[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]

Re: [AUDITORY] CfP - Inaugural Issue of the Journal of Creative Music Systems

Leslie, 

Do you like driving? I love driving and don't think that autonomous cars will relieve me of my need to drive.
However, I'd love to have my autonomous car driving in a traffic jam while I'm working on two commissions : 
    the first one is an orchestra piece that I'm very excited about;
    the second is a jingle that I'm writing by setting params on an autonomous system and eventually doing some editing.

Consider the possibilities that autonomous systems offer :
    Real-time composition from multimodal data (games, movies, commercials)
    Real-time accompaniment/improvisation (practicing, having fun by yourself)
    Control Improvisation, i.e. generation of music in the style of X given constraints Y (teaching music, improv)
    Style-mixing (musicology and creativity itself).

One can also consider the contribution that this research field offers to other domains.

Be well,
Rafael Valle

p.s. At some point synthetic audiences will have their own synthetic composers made by non–humans :)
p.s. Lejaren Hiller, David Cope and Iamus are nothing but a product of our imagination...

On Tue, Jan 12, 2016 at 7:41 AM, Leslie Smith <l.s.smith@xxxxxxxxxxxxx> wrote:
While I’m quite happy with the study of synthetic creativity, what I don’t understand is why you would want autonomous systems to write music. 

What is the purpose of it? 

As a musician (of sorts) I can well understand systems to help me write or perform music, but why I would want a system to relieve me of my need to be creative I do not understand. If all I want is music to listen to, there’s lots of it available (and that’s a different problem, also causing pain to lots of performing musicians). 

Or is it  for autonomous synthetic listeners to listen to? That would be quite interesting: autonomous systems creating music, being listened to by an autonomous synthetic audience. You wouldn’t even need to actually play it, or even to convert it from digital to analog: it could be directly piped digitally from the synthetic composer to the synthetic audience, thus removing any requirement for human participation at all.

Yours (not too seriously)

Leslie Smith

On 11 Jan 2016, at 13:32, Valerio Velardo U1370329 <Valerio.Velardo@xxxxxxxxx> wrote:

I understand your concerns about creative music systems, but saying that "most certainly there are NO computer systems capable of generating music" is simply not true. If you are interested in the topic, the survey by Fernandez and Vico (2013) offers a quick review of hundreds of systems capable of generating music. As you might discover while reading the paper, algorithmic composition has a quite long history. The first creative music systems appeared in the late fifties. Today, automatic generation of music is a topic of interest in the most prestigious conferences on Artificial Intelligence (e.g., AAAI, ECAI).

 

Algorithmic composition is but a subfield of Computational Creativity (CC) – the art and science of developing systems that are able to generate human-like creative artefacts such as painting, music and poetry. CC is a growing field with a large research community. Have a look at the Prosecco website if you want to know more (http://prosecco-network.eu/).  

 

I might be wrong, but the scepticism around computer creative systems resembles the scepticism around chess programmes 30 years ago. But then Deep Blue came…

 
 

Fernández, J. D., & Vico, F. (2013). AI methods in algorithmic composition: A comprehensive survey. Journal of Artificial Intelligence Research, 513-582. https://goo.gl/xepRmf

 

b/w


Valerio


Leslie Smith
Professor of Computing,
Computing Science and Mathematics,
University of Stirling
Stirling FK9 4LA,
Scotland, UK