l’algoritmo costruisce ulteriori astrazioni che sintetizzano gli aspetti strutturali di un intero brano, e poi di un intero corpus di brani. Alcune applicazioni di esempio vengono riportate, incluso un algoritmo per la generazione di musica che sfrutta queste reppresentazione e la Teoria dell’Informazione per creare nuovi brani che mostrino una struttura simile a quelle trovate nel corpus di esempio. Sebbene il metodo per la generazione di melodie usato in questi brani non è del tutto in grado di creare melodie realistiche, l’algoritmo riesce a generare strutture a lungo termine soddisfacenti, grazie alle rappresentazioni implementate.The field of Computational Creativity tries to obtain creative behaviours from computers, to further the understanding of what regulates creativity and what is possible to obtain from computational systems. One common effort within this field is that to have computers write music, as this is an activity that is recognized to require creativity.
In this thesis I review some of the main approaches to music generation as well as some questions that remain unanswered within the field. In the work described here, I focus on two of these, namely, the role of emotion and sociality in music, and long-term structure,trying to understand the role these two aspects can have in music generation.
A serious game for social interaction is presented. This game allows two players to freely create a rhythm by interacting via MIDI drum pads. The software detects the tempo and meter they are playing, and adds a musical augmentation to their interaction, increasing the aesthetic value of their gaming and social experience. This is shown to be an effective way of creating a captivating experience for users.
A system for the analysis of musical structure is also presented. This algorithm uses ad hoc representations of musical content, based on tree representations used by musicologists. Starting from the basic representations that were known in literature, this algorithm builds further abstracted representations that summarize the structural aspects of an entire piece and then of an entire corpus. Some example applications are shown, including an algorithm for music generation that leverages these representations and Information Theory concepts to create novel music that shows a structure similar to the ones found in the example corpus. While the method for generating the melodic material used for these novel pieces is not fully capable of generating realistic melodies, the algorithm manages to create satisfactory long-term structure, thanks to the implemented representations
A Hierarchical, Modular Music Sequencer
No full textMusical structure is replete with hierarchy, modularity, reuse, and variation. We are interested in how these aspects of music may be employed in a tool for composition and performance. We describe an experimental music sequencer we have developed which is meant to help musicians build complex, highly modular, hierarchical musical structures. The musician begins with basic musical elements, then groups them into larger structures to combine them in a wide variety of ways. The same elements may be reused in many contexts, and may be parameterized and customized each time, creating variation. This sequencer is meant as both a composition and performance tool. We discuss past research in hierarchy and modularity in music, detail our sequencer approach, outline ways that it provides hierarchy and modularity, and discuss how we intend to use its basic model as a jumping-off point for introducing machine learning, optimization, and experimentation into the sequencing process
Computational Creativity and Music Generation Systems: An Introduction to the State of the Art
Full text linkComputational Creativity is a multidisciplinary field that tries to obtain creative behaviors from computers. One of its most prolific subfields is that of Music Generation (also called Algorithmic Composition or Musical Metacreation), that uses computational means to compose music. Due to the multidisciplinary nature of this research field, it is sometimes hard to define precise goals and to keep track of what problems can be considered solved by state-of-the-art systems and what instead needs further developments. With this survey, we try to give a complete introduction to those who wish to explore Computational Creativity and Music Generation. To do so, we first give a picture of the research on the definition and the evaluation of creativity, both human and computational, needed to understand how computational means can be used to obtain creative behaviors and its importance within Artificial Intelligence studies. We then review the state of the art of Music Generation Systems, by citing examples for all the main approaches to music generation, and by listing the open challenges that were identified by previous reviews on the subject. For each of these challenges, we cite works that have proposed solutions, describing what still needs to be done and some possible directions for further research
A Real-Time Tempo and Meter Tracking System for Rhythmic Improvisation
No full textMusic is a form of expression that often requires interaction between players. If one wishes to interact in such a musical way with a computer, it is necessary for the machine to be able to interpret the input given by the human to find its musical meaning. In this work, we propose a system capable of detecting basic rhythmic features that can allow an application to synchronize its output with the rhythm given by the user, without having any prior agreement or requirement on the possible input. The system is described in detail and an evaluation is given through simulation using quantitative metrics. The evaluation shows that the system can detect tempo and meter consistently under certain settings, and could be a solid base for further developments leading to a system robust to rhythmically changing inputs
A Multilayered Approach to Automatic Music Generation and Expressive Performance
No full textWhen analyzing scores, musicologists often use multilayered representations to describe different importance levels of notes and chords, according to hierarchical musical structures. These structures are believed to represent the composer's mental representation as well as the listeners' perception of the piece. Thus, in the context of automated music generation, this kind of information can be of great use to model both the composition itself and its expressive performance. In this paper one computational method to perform this kind of analysis is described. Its implementation is then used to generate short musical phrases according to a hierarchical structure that is also used to model the performance of these melodies
Symbolic music similarity through a graph-based representation
No full textIn this work, a novel representation system for symbolic music is described. The proposed representation system is graph-based and could theoretically represent music both from a horizontal (contrapuntal) and from a vertical (harmonic) point of view, by keeping into account contextual and harmonic information. It could also include relationships between internal variations of motifs and themes. This is achieved by gradually simplifying the melodies and generating layers of reductions that include only the most important notes from a structural and harmonic viewpoint. This representation system has been tested in a music information retrieval task, namely melodic similarity, and compared to another system that performs the same task but does not consider any contextual or harmonic information, showing how the structural information is needed in order to find certain relations between musical pieces. Moreover, a new dataset consisting of more than 5000 leadsheets is presented, with additional meta-musical information taken from different web databases, including author, year of first performance, lyrics, genre and stylistic tags
Linking Vestibular, Tactile, and Somatosensory Rhythm Perception to Language Development in Infancy
Full text linkFirst experiences with rhythm occur in the womb, with different rhythmic sources being available to the human fetus. Among sensory modalities, vestibular, tactile, and somatosensory perception plays a crucial role in early processing. However, a limited number of studies so far have specifically focused on VTS rhythms in language development. The present work investigated VTS rhythmic abilities and their role in language acquisition through two experiments with 45 infants (21 females, sex assigned at birth; M age = 661.6 days, SD = 192.6) with middle/high socioeconomic status. Specifically, 37 infants from the original sample completed Experiment 1, assessing VTS rhythmic abilities through a vibrotactile tool for music perception. In Experiment 2, linguistic abilities were evaluated in 40 participants from the same cohort, specifically testing phonological and prosodic processing. Discrimination abilities for rhythmic and linguistic stimuli were inferred from changes in pupil diameter to contingent visual stimuli over time, through a Tobii X-60 eye-tracker. The predictive effect of VTS rhythmic abilities on linguistic processing and the developmental changes occurring across ages were explored in the 32 infants who completed both Experiments 1 and 2 by means of generalized, additive and linear, mixed-effect models. Results are discussed in terms of cross-sensory (i.e., haptic to hearing) and cross-domain (i.e., music to language) effects of rhythm on language acquisition, with implications for typical and atypical development
The effect of expression on the evaluation of computationally generated melodies
Full text linkopenGli sviluppi recenti nel campo della creatività computazionale hanno portato alla nascita di sistemi avanzati per la creazione di opere artistiche e musicali, con numerose applicazioni apprezzate anche dal grande pubblico. La tesi si restringe all'ambito della creatività computazionale applicata alla musica, in particolare al problema della valutazione delle melodie generate da sistemi, e ha come obiettivo lo studio dell'effetto che una performance espressiva, aggiunta usando degli algoritmi specifici, possa avere sui giudizi di chi ascolta.
Lo studio è stato effettuato impiegando un pubblico di ascoltatori
scelto senza discriminazioni basate sulla preparazione musicale, modalità usata da molti ricercatori nel campo.
A tale pubblico è stato proposto un questionario dove veniva chiesto di valutare la qualità di alcune melodie, in parte composte da esseri umani e in parte generate, e la plausibilità che ciascuna fosse stata scritta da una persona.
Per ogni partecipante metà delle tracce, scelte casualmente con il solo vincolo che fossero per metà composte da esseri umani e per l'altra metà generate, sono state sostituite dalla loro versione espressiva.
Tutto ciò è stato fatto per comprendere se l'espressività possa alterare significativamente i giudizi di un ascoltatore su una melodia generata computazionalmente.
I risultati mostrano che la presenza delle performance espressive non è sempre un fattore significativo nella valutazione delle melodie.The recent developments in the field of computational creativity led to the birth of advanced systems for the creation of artistic and musical works, with numerous applications available to and loved by the general population aswell. This thesis focuses on the area of musical computational creativity, especially on the problem of evaluating systems-generated melodies, with the study of the effect of algorithmic expressive performances on listeners' judgements as its objective.
This study has been carried out employing an audience of listeners chosen with no music-expertise-based discrimination, a method used by many researchers in the field.
Each listener had to complete a questionnaire where they were asked to rate the quality of a set of melodies, in part composed by humans and in part generated by algorithms, and the plausibility that each of them had been written by a human being.
Each participant had half of the tracks replaced by their expressive variants. The replaced tracks were randomly selected, with the sole rule being half of them had to be composed by humans and the other half generated.
All of this has been done to comprehend whether expression can significally alter one's judgements on a computationally generated melody.
Results show that the presence of expressive performances is not always a significant factor in the evaluation of melodies
A study on low-cost solutions for presence detection
No full textopenSviluppo di identificazione della presenza di persone in luoghi chiusi con l'utilizzo di sensore di prossimità e luminosità (VCNL4200) e microfoni rilevatori di rumore ambientale. Sviluppato con ESP32
- …
