comparison draft.tex @ 38:8555ff2232a6

Re-wrote the summary of the musical preference study. Re-wrote and made the 'Evaluative Feedback Mechanism' bit a sub section of the composition aid bit. Got rid of gordon pask bit.

 In this mode, the Melody Triangle is a compositional tool.  
 It can assist a composer in the creation not only of melodies, but by placing multiple tokens in the triangle, the generation of intricate musical textures.    
 Unlike other computer aided composition tools or programming environments, here the composer engages with music on the high and abstract level of expectation, randomness and predictability.   	
 
 
+
+\subsection{Information Dynamics as Evaluative Feedback Mechanism}
+%NOT SURE THIS SHOULD BE HERE AT ALL..?
+	
+
+Information measures on a stream of symbols could form a feedback mechanism; a rudamentary `critic' of sorts. 
+For instance symbol by symbol measure of predictive information rate, entropy rate and redundancy could tell us if a stream of symbols is at this current moment `boring', either because it is too repetitive, or because it is too chaotic.  
+Such feedback would be oblivious to more long term and large scale structures, but it nonetheless could be provide valuable insight on the short term properties of a work.  
+This could not only be used for the evaluation of pre-composed streams of symbols, but could also provide real-time feedback in an improvisatory setup.
+	
+
 \section{Musical Preference and Information Dynamics}
-We carried out a preliminary study that sought to identify any correlation between
-aesthetic preference and the information theoretical measures of the Melody
-Triangle.  In this study participants were asked to use the screen based interface
-but it was simplified so that all they could do was move tokens around.  To help
-discount visual biases, the axes of the triangle would be randomly rearranged
-for each participant.\emph{self-plagiarised}
-
-The study was divided in to two parts, the first investigated musical preference
-with respect to single melodies at different tempos.  In the second part of the
-study, a background melody is playing and the participants are asked to continue
-playing with the system under the implicit assumption that they will try to find
-a second melody that works well with the background melody.  For each participant
-this was done four times, each with a different background melody from four
-different areas of the Melody Triangle.  For all parts of the study the participants
-were asked to signal, by pressing the space bar, whenever they liked what they
-were hearing.\emph{self-plagiarised}
-
-\emph{todo - results}
-
-\section{Information Dynamics as Evaluative Feedback Mechanism}
-
-\emph{todo - code the info dyn evaluator :) }
+We are carrying out a study to investigate the relationship between musical preference and the information dynamics models, the experimental interface a simplified version of the screen-based Melody Triangle.  
+Participants are asked to use this music pattern generator under various experimental conditions in a composition task.  
+The data collected includes usage statistics of the system: where in the triangle they place the tokens, how long they leave them there and the state of the system when users, by pressing a key, indicate that they like what they are hearing.  
+As such the experiments will help us identify any correlation between the information theoretic properties of a stream and its perceived aesthetic worth.  
+
+
+%\emph{comparable system}  Gordon Pask's Musicolor (1953) applied a similar notion
+%of boredom in its design.  The Musicolour would react to audio input through a
+%microphone by flashing coloured lights.  Rather than a direct mapping of sound
+%to light, Pask designed the device to be a partner to a performing musician.  It
+%would adapt its lighting pattern based on the rhythms and frequencies it would
+%hear, quickly `learning' to flash in time with the music.  However Pask endowed
+%the device with the ability to `be bored'; if the rhythmic and frequency content
+%of the input remained the same for too long it would listen for other rhythms
+%and frequencies, only lighting when it heard these.  As the Musicolour would
+%`get bored', the musician would have to change and vary their playing, eliciting
+%new and unexpected outputs in trying to keep the Musicolour interested.
 	
-It is possible to use information dynamics measures to develop a kind of `critic'
-that would evaluate a stream of symbols.  For instance we could develop a system
-to notify us if a stream of symbols is too boring, either because they are too
-repetitive or too chaotic.  This could be used to evaluate both pre-composed
-streams of symbols, or could even be used to provide real-time feedback in an
-improvisatory setup.
-
-\emph{comparable system}  Gordon Pask's Musicolor (1953) applied a similar notion
-of boredom in its design.  The Musicolour would react to audio input through a
-microphone by flashing coloured lights.  Rather than a direct mapping of sound
-to light, Pask designed the device to be a partner to a performing musician.  It
-would adapt its lighting pattern based on the rhythms and frequencies it would
-hear, quickly `learning' to flash in time with the music.  However Pask endowed
-the device with the ability to `be bored'; if the rhythmic and frequency content
-of the input remained the same for too long it would listen for other rhythms
-and frequencies, only lighting when it heard these.  As the Musicolour would
-`get bored', the musician would have to change and vary their playing, eliciting
-new and unexpected outputs in trying to keep the Musicolour interested.
-	
-In a similar vein, our \emph{Information Dynamics Critic}(name?) allows for an
-evaluative measure of an input stream, however containing a more sophisticated
-notion of boredom that \dots
-
-
-   
 
 \section{Conclusion}
 
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