comparison draft.tex @ 56:fa819cf73ea7

Improved introduction, removed 1st para after section indent.

 \end{abstract}
 
 
 \section{Introduction}
 \label{s:Intro}
+	The relationship between
+	Shannon's \cite{Shannon48} information theory and music and art in general has been the
+	subject of some interest since the 1950s 
+	\cite{Youngblood58,CoonsKraehenbuehl1958,HillerBean66,Moles66,Meyer67,Cohen1962}. 
+	The general thesis is that perceptible qualities and subjective states
+	like uncertainty, surprise, complexity, tension, and interestingness
+	are closely related to information-theoretic quantities like
+	entropy, relative entropy, and mutual information.
+
+	Music is also an inherently dynamic process, 
+	where listeners build up expectations on what is to happen next,
+	which are either satisfied or modified as the music unfolds.
+	In this paper, we explore this ``Information Dynamics'' view of music,
+	discussing the theory behind it and some emerging appliations
 
 	\subsection{Expectation and surprise in music}
 	One of the effects of listening to music is to create 
 	expectations of what is to come next, which may be fulfilled
 	immediately, after some delay, or not at all as the case may be.

 	that statistical models can form an effective basis for computational
 	analysis of music, \eg
 	\cite{ConklinWitten95,PonsfordWigginsMellish1999,Pearce2005}.
 }
 
-	\subsection{Music and information theory}
+%	\subsection{Music and information theory}
 	With a probabilistic framework for music modelling and prediction in hand,
-	we are in a position to apply Shannon's quantitative information theory 
-	\cite{Shannon48}. 
+	we are in a position to compute various
 \comment{
 	which provides us with a number of measures, such as entropy
   and mutual information, which are suitable for quantifying states of
   uncertainty and surprise, and thus could potentially enable us to build
   quantitative models of the listening process described above.  They are

   or visual media.
   The relevance of information theory to music and art has
   also been addressed by researchers from the 1950s onwards
   \cite{Youngblood58,CoonsKraehenbuehl1958,Cohen1962,HillerBean66,Moles66,Meyer67}.
 }
-	The relationship between information theory and music and art in general has been the 
-	subject of some interest since the 1950s 
-	\cite{Youngblood58,CoonsKraehenbuehl1958,HillerBean66,Moles66,Meyer67,Cohen1962}. 
-	The general thesis is that perceptible qualities and subjective
-	states like uncertainty, surprise, complexity, tension, and interestingness
-	are closely related to 
 	information-theoretic quantities like entropy, relative entropy,
 	and mutual information.
 %	and are major determinants of the overall experience.
 	Berlyne \cite{Berlyne71} called such quantities `collative variables', since 
 	they are to do with patterns of occurrence rather than medium-specific details,

 %	listener, a temporal programme of varying
 %	levels of uncertainty, ambiguity and surprise. 
 
 
 \subsection{Information dynamic approach}
-
 	Bringing the various strands together, our working hypothesis is that as a
 	listener (to which will refer as `it') listens to a piece of music, it maintains
 	a dynamically evolving probabilistic model that enables it to make predictions
 	about how the piece will continue, relying on both its previous experience
 	of music and the immediate context of the piece.  As events unfold, it revises

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 			\subfig{(a) multi-information and entropy rates}{%
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 \section{acknowledgments}
 This work is supported by EPSRC Doctoral Training Centre EP/G03723X/1 (HE),
 GR/S82213/01 and EP/E045235/1(SA), an EPSRC Leadership Fellowship, EP/G007144/1
 (MDP) and EPSRC IDyOM2 EP/H013059/1.
 
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+\bibliographystyle{abbrv}
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