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To prevent this problem, be sure and preload hekeus@3: % caption.sty with its "caption=false" package option. This is will preserve hekeus@3: % IEEEtran.cls handing of captions. Version 1.3 (2005/06/28) and later hekeus@3: % (recommended due to many improvements over 1.2) of subfig.sty supports hekeus@3: % the caption=false option directly: hekeus@3: %\usepackage[caption=false,font=footnotesize]{subfig} hekeus@3: % hekeus@3: % The latest version and documentation can be obtained at: hekeus@3: % http://www.ctan.org/tex-archive/macros/latex/contrib/subfig/ hekeus@3: % The latest version and documentation of caption.sty can be obtained at: hekeus@3: % http://www.ctan.org/tex-archive/macros/latex/contrib/caption/ hekeus@3: hekeus@3: hekeus@3: hekeus@3: hekeus@3: % *** FLOAT PACKAGES *** hekeus@3: % hekeus@3: %\usepackage{fixltx2e} hekeus@3: % fixltx2e, the successor to the earlier fix2col.sty, was written by hekeus@3: % Frank Mittelbach and David Carlisle. This package corrects a few problems hekeus@3: % in the LaTeX2e kernel, the most notable of which is that in current hekeus@3: % LaTeX2e releases, the ordering of single and double column floats is not hekeus@3: % guaranteed to be preserved. Thus, an unpatched LaTeX2e can allow a hekeus@3: % single column figure to be placed prior to an earlier double column hekeus@3: % figure. The latest version and documentation can be found at: hekeus@3: % http://www.ctan.org/tex-archive/macros/latex/base/ hekeus@3: hekeus@3: hekeus@3: hekeus@3: %\usepackage{stfloats} hekeus@3: % stfloats.sty was written by Sigitas Tolusis. This package gives LaTeX2e hekeus@3: % the ability to do double column floats at the bottom of the page as well hekeus@3: % as the top. (e.g., "\begin{figure*}[!b]" is not normally possible in hekeus@3: % LaTeX2e). It also provides a command: hekeus@3: %\fnbelowfloat hekeus@3: % to enable the placement of footnotes below bottom floats (the standard hekeus@3: % LaTeX2e kernel puts them above bottom floats). This is an invasive package hekeus@3: % which rewrites many portions of the LaTeX2e float routines. It may not work hekeus@3: % with other packages that modify the LaTeX2e float routines. The latest hekeus@3: % version and documentation can be obtained at: hekeus@3: % http://www.ctan.org/tex-archive/macros/latex/contrib/sttools/ hekeus@3: % Documentation is contained in the stfloats.sty comments as well as in the hekeus@3: % presfull.pdf file. Do not use the stfloats baselinefloat ability as IEEE hekeus@3: % does not allow \baselineskip to stretch. Authors submitting work to the hekeus@3: % IEEE should note that IEEE rarely uses double column equations and hekeus@3: % that authors should try to avoid such use. Do not be tempted to use the hekeus@3: % cuted.sty or midfloat.sty packages (also by Sigitas Tolusis) as IEEE does hekeus@3: % not format its papers in such ways. hekeus@3: hekeus@3: hekeus@3: hekeus@3: hekeus@3: hekeus@3: % *** PDF, URL AND HYPERLINK PACKAGES *** hekeus@3: % hekeus@3: %\usepackage{url} hekeus@3: % url.sty was written by Donald Arseneau. It provides better support for hekeus@3: % handling and breaking URLs. url.sty is already installed on most LaTeX hekeus@3: % systems. The latest version can be obtained at: hekeus@3: % http://www.ctan.org/tex-archive/macros/latex/contrib/misc/ hekeus@3: % Read the url.sty source comments for usage information. Basically, hekeus@3: % \url{my_url_here}. hekeus@3: hekeus@3: hekeus@3: hekeus@3: hekeus@3: hekeus@3: % *** Do not adjust lengths that control margins, column widths, etc. *** hekeus@3: % *** Do not use packages that alter fonts (such as pslatex). *** hekeus@3: % There should be no need to do such things with IEEEtran.cls V1.6 and later. hekeus@3: % (Unless specifically asked to do so by the journal or conference you plan hekeus@3: % to submit to, of course. ) hekeus@3: hekeus@3: hekeus@1: \begin{document} hekeus@3: \title{Cognitive Music Modelling: An Information Dynamics Approach} hekeus@1: hekeus@3: \author{\IEEEauthorblockN{Samer Abdallah, Henrik Ekeus, Peter Foster, Andrew Robertson, Mark D. Plumbley} hekeus@3: \IEEEauthorblockA{Queen Mary University of London\\Centre for Digital Music\\School of Electronic Engineering and Computer Science\\Email: } hekeus@3: } hekeus@1: hekeus@1: \maketitle hekeus@1: %\setcounter{secnumdepth}{2} hekeus@3: %\setcounter{tocdepth}{2} hekeus@3: %\tableofcontents hekeus@3: \begin{abstract} hekeus@3: People take in information when perceiving music. With it they continually build predictive models of what is going to happen. There is a relationship between information measures and how we perceive music. An information theoretic approach to music cognition is thus a fruitful avenue of research. hekeus@3: \end{abstract} hekeus@1: hekeus@1: hekeus@1: \section{Intro} hekeus@3: \subsection{Information Theory and Prediction} hekeus@2: Bayesian probability and modelling the building of predictions hekeus@1: \subsection{Link to music} hekeus@1: Music as a temporal pattern. Meyer, Narmour. Music unfolding in time. How listeners see different kinds of predictability in musical patters.. hekeus@1: \section{Information Dynamics Approach} hekeus@1: hekeus@1: \subsection{Re-iterate core hypothesis} hekeus@1: hekeus@1: \subsection{models/parameters/observations} hekeus@1: The grouping of elements into past, present and future..s hekeus@1: \subsection{Information measures} hekeus@1: Predictive information rate as a measure of structure hekeus@1: Cruchfield papers, anatomy of abit hekeus@1: \subsection{Case of this approach being good at modelling music cognition} hekeus@1: Inverted U hekeus@1: \section{Applications} hekeus@1: \subsection{In Analysis} hekeus@1: refer to the work with the analysis of minimalist pieces hekeus@1: hekeus@1: Content analysis - Sound Categorisation. Using Information Dynamics it is possible to segment music. From there we can then use this to search large data sets. Determine musical structure for the purpose of playlist navigation and search. (Peter) hekeus@1: hekeus@1: \subsection{Beat Tracking} hekeus@1: Bayesian belief can be used to predict when things happen (as oppose to just what happens). Information Dynamics of? hekeus@1: hekeus@1: hekeus@2: hekeus@3: \subsection{Information Dynamics as Design Tool} hekeus@6: hekeus@6: In addition to using Information Dynamics in the analysis of music, it is also possible to apply this approach in the composition of musical materials. By providing a framework for linking information theoretic measures to the control of generative processes, it becomes possible to steer hekeus@6: hekeus@2: \subsubsection{The Melody Triangle} hekeus@2: \emph{What the Melody Triangle is\dots} hekeus@2: hekeus@2: hekeus@2: \emph{The Melody Triangle as Composition Assistant\dots} hekeus@2: hekeus@2: \emph{comparable tools} The use of stochastic processes for the generation of musical material has been widespread for decades. Just as Information Theory was coming of age Iannis Xenakis applied probabilistic mathematical models to the creation of musical materials. This included the formulation of a theory of Markovian Stochastic Music. With the Melody Triangle similar processes generate the content, however we are able to explore and interface with these processes at the high and abstract level of expectation, randomness and predictability. hekeus@2: hekeus@2: \emph{Using the Melody Triangle for the generation of non-sonic content (maybe)} hekeus@2: hekeus@2: \subsection{Information Dynamics as Evaluative Feedback Mechanism} hekeus@2: hekeus@2: hekeus@2: \emph{comparable system} Gordon Pask's Musicolor (1953) applied a similar notion of boredom in its design. hekeus@2: 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. hekeus@2: hekeus@2: In a similar vain, 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 hekeus@2: hekeus@2: \subsection{Musical Preference and Information Dynamics} hekeus@2: Any results from this study hekeus@1: \section{Conclusion} hekeus@1: hekeus@1: \end{document}