3 Review(s)

Thisvolumecontainsthefullresearchpapersofthe2nd International Con- renceonMusicandArti?cialIntelligence(ICMAI02), heldinSt. Cecilia sHall, Edinburgh, UK,12 14September2002. Theconferencewasjointlyorganizedby theFacultyofMusicandtheDivisionofInformatics, UniversityofEdinburgh. Eachofthepapersinthisvolumewasrefereedbyatleastthreereviewersfrom theProgramCommittee. AdditionalpaperswereacceptedasWork-in-Progress reports, publishedseparatelybytheDivisionofInformaticsoftheUniversity ofEdinburgh. Theconferenceprogramalsoincludedround-tablediscussions, electronicmusicconcerts, earlykeyboardintrumentdemonstrations, andvarious socialevents. Thefocusoftheconferencewasontheinterplaybetweenmusicaltheoryand practiceontheonehandandtechniquesandmethodsfromArti?cialIntelligence, includingcomputationalcognitivemodelingofmusicalprocesses, ontheother. Weareespeciallyinterestedinissuesofmusicalrepresentationandanalysis, associatedalgorithms, andtheevaluationofmusicalartefacts. MusicpresentsmanychallengesforAIandInformaticsingeneral. Whilethe analogieswithnaturallanguageandwithvisionareproductive, musicrequires novelsolutionstoitsownrepresentationalandalgorithmicproblems. Forthe musician, workinthisareacontributestowardsmusicologicalstudy, composition, performance, interactivesystems, andsoundsynthesis. Threedistinguishedscholarsinthearea, MiraBalaban, Jean-ClaudeRisset, andAntonioCamurri, agreedtogivetheinvitedkeynotes. Thesetalkscovered di?erentfeaturesofmusicalexperienceanditsrelationtoArti?cialIntelligence, namelymusicalconcepts, composition, andperformance. Morespeci?cally, Jean- ClaudeRisset stopicwasMusicalCompositionandArti?cialIntelligence: Some Precedents and Prospects, MiraBalaban swas Structure and Interpretation of Music Concepts Music from a Computational Perspective, andAntonio- murri swasComputationalModelsofExpressiveGesture. Thepapersintheconferencedealtwithawiderangeofaspectsofcurrent research, includingstructural, harmonic, andreductionalmusicanalysis, pattern representationanddiscoveryinbothmonophonicandpolyphonicmusic, music perceptionofmelodyandrhythm, therelationbetweenmusicandnaturallan- age, similarityandcategorization, musicandintonation, musicalexpressionand performance, soundprocessing, soundclassi?cations, commercialapplications, andmusicontheweb. Acknowledgements. Theeditorsaregratefulforallthehelpofthosewho madethepublicationofthisvolumepossible, andespeciallyDarrellConklin, VI Organization PeterNelson, EmiliosCambouropoulos, AlisonPease, andMarkSteedman;also, JordanFleming, EwenMaclean, andRobertDow;andtheFacultyofMusicand theDivisionofInformatics, UniversityofEdinburghfor?nancialsupport. July2002 ChristinaAnagnostopoulou MiguelFerrand AlanSmaill OrganizingCommittee AlanSmaill(Chair) ChristinaAnagnostopoulou(Co-chair) MiguelFerrand PeterNelson AlisonPease MarkSteedman ProgramCommittee ? JensArnspang(Alborg) GillianHayes(Edinburgh) MiraBalaban(Ben-Gurion) HenkjanHoning(Nijmegen) MartaOlivettiBelardinelli(Rome) JukkaLouhivuori(Jyvaskyla) RensBod(Amsterdam) TodMachover(MIT-MediaLab) CarolaBoehm(Glasgow) GuerinoMazzola(ZurichandVienna) AmilcarCardoso(Coimbra) StephenMcAdams(IRCAM) EmiliosCambouropoulos(Thessaloniki)EduardoMiranda(SONYCSL-Paris) ElaineChew(USC) PeterNelson(Edinburgh) DarrellConklin(ZymoGenetics) Fran, coisPachet(SONYCSL-Paris) IanCross(Cambridge) StephenTravisPope(SantaBarbara) RogerDannenberg(CMU) AlanSmaill(Edinburgh) PeterDesain(Nijmegen) MarkSteedman(Edinburgh) AnastasiaGeorgaki(Athens) DavidTemperley(Rochester) InvitedSpeakers MiraBalaban(Ben-GurionUniversity, Israel) AntonioCamurri(UniversityofGenoa, Italy) Jean-ClaudeRisset(LaboratoiredeMechaniqueetd Acoustique, France) TableofContents InvitedTalks StructureandInterpretationofMusicConcepts: Musicfroma ComputationalPerspective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 MiraBalaban ExpressiveGesture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 AntonioCamurri RegularContributions AGeneralParsingModelforMusicandLanguage . . . . . . . . . . . . . . . . . . . . . 5 RensBod TheSpiralArray: AnAlgorithmforDeterminingKeyBoundaries . . . . . . . 18 ElaineChew RepresentationandDiscoveryofVerticalPatternsinMusic . . . . . . . . . . . . . 32 DarrellConklin DiscoveringMusicalStructureinAudioRecordings. . . . . . . . . . . . . . . . . . . . . 43 RogerB. Dannenberg, NingHu RealTimeTrackingandVisualisationofMusicalExpression . . . . . . . . . . . . 58 SimonDixon, WernerGoebl, GerhardWidmer AutomaticClassi?cationofDrumSounds: AComparisonofFeature SelectionMethodsandClassi?cationTechniques. . . . . . . . . . . . . . . . . . . . . . . 69 PerfectoHerrera, AlexandreYeterian, FabienGouyon SomeFormalProblemswithSchenkerianRepresentationsofTonal Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 TimHorton RespirationRe?ectingMusicalExpression: AnalysisofRespiration duringMusicalPerformancebyInductiveLogicProgramming . . . . . . . . . . . 94 SohIgarashi, TomonobuOzaki, KoichiFurukawa MimeticDevelopmentofIntonation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 EduardoReckMiranda InteractingwithaMusicalLearningSystem: TheContinuator . . . . . . . . . . . 119 Fran, coisPachet VIII TableofContents RecognitionofIsolatedMusicalPatternsUsingHiddenMarkovModels . . . 133 AggelosPikrakis, SergiosTheodoridis, DimitrisKamarotos AModelforthePerceptionofTonalMelodies. . . . . . . . . . . . . . . . . . . . . . . . . 144 Dirk-JanPovel ControlLanguageforHarmonisationProcess . . . . . . . . . . . . . . . . . . . . . . . . . 155 SomnukPhon-Amnuaisuk EvaluatingMelodicSegmentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 ChristianSpevak, BelindaThom, KarinH]othker CombiningGrammar-BasedandMemory-BasedModelsofPerceptionof TimeSignatureandPhase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 NetaSpiro ABayesianApproachtoKey-Finding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 DavidTemperley AuthorIndex. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 StructureandInterpretationofMusicConcepts: MusicfromaComputationalPerspective MiraBalaban DepartmentofInformationSystemsEngineering Ben-GurionUniversityoftheNegev, Israel. mira@cs. bgu. ac. il Researchinthe?eldofComputer-Musicisdirectedtowardsconstructionof computersystemsforcomposition, performanceofmusicaltasks, musictra- ing, signalprocessingandextensionoftraditionalmusicsounds, notationstudy, musicanalysis, storageandcommunicationofmusicaldata, andmusicinf- mationretrievalandclassi?cation. Computerapplicationsinmusicleadtothe developmentofcomputationalmodels. ExamplesaretheworksofWinograd, Ebcioglu, Laske, Cope, Bamberger, Berger&GangandOrlarey. Berger&Gang usearti?cialneuralnetworkstoinvestigatemusicperception, Orlareyetal. - troducethenotionofConcreteAbstraction(borrowedfromLambdaCalculus) asabasisfortheirpurelyfunctionalcompositionenvironment, whileWinograd usesaSystemicGrammarapproachborrowedfromLinguistics. Inspiteofrichactivityinmusicologyandincomputermusic, thereislittle research(ifatall)onthedevelopmentofacomputationalbasisforcomputer music(e. g., Schenker, Narmour, LerdhalandJackendo?). Mostcomputermusic systemsindeedhavehugemusicalknowledgeandintuitionsembeddedinthem, butcannotpointonunderlyingexplicitcomputationalbasis. Clearlythey- sumesomelevelofprimitives, andusedi?erentabstractionlevelsandkinds, but thesearenotanchoredincomputationalmodelsthataccountfortheirbasics, organization, usageandsemantics. Inasense, thissituationremindsoneofthe earlydaysofNaturalLanguageProcessing, whenalargeamountoflinguistic knowledgewasembeddedinhugesemanticnetworks. Inthistalkweproposetoinitiateastudyofcomputationalframeworks formusicknowledge. Theideaistomakethemusicknowledgethatunderlies computer-musicapplications(eitherintentionallyornot)explicit. Asastarting point, wesuggesttostudy music schemas. HereishowMusicologistDahlia Cohen(dept. ofMusicology, HebrewUniversity, Israel)describestherolethat musicschemasplayinmusicunderstanding: Listeningtomusic(perceptionandreaction)anditsmemorization, are cognitiveactivitiesthatdependon schemas thatarecreated, unc- sciously, atanearlyage. Theschemasrepresentrelationshiptypes- tweenmusicaleventsthataredictatedbyprinciplesoforganization, in variousabstractionlevels. Theschemastriggerexpectationsthatmay ormaynotberealized. Musicisdistinguishedfromotherartsinhaving thesystematicorganizationasthesolemeansfortriggeringvarioustypes ofreactions(whereasotherartsemploy