GeNotator: an environment for exploring the application of evolutionary techniques in computer-assisted composition

1999 ◽  
Vol 4 (2) ◽  
pp. 127-133 ◽  
Author(s):  
KURT THYWISSEN
Keyword(s):  
Genetic Algorithm ◽  
Visual Arts ◽  
Formal Model ◽  
Musical Composition ◽  
Computer Assisted ◽  
Genetic Search ◽  
Musical Structures ◽  
Compositional Structures ◽  
Algorithm Theory ◽  
Musical Evolution

A computer-assisted composition tool for investigating the application of evolutionary techniques in the composition of music is presented. The nature of such an application is examined in terms of defining the possible mechanisms that provide a means for automated creativity. These mechanisms take inspiration from processes found in Darwinian-based evolution theory, genetic algorithm theory and similar aesthetically based uses of a genetic search heuristic in the visual arts. A formal model of ‘musical evolution’ is proposed, with particular emphasis placed on the ways in which a genetic algorithm can be used to effectively manipulate a variety of compositional structures within a hierarchical and generative grammar-based model of musical composition. The result is a prototype Windows MIDI application called GeNotator that allows composers to experiment with a range of musical structures by interactively ‘evolving’ them through a familiar and comprehensive graphical user interface.

Based on GA Mixed with Trust Region Method Solving Nonlinear Least Square Problems

2011 ◽  
Vol 141 ◽  
pp. 92-97
Author(s):  
Miao Hu ◽  
Tai Yong Wang ◽  
Bo Geng ◽  
Qi Chen Wang ◽  
Dian Peng Li
Keyword(s):  
Genetic Algorithm ◽  
Optimization Problems ◽  
Trust Region Method ◽  
Trust Region ◽  
Least Square ◽  
Search Range ◽  
Genetic Search ◽  
Region Method ◽  
Unconstrained Optimization Problems ◽  
Least Square Problems

Nonlinear least square is one of the unconstrained optimization problems. In order to solve the least square trust region sub-problem, a genetic algorithm (GA) of global convergence was applied, and the premature convergence of genetic algorithms was also overcome through optimizing the search range of GA with trust region method (TRM), and the convergence rate of genetic algorithm was increased by the randomness of the genetic search. Finally, an example of banana function was established to verify the GA, and the results show the practicability and precision of this algorithm.

Embodiment in Composition: 4E Theoretical Considerations and Empirical Evidence from a Case Study

2020 ◽  
pp. 102986492096144
Author(s):  
Ulla Pohjannoro
Keyword(s):  
Real Life ◽  
Extended Cognition ◽  
Point Of View ◽  
Musical Composition ◽  
Compositional Process ◽  
Musical Notation ◽  
Musical Structures ◽  
Sonic Environment ◽  
Theoretical Considerations

The purpose of this study was to theorise on a composer’s corporeality from the point of view of the embodied, enacted, embedded, and extended cognition paradigm, in the light of empirical data that cover the compositional process of creating one particular piece of music. The data include related manuscripts and the composer’s verbal account of those manuscripts. Composition is seen as an interactive coping behaviour and an adaptive process of knowledge acquisition and production in a sonic environment. In this epistemic process, the composer begins working with various kinds of ideas: sounds, timbres, musical structures, experiences, philosophical thoughts. They explicate these intuitive or reflective embodied representations through different kinds of externalisations, such as musical gestures, narratives, visualisation, and finally, musical notation. This study substantiates the way in which embodied, extrabodily, embedded, and enactive processes constitute the cognitive acts of a composer, usually considered as almost purely mental. It shows how musical composition may not only be grounded but also depend on embodied knowledge that the score only partly conveys. In addition to helping composers and performers communicate in real life, the findings may be useful for identifying the different cognitive premises and circumstances that can result in discrepancies between the ways in which they interpret musical notation.

AUTOMATIC FACIAL FEATURE EXTRACTION USING EDGE DISTRIBUTION AND GENETIC SEARCH

2003 ◽  
Vol 03 (01) ◽  
pp. 89-100
Author(s):  
GARY G. YEN ◽  
NETHRIE NITHIANANDAN
Keyword(s):  
Genetic Algorithm ◽  
Feature Extraction ◽  
Feature Detection ◽  
Facial Feature ◽  
Edge Density ◽  
Artificial Noise ◽  
Genetic Search ◽  
Natural Lighting ◽  
Facial Feature Extraction ◽  
Edge Distribution

A heuristic, automatic facial feature extraction approach is presented in this paper. The method is based on the edge density distribution of the image, containing non-occluded, nearly frontal view of one or more faces. In the preprocessing stage, a face is approximated to an ellipse, and genetic algorithm is applied to search for the best ellipse region match. In the feature extraction stage, genetic algorithm is applied to extract the facial features, such as the eyes (with eyebrows), nose and mouth, in the predefined subregions. The simulation results validates that the proposed method is capable of automatically extracting features from various video images effectively under natural lighting environments and in the presence of complex backgrounds, certain amount of artificial noise and of multi-face oriented with angles. This preliminary study advanced from a rich literature provides robust facial feature detection under certain variations in lighting conditions and backgrounds.

scholarly journals Prospective Visual Arts Teachers’ Innovation Skills and Attitudes towards Computer Assisted Instruction

2020 ◽  
Vol 4 (2) ◽  
pp. 98-107
Author(s):  
Sema Kara
Keyword(s):  
Visual Arts ◽  
Teacher Candidates ◽  
Attitude Scale ◽  
Comparative Approach ◽  
Computer Assisted ◽  
School Factors ◽  
Computer Aided ◽  
Arts Teachers ◽  
Students Attitudes ◽  
Teaching Attitudes

The aim of this study is to examine the prospective visual arts teachers' innovation skills and their attitudes towards computer-assisted teaching in terms of demographic and school factors. In this context, using comparative relational research model; the students' attitudes towards innovation skills and computer assisted teaching were examined with a comparative approach. The study group of this research consists of 305 visual arts teacher candidates studying at Dicle University, Anadolu University, Mersin University, Necmettin Erbakan University and Marmara University. Attitude scale and innovation skills scales were used to collect data. According to the analysis of the data, it was seen that visual arts teacher candidates' perceptions of innovation skills and their attitudes towards computer aided teaching are high. In addition, significant differences were found in computer aided teaching attitudes and innovation skills according to faculty type, grade level and gender. Finally, significant relationships were found between innovation skills and entrepreneurship perception.

scholarly journals THE USE OF A GENETIC ALGORITHM FOR MUSIC HARMONIZATION OF TRANSITIONAL FRAGMENTS IN COMPUTER GAMES

2020 ◽  
pp. 365-376
Author(s):  
Oleksandr Komarov ◽  
Oleg Galchonkov ◽  
Alexander Nevrev ◽  
Oksana Babilunga
Keyword(s):  
Genetic Algorithm ◽  
Harmonic Function ◽  
Computer Games ◽  
Musical Composition ◽  
Global Extremum ◽  
Computational Costs ◽  
Fitness Functions ◽  
Musical Compositions ◽  
Musical Accompaniment ◽  
Number Of Iterations

The problem of musical accompaniment harmonization for adjacent transitional fragments in computer games is considered. A harmonization method based on a tonal model of the musical composition in conjunction with a genetic algorithm seeking the global extremum of the harmonic function is proposed. For the method under consideration, all operators of the genetic algorithm and fitness functions are defined. A scheme was developed for the formation of transitional musical compositions and a flowchart was proposed for using the genetic algorithm in its implementation. Using examples of well-known musical compositions, a study was conducted of the genetic algorithm features and its most appropriate parameters were found in the context of the problem under consideration. This allowed us to obtain expression for the computational costs of the proposed method, which are necessary for balancing the computational load in the computer between the game algorithm itself and the musical harmonization algorithm. Moreover, the study showed that using genetic algorithm allows even for a small number of iterations to achieve melody harmonization level no worse than professional composer achieved, and even exceed this level when performing extra iterations.

scholarly journals Α structural metaphor of techniques from music to architecture: contrapuntal tools in the design studio

2014 ◽  
Author(s):  
KONSTANTINA DEMIRI
Keyword(s):  
Structural Design ◽  
Architectural Design ◽  
Design Method ◽  
Musical Composition ◽  
Design Studio ◽  
Common Elements ◽  
Structural Formation ◽  
Compositional Structures ◽  
Elective Course ◽  
Architectural Synthesis

Architecture has historically more common elements with music than with the other arts. Their kinship lies not only on their mathematical base but also on their similar structural formation, compositional tools and terminology. Counterpoint in music is the technique of combining voices for a polyphonic form to be composed. In general, counterpoint is the art of manipulating a system of interrelations through which the whole is composed by its parts. The aim of the paper is to present the contents of an elective course in the School of Architecture (NTUA) where contrapuntal techniques, employed in musical composition, are tried out in the architectural synthesis. An issue raised is whether the metaphor of musical compositional tools in the design process can expand the students’ design potential. They explore the potentialities of this musical tool in the architectural design via small abstract exercises. Our approach is structural acting as a methodological base of the synthesis in the design studio. The structural design method will be exemplified with a presentation of two design studios through the students’ works, their conceptual ideas, their compositional structures and the tools employed.Historicamente, a arquitectura tem mais elementos em comum com a música do que com as outras artes. A sua afinidade encontra-se não só na sua base matemática mas também na sua formação estrutural, ferramentas de composição e terminologia semelhantes. Contraponto na música é a técnica de combinar vozes para que se componha uma forma polifónica. Em geral, contraponto é a arte de manipular um sistema de inter-relações, através do qual o todo é composto das suas partes. O objectivo da comunicação é apresentar os conteúdos de um curso opcional na Faculdade de Arquitectura (NTUA) onde técnicas de contraponto, utilizadas na composição musical, são experimentadas na composição arquitectural. Uma questão levantada é se a metáfora de ferramentas de composição musicais no processo do design pode enriquecer o potencial de design dos estudantes. Exploram-se as potencialidades desta ferramenta musical no projecto arquitectónico através de pequenos exercícios abstractos. A nossa abordagem é usar a estrutura como base metodológica da síntese no projecto. O método do design estrutural será exemplificado com a apresentação de dois projectos de arquitectura através dos trabalhos dos estudantes, das suas ideias conceptuais, das suas estruturas composicionais e das ferramentas utilizadas 

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