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Amazon.com reviewer:

I used to be happy to encounter this publication in the course of my study for my master's thesis on track and synthetic intelligence. even supposing there are various books at the topic, they have a tendency to be collections of formerly released articles or convention papers and are meant for an viewers that already is familiar with the topic of AI quite good. This booklet, besides the fact that, isn't a compilation of articles, yet a set of chapters by means of a number of authors who have been commissioned to jot down new fabric for the e-book. the result's a ebook with strong introductory fabric within the box of AI and song, masking composition, research, wisdom illustration, connectionism, or even tune education/intelligent tutoring structures. on the finish of every bankruptcy, there's a bibliography pointing the reader in the direction of extra assets on that specific subject. I additionally imagine this could make an exceptional textbook for an introductory type on AI and track for undergraduates (upper department) and graduate scholars that may entice all majors: conception and composition, musicology, and track schooling (and maybe to a lesser volume, functionality majors). I in basic terms want this booklet were on hand while I first begun my learn for my thesis - it's going to have made existence much less complicated! I hugely suggest this ebook because the first ebook for any reader attracted to this topic.

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Extra resources for Readings in Music and Artificial Intelligence

Example text

Time(. ), ... ). event( e4, pitch(. ), time(. ), ... ). event( e5, pitch(. ), time(. ), ... ). Let us suppose that the notes in the top staff correspond to el, e2, e3, e5. Then a statement can be made that these events together form a collection we call a constituent, of a type we will call a motif in this case. This is written as: constituent(cl, motif(l), { el,e2,e3,e5 }, ... ). indicating that the constituent labeled c1 is an instance of motif 1, containing the events el, e2, e3, e5.

We would consider a music copyist who chose without very good reason to write out trills explicitly, with no trill marking, a poor practitioner indeed. A music representation system, then, must be flexible. Ideally, it should not restrict its user to a particular flavour of data, nor should it restrict her to representing her data in a particular syntax. A representation system such as this would be general indeed, and, unfortunately, it would be hard to make useful claims about the properties of the language, as discussed above.

Time(. ), ... ). Let us suppose that the notes in the top staff correspond to el, e2, e3, e5. Then a statement can be made that these events together form a collection we call a constituent, of a type we will call a motif in this case. This is written as: constituent(cl, motif(l), { el,e2,e3,e5 }, ... ). indicating that the constituent labeled c1 is an instance of motif 1, containing the events el, e2, e3, e5. For this sort of constituent, any collection is possible, and the labels and classes assigned are arbitrary.

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