This paper presents some of the historical and theoretical foundations for a new cognitive architecture for human-computer interactive musical free improvisation. The architecture is parsimonious in that it has no access to musical knowledge and no domain-general subsystems, such as memory or representational abilities. The paper first describes some of the features and limitations of the archi...

The General Computational Theory of Musical Structure (GCTMS) is a theory that may be employed to obtain a structural description (or set of descriptions) of a musical surface. This theory is based on general cognitive and logical principles, is independent of any specific musical style or idiom, and can be applied to any musical surface. The musical work is presented to GCTMS as a sequence of ...

Biologically inspired computational methods have recently attracted much research interest in the field of computer music. This group of methods is a subset of computational intelligence, and is represented by neural networks (NNs), genetic algorithms (GAs), and genetic programming (GP). A common feature of these methods is that they all mimic biological processes: NNs realize the evolutionary ...

The generation of musical material in a given style has been the subject of many studies with the increased sophistication of artificial intelligence models of musical style. In this paper we address a question of primary importance for artificial intelligence and music psychology: can such systems generate music that users indeed consider as corresponding to their own style? We address this qu...

When discussing temperaments, one cannot avoid being a bit technical. However, I have also tried to be practical by discussing temperaments that can be useful to modern keyboardists, and by stressing their important acoustical properties (i.e. how they sound) rather then getting into some complex theories. No special skills in mathematics are required of the reader (footnotes will be used to co...

While modern musicology has seen the frequent exploration of issues of historiography and canonicity, biography itself has largely eluded critical investigation until much more recently. The discipline has lately challenged the aesthetic of musical canon, for many decades a largely uncontested phenomenon, as well as that of the Great Composer. Recent scholarship has similarly addressed the matt...

This study is part of a programmatic research effort into the determinants of self-assessed abilities. It examined cross-cultural differences in beliefs about intelligence and self- and other-estimated intelligence in two countries at extreme ends of the European continent. In all, 172 British and 272 Turkish students completed a three-part questionnaire where they estimated their parents', par...

the musical symbol is one way of expression among many other ways. it doesn`t directly correspond with meaning or reality. rather, it provides images that are representative of the original. however, symbols goes beyond this and provide deep significant symbolic meanings and visions. mystical poetry has a complex intellectual structure, particularly in arabic and persian literature. hence, musi...

We present Andante, a representation of music as animated characters walking along the piano keyboard that appear to play the physical keys with each step. Based on a view of music pedagogy that emphasizes expressive, full-body communication early in the learning process, Andante promotes an understanding of music rooted in the body, taking advantage of walking as one of the most fundamental hu...

During the past three years IRCAM has developed the IRCAM Musical Workstation (IMW). Recently we have begun work on musical tools and the realization of music with the system. Miller Puckette has written a version of MAX for the IMW which includes signal processing objects, as well as the standard objects found in the Macintosh version of MAX (including MIDI objects). The MAX environment for th...