Music, Intelligence and Artificiality (original) (raw)
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Artificial Intelligence and Musical Cognition [and Dicussion]
Philosophical Transactions of the Royal Society A: Mathematical, Physical and Engineering Sciences, 1994
There has been much interest, in recent years, in the possibility of representing our musical faculties in computational terms. A necessary first step is to develop a formally precise theory of musical structure, and to this end, useful analogies may be drawn between music and natural language. Metrical rhythms resemble syntactic structures in being generated by phrase-structure grammars; as for the pitch relations between notes, the tonal intervals of Western music form a mathematical group generated by the octave, the fifth and the third. On this theoretical foundation one can construct AI programs for the transcription, editing and performance of classical keyboard music. A high degree of complexity and precision is required for the faithful representation of a sophisticated pianoforte composition, and to achieve a satisfactory level of performance it is essential to respect the minute variations of loudness and timing by which human performers reveal its hierarchical structure.
Making Music with AI: Some examples
The field of music raises very interesting challenges to computer science and in particular to Artificial Intelligence. Indeed, as we will see, computational models of music need to take into account important elements of advanced human problem solving capabilities such as knowledge representation, reasoning, and learning. In this paper I describe examples of computer programs capable of carrying out musical activities and describe some creative aspects of musical such programs.
Tehnologii informatice și de comunicație în domeniul muzical / Information and communication Technologies in Musical Field
The computer order of the world we live in turns out to be one that music has been waiting for about four centuries. As long as it took until it was freed from the "philological" stigma and until the establishment of the digital age. It awaited it with its entire numerical morphology, which once legitimized it as equal among the other three disciplines of the ancient quadriviumarithmetic, geometry and astronomy. Carrying number in time as its generative principle and vital energy, music has reacted to digitization extremely "empathetically". And the transition to the cybernetic habitat unfolded as a replica of the transfer from natural sonicity to cultural musicality. Indeed, the metaphor as well as the archetype served as the vehicle of these transitions, both as deep and equally essential meanings of the surrounding reality, but also meanings of the fictional human imagination. This is how music itself was born, a type of human thought constituted down to the smallest details from invariants, eternal "monads", but also omniscient "nano-particles" with an unlimited term of existence. Everything that followed from the invention of (digital) sound synthesis was, in short, the equating of the invariants of music with the algorithms of the new habitat of alphanumeric virtuality.
How Music AI Is Useful: Engagements with Composers, Performers and Audiences
Leonardo
Critical but often overlooked research questions in artificial intelligence applied to music involve the impact of the results for music. How and to what extent does such research contribute to the domain of music? How are the resulting models useful for music practitioners? This article describes work arising from research engaging with composers, musicians and audiences to address such questions: two websites that make their AI models accessible to a wide audience and a professionally recorded album released to expert reviewers to gauge the plausibility of AI-generated material. The authors describe the use of their models as tools for cocreation. Evaluating AI research and music models in such ways illuminates their impact on music-making.
How AI can Change/Improve/Influence Music Composition, Performance and Education: Three Case Studies
INSAM Journal of Contemporary Music, Art and Technology, 2019
The use of artificial intelligence in science is happening more and more frequently, and often artificial intelligence can be seen in different approaches to creating music and art. In this paper, I will present some of the research that has been carried out, which involve the use of artificial intelligence in the field of composition, performance, and music education. The main focus in the field of composition will be on AIVA-the first virtual composer created with artificial intelligence, which is registered with an author's rights society. In the field of performance, we'll mostly talk about Yamaha's experiment where the world-renowned dancer Kaiji Moriyama controls a piano with his body movements, and in the context of education, this paper reviews some of the possibilities in a variety of artificial intelligence approaches to music education. Lastly, I will conclude the paper by presenting the direction of and possible future for the use of artificial intelligence in music.