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By Mira Balaban (auth.), Christina Anagnostopoulou, Miguel Ferrand, Alan Smaill (eds.)
This publication constitutes the refereed complaints of the second one overseas convention on tune and synthetic Intelligence, ICMAI 2002, held in Edinburgh, Scotland, united kingdom in September 2002.
The sixteen revised complete papers provided including abstracts of two invited talks have been conscientiously reviewed and chosen for inclusion within the court cases. one of the issues addressed are parsing for tune and language, styles in track, musical trend acceptance, visualisation, sound category, tonal constitution illustration, musical studying platforms, development research, musical notion, melodic segmentation, and time sequence research.
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Extra info for Music and Artificial Intelligence: Second International Conference, ICMAI 2002 Edinburgh, Scotland, UK, September 12–14, 2002 Proceedings
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Temperley, David: The Perception of Harmony and Tonality: An Algorithmic Approach. PhD dissertation, Columbia University (1996) 22. Piet G. Vos and Erwin W. Van Geenen: A Parallel-Processing Key-Finding Model. Music Perception 14:2 (1996) 185–223 Representation and Discovery of Vertical Patterns in Music Darrell Conklin Computational Biology ZymoGenetics, Inc. com Abstract. The automated discovery of recurrent patterns in music is a fundamental task in computational music analysis. This paper describes a new method for discovering patterns in the vertical and horizontal dimensions of polyphonic music.
On )] (3) For example, for the melodic interval viewpoint, the viewpoint sequence for the soprano line [A, D, A, B, A, G, F , F ] of Figure 1 is [5, −5, 2, −2, −2, −1, 0] (4) Viewpoints can be seen as a method for handling sparse musical data. A viewpoint sequence is more abstract than the musical surface, and therefore significant recurrent patterns are more likely to be revealed within viewpoint sequences than within encodings of musical surfaces. In this sense, viewpoints are analogous to class-based models [21] of natural language, which view sentences as sequences of abstract word features.
40 D. Conklin Pattern 1 of Table 1 is the most statistically significant shortest pattern found. Figure 4 presents a sample of various instances of this pattern, which outlines a standard ii65 − V − I cadential formula. It is apparent that a wide diversity of melodic diminution is applied to this pattern, and that the method has succeeded in identifying a deeper structure than is evident in the musical surface alone. Passing tones, escape tones, anticipations and consonant skips are encountered.