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    Algorithmic Art and Music Composition

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    Dice Midyanti
    This document discusses algorithmic and generative art, where the creative process involves algorithms defined by the artist. It describes different types of algorithms used for music composition, including stochastic processes like Markov chains that model note probabilities, and grammars that define valid musical structures. Challenges with algorithms include ensuring musical quality and long-term structure.

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    Algorithmic Art and Music Composition

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    Dice Midyanti
    26 views25 pages
    This document discusses algorithmic and generative art, where the creative process involves algorithms defined by the artist. It describes different types of algorithms used for music composition, including stochastic processes like Markov chains that model note probabilities, and grammars that define valid musical structures. Challenges with algorithms include ensuring musical quality and long-term structure.

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    This document discusses algorithmic and generative art, where the creative process involves algorithms defined by the artist. It describes different types of algorithms used for music composition, including stochastic processes like Markov chains that model note probabilities, and grammars that define valid musical structures. Challenges with algorithms include ensuring musical quality and long-term structure.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    26 views25 pages

    Algorithmic Art and Music Composition

    Uploaded by

    Dice Midyanti
    This document discusses algorithmic and generative art, where the creative process involves algorithms defined by the artist. It describes different types of algorithms used for music composition, including stochastic processes like Markov chains that model note probabilities, and grammars that define valid musical structures. Challenges with algorithms include ensuring musical quality and long-term structure.

    Copyright:

    © All Rights Reserved
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    of 25

    Algorithmic art and music composition

    Ch 8.4

    1
    Generative and algorithmic art

    ! Generative art refers to art that has been


    ! generated, composed, or constructed in an algorithmic manner
    ! through the use of
    ! systems defined by computer software algorithms,
    ! or similar mathematical or mechanical or randomized
    autonomous processes
    ! Algorithmic art:
    ! the creative design is the result of an algorithmic process
    ! It is usually digital art

    ! The artist's self-made algorithms are


    ! an integral part of the authorship,
    ! a medium through which their ideas are conveyed.

    2
    The role of the algorithm

    ! Creation must include a process based on an algorithm devised by


    the artist.
    ! detailed recipe for the design and possibly execution of an
    artwork

    ! Input may be mathematical, computational, or generative in nature


    ! some random factor is usually introduced
    ! some artists also work with gestural input which is then modified
    by an algorithm.

    3
    Algorithms for music composition

    ! Modeling traditional, non-algorithmic compositional procedures.


    ! Modeling new, original compositional procedures, different from
    those known before.
    ! Selecting algorithms from extra-musical disciplines.

    ! Approaches
    ! Integrated tools and languages that will cover all possible
    composing desiderata;
    ! Personalized micro-programs written in small languages

    4
    Algorithmic processes

    ! Mathematical models
    ! Markov processes
    ! Stochastic processes
    ! Fractals

    5
    Algorithmic processes

    6
    Stochastic - Probabilities

    ! Statistical distributions have been used which can be thought of as a means


    of constraining random processes.

    ! For an even distribution function, probability P of event E occuring is the


    ratio between no of events in E and no of all possible events S.
    ! E.g. for a dice:
    ! S = {1, 2, 3, 4, 5, 6}
    ! If E is 'get a number higher than 3', then E = {4,5,6}
    ! So P(e) = 3 / 6 = 0.5
    ! Distribution functions can be defined to make certain events more or less
    likely

    Linear exponential concave


    7
    Early examples 2

    ! Iannis Xenakis (1971) – Stochastic composition.


    ! eg Morsima-Amorsima for 4 instruments

    ! Approach
    ! Stochastic music programme “deduced” a score from a list of
    note densities and probabilistic weights defined by the composer.

    ! Aims
    ! Development of a mathematical language for describing and
    manipulating music.
    ! First to conceive of a composing program as a utility capable of
    generating many pieces, rather than achieving one specific
    compositional goal.

    8
    Stochastic - Markov Chains

    ! Conditional probability system where probability of future events is


    defined by past events.
    ! Applied in music e.g. for probabilistic construction of melodic lines in
    tonal music
    ! No of events taken into consideration defines the 'order' of the chain
    ! I.e. first order takes 1 previous event into consideration, n-th
    order considers n previous events.
    ! Represented by a transition probability matrix of n+1 dimensions
    Input notes and probability matrix for ‘Mary had a little lamb’ Example
    •  Miranda’s CAMUS 3D uses markov
    chains to control rhythm and temporal
    organisation of note groups
    •  Several of Cope’s systems are based
    on nth order Markov chains

    Advantage
    •  Captures note-by-note
    structure of input in short term

    Disadvantage
    •  Lacks long term structure
    9
    Markov processes

    ! HMM as music generator

    ! Markov chain
    ! Without step 3 and output x(t)

    10
    Example Markov chain

    ! ”Hymn tunes” generated


    by computer from an
    analysis of the
    probabilities of notes
    occurring in various
    hymns. (1957)

    11
    Disadvantages of stochastic processes

    ! Someone needs to find the probabilities by analyzing many pieces.


    ! The resulting models will only generate music of similar style to
    the input.
    ! For higher order Markov models, transition tables become
    unmanageably large for the average computer.
    ! The deviations from the norm and how they are incorporated in the
    music is an important aspect.
    ! They also provide little support for structure at higher levels

    12
    Knowledge based systems

    ! Many early systems focused on taking existing musicological rules


    and embedding them in computational procedures.
    ! systems which are symbolic and use rules or constraints.

    ! Advantages
    ! have explicit reasoning;
    ! can explain their choice of actions.
    ! Disadvantages
    ! Knowledge elicitation is difficult and time consuming,
    ! depend on the ability of the ”expert”
    ! become too complicated if we try to add all the ”exceptions to the
    rule and their preconditions,

    13
    Grammars

    ! The idea that there is a grammar of music


    ! Linguistics is an attempt to identify how language functions:
    ! what are the components,
    ! how do the components function as a single unit,
    ! how do the components function as single entities within the
    context of the larger unit.
    ! Generative grammar
    ! formal system of principles or rules which describes (or
    ’generates’) the possible sentences of the language.

    ! Composition algorithms: based upon more abstract representations


    of musical structures.

    14
    KBS 2 - Grammars – methods

    ! A grammar is a collection of prescriptive and/or


    descriptive rules for analysing or generating sequences
    of symbols
    ! can be applied to natural and computer languages ...
    and musical symbols
    ! used computationally to define valid symbol strings

    Example of simple grammar: Where:

    S -> A | B Hi case = non terminal node


    A -> aA | a lo case = terminal node
    B -> bB | b S = start point
    | = or
    -> = 'is defined as'

    so possible sequence =
    S => A => aA => aaA => aaaA => aaaaA => aaaaa
    Tree representation of grammar

    15
    Grammars – natural language example

    ! If lexicon of possibilities is provided, can


    be used to generate syntactically correct grammar:
    S -> NS + VS
    sentences. NS -> A + N
    VS -> V + NS

    ! Simple lexicon for natural language: Tree representation of


    ! A = {the, a , an} ‘a musician composes the music’

    ! V = {composes, makes, hears}


    ! N = {dog, computer, music, musician,
    coffee}

    ! Does not ensure semantic sense in


    linguistics (“the coffee hears the dog” is
    equally valid).

    16
    Grammars: problems

    ! They are hierarchical structures while much music is not (i.e.


    improvisation).
    Therefore ambiguity might be necessary since it ”can add to the
    representational power of a grammar”.
    ! Most, if not all, musical grammar implementations do not make any
    strong claims about the semantics of the pieces.
    ! Usually a grammar can generate a large number musical strings of
    questionable quality.
    ! Parsing is, in many cases, computationally expensive especially if
    we try to cope with ambiguity.

    17
    Evolutionary methods

    ! Genetic algorithms (GAs)


    ! very efficient search methods, especially when dealing with problems
    with very large search spaces.
    ! ability to provide multiple solutions

    ! Algorithm GeneticAlg
    ! Initialize population
    ! while not finished evolving
    ! Calculate fitness of each individual
    ! Select preferred individuals to be parents
    ! for N != populationSize
    ! Breed new individuals
    ! (cross over + mutation)
    ! Build next generation
    ! Render output

    18
    Evolutionary methods

    ! Fitness function
    ! Use of an objective fitness function.
    ! Use of a human as a fitness function. è Interactive GA
    ! Mutation ensures new individuals are introduced into the population
    ! Reproduction operator (cross-over) mixes 'good' solutions of 2
    parents

    ! Drawback
    ! Subjectivity
    ! Efficiency, the ”fitness bottleneck, boredom effects

    ! this approach tells us little about the mental processes


    ! Often: very simple representations

    19
    Learning systems

    ! Learning systems,
    ! do not have a priori knowledge (e.g. production rules,
    constraints) of the domain,
    ! but instead learn its features by examples.
    ! Stored information
    ! subsymbolic/distributive (Artificial Neural Networks, ANN)
    ! symbolic (Machine Learning, ML).

    •  Inputs (x) are weighted (w) (+ve or -ve)


    •  Weighted inputs are summed
    ui = Σ win xn
    •  And passed through an activation function
    yi = F(ui)

    •  Bias term (θ) models sensitivity/ resistivity


    Schematic of a simple artificial neuron

    20
    Artificial Neural Networks – training

    ! Three basic types


    ! Supervised learning
    ! Requires training data of input-output sets.
    ! Error correction mechanism used. Weights altered to
    minimise discrepancy between actual and desired output
    ! Reinforcement learning
    ! Requires training data of input-output sets.
    ! Binary (right-wrong) feedback given
    ! Unsupervised learning
    ! Input-output sets not required
    ! Network self-organises

    21
    Learning systems: Subsymbolic

    ! Composition as compared with cognition is a much more highly


    intellectual process (more ”symbolic”).
    ! successfully capture the surface structure of a melodic passage
    ! they mostly fail to pick up the higher-level features of music
    ! The representation of time can not be dealt efficiently even with
    ANNs which have feedback.
    ! Usually they solve toy problems, with many simplifications,
    ! Need to avoid training set examples which conflict.

    ! Learn from examples things which can’t be represented


    symbolically using rules (i.e. the ”exceptions”)

    22
    ‘Extramusical’ approaches

    ! Models that exhibit musically-relevant dynamics or structures


    ! a more experimental, or metaphorical approach.
    ! Rather than learning directly from existing music, or attempting to
    formalise musicological concepts,
    ! E.g. Cellular automata

    Rhythmic mappings

    Harmonic mappings 23
    Extramusical

    ! Rationale
    ! Structures in certain mathematical systems seen to model
    musical structures/ compositional or performance processes.

    ! Advantages
    ! No need for explicit formalisation of musical ‘rules’
    ! Encourages exploration of ‘new’ music rather than attempts to
    recreate existing music

    ! Disadvantages
    ! Arguably difficult for listeners to engage with as no cultural
    reference.
    ! Relies heavily on selecting good mappings (ie defining which
    musical parameters are controlled)

    24
    References

    ! George Papadopoulos and Geraint Wiggins. Ai methods for


    algorithmic composition: A survey, a critical view and future
    prospects. In Proceedings of the AISB'99 Symposium on Musical
    Creativity, 1999.
    www.doc.gold.ac.uk/~mas02gw/papers/AISB99b.pdf

    25

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