........................................................................................................................................................ 1 A. INTRODUCTION: DEFINING AND MEASURING SUCCESS AND FAILURE.....................................2 THE EXTENT OF SUCCESS AND FAILURE ................................................................................................. 3 B. UNDERST...

Background in musical improvisation and creativity. What makes musical improvisation creative? And what exactly is it that justifies one improviser being described as more creative than another? For a clearer understanding, it is a practical necessity to use an approach such as those of Berliner (1994) and Gibbs (2010), who make the study of improvisational creativity more tangible by identifyi...

This paper presents a model for Collective Free Improvisation (CFI), a form of improvisation that can be defined as referent-free. While very simple, it captures some interesting mechanisms of CFI. We use two variables: the intention and the objective. Both variables are used to describe the production and organization of the improvisers’ signals. Using a system of Landau equations, we propose ...

In this paper, we discuss a number of issues related to the design of evaluation tests for comparing interactive music systems for improvisation. Our testing procedure covers rehearsal and performance environments, and captures the experiences of a musician/participant as well as an audience member/observer. We attempt to isolate salient components of system behavior, and test whether the music...

The detection of complex emotions and value judgments from open-ended text-based multithreaded dialogue and diverse figurative expressions is a challenging but inspiring research topic. In order to explore this line of research, previously we have developed an affect inspired AI agent embedded in an improvisational virtual environment interacting with human users. The human players are encourag...

We describe an unsupervised learning technique to facilitate automated creation of jazz melodic improvisation over chord sequences. Specifically we demonstrate training an artificial improvisation algorithm based on unsupervised learning using deep belief nets, a form of probabilistic neural network based on restricted Boltzmann machines. We present a musical encoding scheme and specifics of a ...

This article presents a 2-phase computational learning model and application. As a demonstration, a system has been built, called CHIME for Computer Human Interacting Musical Entity. In phase 1 of training, recurrent back-propagation trains the machine to reproduce 3 jazz melodies. The recurrent network is expanded and is further trained in phase 2 with a reinforcement learning algorithm and a ...

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