changeset 48:9a0d400bc827

Merge.

--- 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.