Evolutionary computer music PDF
Preview Evolutionary computer music
P1:OTE/SPH P2:OTE SVNY327-Miranda February7,2007 16:40 Eduardo Reck Miranda and John Al Biles (Eds) Evolutionary Computer Music iii P1:OTE/SPH P2:OTE SVNY327-Miranda February7,2007 16:40 EduardoReckMiranda,MSc,PhD JohnAlBiles,BA,MS,PhD InterdisciplinaryCentreforComputer InformationTechnologyDepartment MusicResearch(ICCMR) RochesterInstituteofTechnology UniversityofPlymouth Rochester,NY14623 UK USA BritishLibraryCataloguinginPublicationData AcataloguerecordforthisbookisavailablefromtheBritishLibrary LibraryofCongressControlNumber:2006933300 ISBN10:1-84628-599-2 e-ISBN-10:1-84628-600-X ISBN13:978-1-84628-599-8 e-ISBN-13:978-1-84628-600-1 Printedonacid-freepaper (cid:2)C Springer-VerlagLondonLimited2007 Apartfromanyfairdealingforthepurposesofresearchorprivatestudy,orcriticismorreview,as permittedundertheCopyright,DesignsandPatentsAct1988,thispublicationmayonlybereproduced, stored or transmitted, in any form or by any means, with the prior permission in writing of the publishers,orinthecaseofreprographicreproductioninaccordancewiththetermsoflicencesissued bytheCopyrightLicensingAgency.Enquiriesconcerningreproductionoutsidethosetermsshouldbe senttothepublishers. Theuseofregisterednames,trademarks,etc.inthispublicationdoesnotimply,evenintheabsenceof aspecificstatement,thatsuchnamesareexemptfromtherelevantlawsandregulationsandtherefore freeforgeneraluse. Thepublishermakesnorepresentation,expressorimplied,withregardtotheaccuracyoftheinfor- mationcontainedinthisbookandcannotacceptanylegalresponsibilityorliabilityforanyerrorsor omissionsthatmaybemade. 9 8 7 6 5 4 3 2 1 SpringerScience+BusinessMedia springer.com iv P1:OTE/SPH P2:OTE SVNY327-Miranda February7,2007 16:40 Foreword From Glorified Adding Machines to Evolutionary Computer Music I was very pleased when Al Biles and Eduardo Miranda asked me to write a foreword for this delightful volume on Evolutionary Computer Music (ECM). I have been a fan of the field from my first passing involvement as a co-author onanECMpaperin1991.Likemanyothers,IhaveenjoyedlisteningtoAlBiles jamwithGenJamatvariousconferences,andIhavewatchedthestateoftheart advancewitheachpassingyear.Evolutionarymusicisparticularlypleasingtoits practitioners and observers alike, I believe, because it simultaneously asks deep questionsaboutwhatcomputerscandoandwhatitmeanstobehuman. Geneticalgorithms(GAs)andevolutionarycomputation(EC)aredevilishfun partlybecausetheypermitustotweakthenosesofthosewhosharetheconventional wisdomthat‘computersonlydowhatyouprogramthemtodo.’Thiscoldwarview ofcomputerasglorifiedaddingmachineisstillwithus,butitseemstomegenerally that the accomplishments of EC must be giving those who still hold such views some pause, as field after field is changed by the computational innovation and creativityembodiedinGAsandEC. Perhapsnowhereisthechallengetoconventionalwisdomgreaterthaninthearea ofECM.Philosophershaveheldthattheabilitytocomposeandperformmusicis auniquelyhumantalent,andthecurrentsuccessofECwithcreatingmusiceither contradictsthatpropositionorsuggeststhattheinnovative–creativemechanisms embodied in EC are powerful in ways that bear at least functional similarity to thoseofhumancomposers.Eitherway,theevolutionarycomputergenerationof digitalsoundsandmusicthatpleasehumanbeingschallengesstereotypesabout whatcomputerscandoandwhatconstitutestheuniqueprovinceofourspecies. Thisvolumeisaspecialcontributiontotheliterature.Itrunsthetopicalgamut fromusingECtocreatepleasingdigitalsoundsandcomposeorimprovisemusi- calcompositionstothinkingaboutthephilosophicalimplicationsofacommunity ofmusicallyinclinedrobots.Thevolumedemonstratesmethodologicaldiversity usingdifferenttypesofevolutionaryalgorithms,includingthosekissingcousins of EC, particle swarms and cellular automata; as might be expected in such a volume,emphasisisplacedonexploringinteractiveECtechniquesforusinghu- manjudgmentsaboutmusicalaestheticsefficientlyandwell.Inshort,ifyouare a practitioner or aficionado of ECM or perhaps you are one of those cold war v P1:OTE/SPH P2:OTE SVNY327-Miranda February7,2007 16:40 vi Foreword fuddy-duddieswhostillthinkscomputersaremerelyglorifiedaddingmachines,I stronglyurgeyoutobuythisbook,readitandlistentothepleasingproductsof ECMcreation. October2006 DavidE.Goldberg UniversityofIllinoisatUrbana-Champaign Urbana,IL61801USA P1:OTE/SPH P2:OTE SVNY327-Miranda February7,2007 16:40 Preface Musicians,perhapsmorethananyotherclassofartists,havealwaysbeenacutely aware of the scientific developments of their time. From the discovery almost 3000yearsagoofthedirectrelationshipbetweenthepitchofanoteandthelength of a string or pipe, to the latest computer models of human musical cognition and intelligence, musicians have always looked to science to provide new and challengingparadigmstostudyandcomposemusic. With the great technical and scientific advances being made at the crossroads ofcomputing,biology,andnaturalhistory,anewapproachtomusichasrecently emerged:EvolutionaryComputerMusic. Evolutionary computing, also referred to as evolutionary computation or EC, can be broadly defined as a field of computer science that focuses on the use of computational models of Darwinian-like evolutionary processes as the key ele- mentsindesignandimplementationofcomputersystems.BecauseECnormally deals with complex phenomena, its development has fostered the creation of a pool of research tools for modelling and studying complex natural phenomena such as nervous systems, cells and living beings. It is interesting, though, that thesetoolsarealsoprovingtobeusefulinareasasdiverseaseconomics,social sciences, linguistics and music. Indeed, a number of new fields of investigation have emerged within the last 20 years or so, as a result of these developments in a way or another. A notable example is the flourishing new field of Artificial Life. Evolutionarycomputermusicisanexcitingnewdevelopmentforcomposersand musicologistsalike.Forcomposers,itprovidesaninnovativeandnaturalmeans for generating musical ideas from a specifiable set of primitive components and processes, reflecting the compositional process of generating a variety of ideas bybrainstormingfollowedbyselectingthemostpromisingonesforfurtheriter- atedrefinement.Formusicologists,ECtechniquesareusedtomodelthecultural transmissionandchangeofapopulation’sbodyofmusicalideasovertime;e.g. to model the development and maintenance of musical styles within particular cultural contexts and their reorganization and adaptation in response to cultural exchange.Inbothcases,themusicalevolutioncanbeinfluencedbyavarietyof constraints and tendencies built into the system, such as realistic psychological vii P1:OTE/SPH P2:OTE SVNY327-Miranda February7,2007 16:40 viii Preface factorsthatinfluencethewaythatmusicisexperienced,learned,stored,modified, andpassedonbetweenindividuals. ThisbookdiscussesnotonlytheapplicationsoftheECtomusic,butalsothe toolsneededtocreateandstudysuchsystems.Thesetoolsaredrawninpartfrom researchintotheoriginsandevolutionofbiologicalorganisms,ecologies,andcul- turalsystemsontheonehand,andinpartfromcomputersimulationmethodologies ontheother. The opening chapter introduces the topic of EC, outlining the main technical details and raising issues pertinent to musical applications. This chapter is in- tendedtofurnishreaderswiththenecessarybackgroundneededtounderstandthe remainingchapters,aswellasopenupanumberofimportantthemesrelevantto this collection. The second chapter complements the first by introducing music as a problem domain for EC. The author conducts an informal task analysis of musictoidentifythetasksmusiciansperformandsurveyshowEChasbeenused tosupportthesetasks. Historically,manydigitalaudioapplicationshaverequiredsomeformofopti- mization,particularlyreplicationofmusicalinstrumentsinmusicsynthesis.Recent workhasusedevolutionaryalgorithms,suchasgeneticalgorithms,toevolvepa- rameters for these applications. Chapter 3 presents a survey of the use of EC in music synthesis, music processing, and other digital audio applications such as music recognition. Chapter 4 follows by focusing on the use of EC in creative sound design. The author introduces two systems of his own design, MutaSynth andPathMutator. Chapter 5 introduces an innovative application of EC, which is the design of systemsformusicalperformance.Heretheauthorspresentaprototypesystemthat usesageneticalgorithm(GA)toevolveperformanceprofilestoperformpiecesof music. Chapter6describesthecompositionalusesoftheauthor’sownGA-basedpro- gramcalledGenDash.Theprogramhasbeenemployedtocomposeawiderange ofpiecesfromshortvocalworkstopiecesforstringquartetandoperas.Thedevel- opmentofGenDashischronicled,theideasbehindtheprogramaredocumented, and the chapter details the pieces composed using the program. Chapter 7 fol- lowsbyfocusingontheapplicationofECtomusicalimprovisation.Afterbriefly discussingthenotionofimprovisationanddefiningsomemusicaldimensionsfor improvisation,attentionturnstoGenJam,apioneeringEC-basedreal-timeinter- activeimprovisationsystem. Chapter8introducestheuseofcellularautomata(CA)forsoundsynthesisand composition.AfterageneralintroductiontoCAanditspotentialformusic,theau- thorintroducesthedevelopmentofhisownCA-basedsystems,namelyChaosynth (forsoundsynthesis)andCAMUS(forcomposition).Complementingtheuseof CA, Chapter 8 introduces the use of swarms for modelling compositional pro- cesseswithfocusontheauthor’sSwarmMusicsystemforreal-timecomposition ofmusicwithswarms. Following the development of fields such as Artificial Life and memet- ics, Chapter 10 proposes a computational modelling approach to Evolutionary P1:OTE/SPH P2:OTE SVNY327-Miranda February7,2007 16:40 Preface ix Musicology: Computational Evolutionary Musicology. This involves the use of computermodellingandsimulationstostudythecircumstancesandmechanisms wherebymusicsystemsmightoriginateandevolveinartificiallycreatedworlds inhabitedbycommunitiesofinteractingautonomousagents.Theauthorsdescribe theirownmodelforstudyingtheroleofmating-selectivepressureintheevolution ofmusicalexpectation.Next,theyintroduceamimeticmodelforstudyingtheevo- lutionofmusicallexiconsinacommunityofautonomousrobotsfurnishedwith avocalsynthesizer,ahearingapparatusandamemorydevice.Theapplicationof neuralnetworkstoevolvegenerativesequencingrulesinacommunityofrhythm playersandimitatorsisalsodiscussed. TheaccompanyingmusicCDfeaturespiecescomposedby,orwiththeaidof, EC. The diversity of musical styles and compositional approaches illustrated on thisCDareclearevidenceofthecapabilitiesandscopeofEvolutionaryComputer Music, which go beyond the realm of academic theory. Here are examples of tangiblepracticalbenefitsforthemusicindustry. Wewouldliketoexpressourgratitudetoallcontributorswhokindlyproduced new original chapters for this edition and provided the pieces for the accompa- nying music CD. We are thankful to Springer’s editorial and production team for their support, especially our commissioning editor, Helen Callaghan, for her encouragementtoeditthisbook. TheeditorswouldliketodedicatethisvolumetothememoryofthelateDrew Garlant-Jones,whoseenthusiasmandcontributiontothedevelopmentofEvolu- tionaryComputerMusicshallneverbeforgotten. January2007 EduardoReckMiranda JohnAlBiles P1:OTE/SPH P2:OTE SVNY327-Miranda February7,2007 16:40 Contents Foreword................................................................................. v Preface.................................................................................... vii Contributors............................................................................. xiii 1. AnIntroductiontoEvolutionaryComputingforMusicians............... 1 PhilHusbands,PeterCopley,AliceEldridgeandJamesMandelis 2. EvolutionaryComputationforMusicalTasks............................... 28 JohnA.Biles 3. EvolutioninDigitalAudioTechnology....................................... 52 AndrewHorner 4. EvolutioninCreativeSoundDesign........................................... 79 PalleDahlstedt 5. ExperimentsinGenerativeMusicalPerformancewitha GeneticAlgorithm................................................................ 100 QijunZhangandEduardoR.Miranda 6. ComposingwithGeneticAlgorithms:GenDash............................ 117 RodneyWaschkaII 7. ImprovizingwithGeneticAlgorithms:GenJam............................. 137 JohnA.Biles 8. CellularAutomataMusic:FromSoundSynthesistoMusicalForms... 170 EduardoR.Miranda 9. SwarmingandMusic............................................................. 194 TimBlackwell xi P1:OTE/SPH P2:OTE SVNY327-Miranda February7,2007 16:40 xii Contents 10. ComputationalEvolutionaryMusicology.................................... 218 EduardoR.MirandaandPeterM.Todd Appendix:TheAccompanyingMusicCD......................................... 250 Index...................................................................................... 253 P1:OTE/SPH P2:OTE SVNY327-Miranda February7,2007 16:40 List of Contributors ProfDavidEGoldberg MsAliceEldridge DobrovolnyDistinguishedProfessor CreativeSystemsLab IllinoisGeneticAlgorithmsLaboratory EvolutionaryandAdaptiveSystems (IlliGAL)DepartmentofIndustrialand Group EnterpriseSystemsEngineering DepartmentofInformatics UniversityofIllinoisat UniversityofSussex Urbana-Champaign Brighton,BN19QH 117TransportationBuilding UnitedKingdom 104S.MathewsAvenue Email:[email protected] Urbana,IL61801 USA MrJamesMandelis Email:[email protected] CreativeSystemsLab EvolutionaryandAdaptiveSystems ProfPhilHusbands Group ProfessorofArtificialIntelligence DepartmentofInformatics CognitiveandComputingSciences UniversityofSussex UniversityofSussex Brighton,BN19QH Brighton,BN19QH UnitedKingdom UnitedKingdom Email:[email protected] Email:[email protected] ProfJohnAlBiles DrPeterCopley ProfessorandUndergraduateProgram TheMusicDepartment CoordinatorInformation TheOpenUniversity TechnologyDepartment WaltonHall RochesterInstituteofTechnology MiltonKeynes,MK76AA 102LombMemorialDrive UnitedKingdom Rochester,NY14623-5608 Email:arts-music-enquiries@ USA open.ac.uk Email:[email protected] xiii
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