# HG changeset patch # User samer # Date 1331842250 0 # Node ID 9a0d400bc82793da9aa73a816dfccfb31fbcc7bc # Parent ae1d69150eec0293f02772a59073b7e6a91d2411# Parent 4d348a206e941b6f87be749677ad2d39ac1f31ad Merge. diff -r ae1d69150eec -r 9a0d400bc827 draft.tex --- a/draft.tex Thu Mar 15 20:08:42 2012 +0000 +++ b/draft.tex Thu Mar 15 20:10:50 2012 +0000 @@ -804,22 +804,17 @@ in a move to the left along the curve \cite{Berlyne71}. } \end{fig} + +The use of stochastic processes in music composition has been widespread for decades---for instance Iannis Xenakis applied probabilistic mathematical models to the creation of musical materials\cite{Xenakis:1992ul}. Information dynamics can serve as a novel framework for the exploration of the possibilities of stochastic and algorithmic processes; outputs can be filtered to match a set of criteria defined in terms of the information dynamics model, this criteria thus becoming a means of interfacing with the generative processes. This allows a composer to explore musical possibilities at the high and abstract level of expectation, randomness and predictability. -In addition to applying information dynamics to analysis, it is also possible -to apply it to the generation of content, such as to the composition of musical -materials. The outputs of algorithmic or stochastic processes can be filtered -to match a set of criteria defined in terms of the information dynamics model, -this criteria thus becoming a means of interfacing with the generative process. -For instance a stochastic music generating process could be controlled by modifying -constraints on its output in terms of predictive information rate or entropy -rate. -The use of stochastic processes for the composition of musical material has been -widespread for decades---for instance Iannis Xenakis applied probabilistic -mathematical models to the creation of musical materials\cite{Xenakis:1992ul}. -Information dynamics can serve as a novel framework for the exploration of the -possibilities of such processes at the high and abstract level of expectation, -randomness and predictability. +%It is possible to apply information dynamics to the generation of content, such as to the composition of musical materials. + +%For instance a stochastic music generating process could be controlled by modifying +%constraints on its output in terms of predictive information rate or entropy +%rate. + + \subsection{The Melody Triangle} @@ -882,31 +877,29 @@ \caption{The Melody Triangle\label{TheTriangle}} \end{figure} - +%PERHAPS WE SHOULD FOREGO TALKING ABOUT THE +%INSTALLATION VERSION OF THE TRIANGLE? +%feels a bit like a tangent, and could do with the space.. The Melody Triangle exists in two incarnations; a standard screen based interface where a user moves tokens in and around a triangle on screen, and a multi-user interactive installation where a Kinect camera tracks individuals in a space and -maps their positions in physical space to the triangle. In the latter visitors -entering the installation generates a melody, and could collaborate with their +maps their positions in physical space to the triangle. In the latter each visitor +that enters the installation generates a melody and can collaborate with their co-visitors to generate musical textures---a playful yet informative way to -explore expectation and surprise in music. Additionally different gestures could -be detected to change the tempo, register, instrumentation and periodicity of -the output melody. +explore expectation and surprise in music. Additionally visitors can change the +tempo, register, instrumentation and periodicity of their melody with body gestures. -As a screen based interface the Melody Triangle can serve as composition tool. -A triangle is drawn on the screen, screen space thus mapped to the information -space of the Melody Triangle. A number of round tokens, each representing a -melody can be dragged in and around the triangle. When a token is dragged into -the triangle, the system will start generating the sequence of symbols with -statistical properties that correspond to the position of the token. These -symbols are then mapped to notes of a scale. - Keyboard input allow for control over additionally parameters. +As a screen based interface the Melody Triangle can serve as a composition tool. +A triangle is drawn on the screen, screen space thus mapped to the statistical +space of the Melody Triangle. A number of tokens, each representing a +melody, can be dragged in and around the triangle. For each token, a sequence of symbols with +statistical properties that correspond to the token's position is generated. These +symbols are then mapped to notes of a scale\footnote{However they could just as well be mapped to any other property, such as intervals, chords, dynamics and timbres. It is even possible to map the symbols to non-sonic outputs, such as colours. The possibilities afforded by the Melody Triangle in these other domains remains to be investigated.}. +Additionally keyboard commands give control over other musical parameters. -The Melody Triangle is can assist a composer in the creation not only of melodies, -but, by placing multiple tokens in the triangle, can generate 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. +The Melody Triangle can generate intricate musical textures when multiple tokens are in the triangle. +Unlike other computer aided composition tools or programming environments, here the composer engages with music on a high and abstract level; the interface relating to subjective expectation and predictability. + @@ -931,11 +924,12 @@ \end{fig} Information measures on a stream of symbols can form a feedback mechanism; a -rudamentary `critic' of sorts. For instance symbol by symbol measure of predictive +rudimentary `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 currently `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 a composer valuable insight on +chaotic. Such feedback would be oblivious to long term and large scale +structures and any cultural norms (such as style conventions), but +nonetheless could provide a composer with 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. @@ -983,6 +977,8 @@ \section{Conclusion} + + \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.