diff 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.

--- a/draft.tex	Wed Mar 14 23:08:09 2012 +0000
+++ b/draft.tex	Thu Mar 15 00:36:10 2012 +0000
@@ -760,55 +760,36 @@
 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}
+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.  
 
-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 :) }
+%\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}