1,721,055 research outputs found
Multiple viewpoint systems: time complexity and the construction of domains for complex musical viewpoints in the harmonization problem
No full textA Geometric Method for Detecting Semantic Coercion
No full textIn this paper we present state-of-the-art results on the computational classification of semantic type coercion, accomplished using a novel geometric method which is both context-sensitive and generalisable. We show that this method improves accuracy on a SemEval dataset over previous work, and gives promising results on a new more challenging experimental setup involving the same data. In addition to a description of our distributional semantic methodology and the results obtained on an established dataset, we offer an overview of the linguistic phenomenon of coercion and an analysis of the geometric features by which our results are achieved
Development of Techniques for the Computational Modelling of Harmony
Full text linkThis research is concerned with the development of representational and modelling techniques employed in the onstruction of statistical models of four-part harmony. Multiple viewpoint systems have been chosen to represent both surface and underlying musical structure, and it is this framework, along with Prediction by Partial Match (PPM), which will be developed during this work. Two versions of the framework are described, starting with the strictest possible application of multiple viewpoints and PPM, and then extending and generalising a little. Some implementation details are reported, as are some preliminary results
Towards a Computational Model of Musical Accompaniment: Disambiguation of Musical Analyses by Reference to Performance Data
Full text linkInstitute of Perception, Action and BehaviourA goal of Artificial Intelligence is to develop computational models of what would
be considered intelligent behaviour in a human. One such task is that of musical performance.
This research specifically focuses on aspects of performance related to the
performance of musical duets.
We present the research in the context of developing a cooperative performance
system that would be capable of performing a piece of music expressively alongside
a human musician. In particular, we concentrate on the relationship between musical
structure and performance with the aim of creating a structural interpretation of a piece
of music by analysing features of the score and performance.
We provide a new implementation of Lerdahl and Jackendoff’s Grouping Structure
analysis which makes use of feature-category weighting factors. The multiple structures
that result from this analysis are represented using a new technique for representing
hierarchical structures. The representation supports a refinement process which
allows the structures to be disambiguated at a later stage.
We also present a novel analysis technique, based on the principle of phrase-final
lengthening, to identify structural features from performance data. These structural
features are used to select from the multiple possible musical structures the structure
that corresponds most closely to the analysed performance.
The three main contributions of this research are:1- An implementation of Lerdahl and Jackendoff’s Grouping Structure which includes
feature-category weighting factors;
2- A method of storing a set of ambiguous hierarchical structures which supports
gradual improvements in specificity;
An analysis technique which, when applied to a musical performance, succeeds
3- in providing information to aid the disambiguation of the final musical structure.
The results indicate that the approach has promise and with the incorporation of
further refinements could lead to a computer-based system that could aid both musical
performers and those interested in the art of musical performance
Theory and Evaluation of a Bayesian Music Structure Extractor
Full text linkWe introduce a new model for extracting end points of music structure segments, such as intro, verse, chorus, break and so forth, from recorded music. Our methods are applied to the problem of grouping audio features into continuous structural segments with start and end times corresponding as closely as possible to a ground truth of independent human structure judgements. Our work extends previous work on automatic summarization and structure extraction by providing a model for segment end-points posed in a Bayesian framework. Methods to infer parameters to the model using Expectation Maximization and Maximum Likelihood methods are discussed. The model identifies all the segments in a song, not just the chorus or longest segment. We discuss the theory and implementation of the model and evaluate the model in an automatic structure segmentation experiment against a ground truth of human judgements. Our results shows a segment boundary intersection rate break-even point of approximately 80%
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Learning about harmony with Harmony Space: an overview
Full text linkRecent developments are presented in the evolution of Harmony Space, an interface that exploits theories of tonal harmony. The design of the interface draws on Balzano's and Longuet-Higgins' theories of tonal harmony. The interface allows entities of interest (notes, chords, chord progressions, key areas, modulations) to be manipulated via direct manipulation techniques using a single principled spatial metaphor to make a wide range of musical tasks accessible for novices to perform. The interface can also be used by experienced musicians to make a range of expert tasks more tractable than by using conventional tools and notations. The interface is highly interactive and multi-modal, using two pointing devices and spatial, aural and kinaesthetic cues that all map uniformly into the underlying theory. Some recent implementations of Harmony Space are discussed, together with some of the musical tasks which they make tractable for beginners and experienced musicians. Aspects of the simple, consistent, principled framework behind the interface are outlined
MOTIVE: The development of an AI tool for beginning melody composers
No full textThe goal of the research described in this paper is to find ways of using artificial intelligence to encourage and facilitate melody composition by musical novices. The first stage of the research is the formalisation of an analytical theory of melody, Eugene Narmour's Implication-Realisation Model. This hypothetical theory offers an explanation of how listeners of music break-up a melody into "chunks", and hear some notes as more important than others. The formalisation process involves the implementation of a declarative parser in Prolog, and then comparison of Narmour's published analyses with those of the parser. With such results it will be possible to present a critical evaluation of Narmour's theory, and the parser.
Around the parser a constraint-generation tool (called MOTIVE) is being built. This paper presents the features of the tool and a possible design for an iconic interface, and we suggest a number of ways in which MOTIVE may facilitate the development of melody composition skills in an educational context
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