Thisvolumecontainsthefullresearchpapersofthe2nd International Con- renceonMusicandArti?cialIntelligence(ICMAI02),heldinSt. Cecilia'sHall, Edinburgh,UK,12-14September2002. Theconferencewasjointlyorganizedby theFacultyofMusicandtheDivisionofInformatics,UniversityofEdinburgh. Eachofthepapersinthisvolumewasrefereedbyatleastthreereviewersfrom theProgramCommittee. AdditionalpaperswereacceptedasWork-in-Progress reports,publishedseparatelybytheDivisionofInformaticsoftheUniversity ofEdinburgh. Theconferenceprogramalsoincludedround-tablediscussions, electronicmusicconcerts,earlykeyboardintrumentdemonstrations,andvarious socialevents. Thefocusoftheconferencewasontheinterplaybetweenmusicaltheoryand practiceontheonehandandtechniquesandmethodsfromArti?cialIntelligence, includingcomputationalcognitivemodelingofmusicalprocesses,ontheother. Weareespeciallyinterestedinissuesofmusicalrepresentationandanalysis, associatedalgorithms,andtheevaluationofmusicalartefacts. MusicpresentsmanychallengesforAIandInformaticsingeneral. Whilethe analogieswithnaturallanguageandwithvisionareproductive,musicrequires novelsolutionstoitsownrepresentationalandalgorithmicproblems.Forthe musician,workinthisareacontributestowardsmusicologicalstudy,composition, performance,interactivesystems,andsoundsynthesis. Threedistinguishedscholarsinthearea,MiraBalaban,Jean-ClaudeRisset, andAntonioCamurri,agreedtogivetheinvitedkeynotes. Thesetalkscovered di?erentfeaturesofmusicalexperienceanditsrelationtoArti?cialIntelligence, namelymusicalconcepts,composition,andperformance. Morespeci?cally,Jean- ClaudeRisset'stopicwasMusicalCompositionandArti?cialIntelligence:Some Precedents and Prospects,MiraBalaban'swas Structure and Interpretation of Music Concepts - Music from a Computational Perspective,andAntonio- murri'swasComputationalModelsofExpressiveGesture. Thepapersintheconferencedealtwithawiderangeofaspectsofcurrent research,includingstructural,harmonic,andreductionalmusicanalysis,pattern representationanddiscoveryinbothmonophonicandpolyphonicmusic,music perceptionofmelodyandrhythm,therelationbetweenmusicandnaturallan- age,similarityandcategorization,musicandintonation,musicalexpressionand performance,soundprocessing,soundclassi?cations,commercialapplications, andmusicontheweb. Acknowledgements.Theeditorsaregratefulforallthehelpofthosewho madethepublicationofthisvolumepossible,andespeciallyDarrellConklin, VI Organization PeterNelson,EmiliosCambouropoulos,AlisonPease,andMarkSteedman;also, JordanFleming,EwenMaclean,andRobertDow;andtheFacultyofMusicand theDivisionofInformatics,UniversityofEdinburghfor?nancialsupport. July2002 ChristinaAnagnostopoulou MiguelFerrand AlanSmaill OrganizingCommittee AlanSmaill(Chair) ChristinaAnagnostopoulou(Co-chair) MiguelFerrand PeterNelson AlisonPease MarkSteedman ProgramCommittee ?JensArnspang(Alborg) GillianHayes(Edinburgh) MiraBalaban(Ben-Gurion) HenkjanHoning(Nijmegen) MartaOlivettiBelardinelli(Rome) JukkaLouhivuori(Jyvaskyla) RensBod(Amsterdam) TodMachover(MIT-MediaLab) CarolaBoehm(Glasgow) GuerinoMazzola(ZurichandVienna) AmilcarCardoso(Coimbra) StephenMcAdams(IRCAM) EmiliosCambouropoulos(Thessaloniki)EduardoMiranda(SONYCSL-Paris) ElaineChew(USC) PeterNelson(Edinburgh) DarrellConklin(ZymoGenetics) Fran,coisPachet(SONYCSL-Paris) IanCross(Cambridge) StephenTravisPope(SantaBarbara) RogerDannenberg(CMU) AlanSmaill(Edinburgh) PeterDesain(Nijmegen) MarkSteedman(Edinburgh) AnastasiaGeorgaki(Athens) DavidTemperley(Rochester) InvitedSpeakers MiraBalaban(Ben-GurionUniversity,Israel) AntonioCamurri(UniversityofGenoa,Italy) Jean-ClaudeRisset(LaboratoiredeM'echaniqueetd'14September2002. Theconferencewasjointlyorganizedby theFacultyofMusicandtheDivisionofInformatics,UniversityofEdinburgh. Eachofthepapersinthisvolumewasrefereedbyatleastthreereviewersfrom theProgramCommittee. AdditionalpaperswereacceptedasWork-in-Progress reports,publishedseparatelybytheDivisionofInformaticsoftheUniversity ofEdinburgh.Theconferenceprogramalsoincludedround-tablediscussions, electronicmusicconcerts,earlykeyboardintrumentdemonstrations,andvarious socialevents. Thefocusoftheconferencewasontheinterplaybetweenmusicaltheoryand practiceontheonehandandtechniquesandmethodsfromArti?cialIntelligence, includingcomputationalcognitivemodelingofmusicalprocesses,ontheother. Weareespeciallyinterestedinissuesofmusicalrepresentationandanalysis, associatedalgorithms,andtheevaluationofmusicalartefacts. MusicpresentsmanychallengesforAIandInformaticsingeneral. Whilethe analogieswithnaturallanguageandwithvisionareproductive,musicrequires novelsolutionstoitsownrepresentationalandalgorithmicproblems. Forthe musician,workinthisareacontributestowardsmusicologicalstudy,composition, performance,interactivesystems,andsoundsynthesis. Threedistinguishedscholarsinthearea,MiraBalaban,Jean-ClaudeRisset, andAntonioCamurri,agreedtogivetheinvitedkeynotes. Thesetalkscovered di?erentfeaturesofmusicalexperienceanditsrelationtoArti?cialIntelligence, namelymusicalconcepts,composition,andperformance. Morespeci?cally,Jean- ClaudeRisset'stopicwasMusicalCompositionandArti?cialIntelligence:Some Precedents and Prospects,MiraBalaban'swas Structure and Interpretation of Music Concepts - Music from a Computational Perspective,andAntonio- murri'swasComputationalModelsofExpressiveGesture.Thepapersintheconferencedealtwithawiderangeofaspectsofcurrent research,includingstructural,harmonic,andreductionalmusicanalysis,pattern representationanddiscoveryinbothmonophonicandpolyphonicmusic,music perceptionofmelodyandrhythm,therelationbetweenmusicandnaturallan- age,similarityandcategorization,musicandintonation,musicalexpressionand performance,soundprocessing,soundclassi?cations,commercialapplications, andmusicontheweb. Acknowledgements. Theeditorsaregratefulforallthehelpofthosewho madethepublicationofthisvolumepossible,andespeciallyDarrellConklin, VI Organization PeterNelson,EmiliosCambouropoulos,AlisonPease,andMarkSteedman;also, JordanFleming,EwenMaclean,andRobertDow;andtheFacultyofMusicand theDivisionofInformatics,UniversityofEdinburghfor?nancialsupport. July2002 ChristinaAnagnostopoulou MiguelFerrand AlanSmaill OrganizingCommittee AlanSmaill(Chair) ChristinaAnagnostopoulou(Co-chair) MiguelFerrand PeterNelson AlisonPease MarkSteedman ProgramCommittee ?JensArnspang(Alborg) GillianHayes(Edinburgh) MiraBalaban(Ben-Gurion) HenkjanHoning(Nijmegen) MartaOlivettiBelardinelli(Rome) JukkaLouhivuori(Jyvaskyla) RensBod(Amsterdam) TodMachover(MIT-MediaLab) CarolaBoehm(Glasgow) GuerinoMazzola(ZurichandVienna) AmilcarCardoso(Coimbra) StephenMcAdams(IRCAM) EmiliosCambouropoulos(Thessaloniki)EduardoMiranda(SONYCSL-Paris) ElaineChew(USC) PeterNelson(Edinburgh) DarrellConklin(ZymoGenetics) FranccoisPachet(SONYCSL-Paris) IanCross(Cambridge) StephenTravisPope(SantaBarbara) RogerDannenberg(CMU) AlanSmaill(Edinburgh) PeterDesain(Nijmegen) MarkSteedman(Edinburgh) AnastasiaGeorgaki(Athens) DavidTemperley(Rochester) InvitedSpeakers MiraBalaban(Ben-GurionUniversity,Israel) AntonioCamurri(UniversityofGenoa,Italy) Jean-ClaudeRisset(LaboratoiredeM'echaniqueetd'Acoustique,France) TableofContents InvitedTalks StructureandInterpretationofMusicConcepts:Musicfroma ComputationalPerspective...1 MiraBalaban ExpressiveGesture...4 AntonioCamurri RegularContributions AGeneralParsingModelforMusicandLanguage ...5 RensBod TheSpiralArray:AnAlgorithmforDeterminingKeyBoundaries ...18 ElaineChew RepresentationandDiscoveryofVerticalPatternsinMusic ...32 DarrellConklin DiscoveringMusicalStructureinAudioRecordings...43 RogerB. Dannenberg,NingHu RealTimeTrackingandVisualisationofMusicalExpression ...58 SimonDixon,WernerGoebl,GerhardWidmer AutomaticClassi?cationofDrumSounds:AComparisonofFeature SelectionMethodsandClassi?cationTechniques...69 PerfectoHerrera,AlexandreYeterian,FabienGouyon SomeFormalProblemswithSchenkerianRepresentationsofTonal Structure ...81 TimHorton RespirationRe?ectingMusicalExpression:AnalysisofRespiration duringMusicalPerformancebyInductiveLogicProgramming ...94 SohIgarashi,TomonobuOzaki,KoichiFurukawa MimeticDevelopmentofIntonation ...107 EduardoReckMiranda InteractingwithaMusicalLearningSystem:TheContinuator ...119 Fran,coisPachet VIII TableofContents RecognitionofIsolatedMusicalPatternsUsingHiddenMarkovModels ...133 AggelosPikrakis,SergiosTheodoridis,DimitrisKamarotos AModelforthePerceptionofTonalMelodies...144 Dirk-JanPovel ControlLanguageforHarmonisationProcess ...155 SomnukPhon-Amnuaisuk EvaluatingMelodicSegmentation...168 ChristianSpevak,BelindaThom,KarinHothker CombiningGrammar-BasedandMemory-BasedModelsofPerceptionof TimeSignatureandPhase ...183 NetaSpiro ABayesianApproachtoKey-Finding ...195 DavidTemperley AuthorIndex...207 StructureandInterpretationofMusicConcepts: MusicfromaComputationalPerspective MiraBalaban DepartmentofInformationSystemsEngineering Ben-GurionUniversityoftheNegev,Israel. mira@cs. bgu. ac. il Researchinthe?eldofComputer-Musicisdirectedtowardsconstructionof computersystemsforcomposition,performanceofmusicaltasks,musictra- ing,signalprocessingandextensionoftraditionalmusicsounds,notationstudy, musicanalysis,storageandcommunicationofmusicaldata,andmusicinf- mationretrievalandclassi?cation. Computerapplicationsinmusicleadtothe developmentofcomputationalmodels. ExamplesaretheworksofWinograd, Ebcioglu,Laske,Cope,Bamberger,Berger&GangandOrlarey. Berger&Gang usearti?cialneuralnetworkstoinvestigatemusicperception,Orlareyetal. - troducethenotionofConcreteAbstraction(borrowedfromLambdaCalculus) asabasisfortheirpurelyfunctionalcompositionenvironment,whileWinograd usesaSystemicGrammarapproachborrowedfromLinguistics. Inspiteofrichactivityinmusicologyandincomputermusic,thereislittle research(ifatall)onthedevelopmentofacomputationalbasisforcomputer music(e. g. ,Schenker,Narmour,LerdhalandJackendo?).Mostcomputermusic systemsindeedhavehugemusicalknowledgeandintuitionsembeddedinthem, butcannotpointonunderlyingexplicitcomputationalbasis. Clearlythey- sumesomelevelofprimitives,andusedi?erentabstractionlevelsandkinds,but thesearenotanchoredincomputationalmodelsthataccountfortheirbasics, organization,usageandsemantics. Inasense,thissituationremindsoneofthe earlydaysofNaturalLanguageProcessing,whenalargeamountoflinguistic knowledgewasembeddedinhugesemanticnetworks. Inthistalkweproposetoinitiateastudyofcomputationalframeworks formusicknowledge. Theideaistomakethemusicknowledgethatunderlies computer-musicapplications(eitherintentionallyornot)explicit. Asastarting point,wesuggesttostudy music schemas. HereishowMusicologistDahlia Cohen(dept. ofMusicology,HebrewUniversity,Israel)describestherolethat musicschemasplayinmusicunderstanding: Listeningtomusic(perceptionandreaction)anditsmemorization,are cognitiveactivitiesthatdependon schemas thatarecreated,unc- sciously,atanearlyage. Theschemasrepresentrelationshiptypes- tweenmusicaleventsthataredictatedbyprinciplesoforganization,in variousabstractionlevels. Theschemastriggerexpectationsthatmay ormaynotberealized.Musicisdistinguishedfromotherartsinhaving thesystematicorganizationasthesolemeansfortriggeringvarioustypes ofreactions(whereasotherartsemploynon-artistic,non-organizational meansforreactiontriggering).
