algorithmic music composition
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2021 ◽  
pp. 1-13
Author(s):  
Omar Lopez-Rincon ◽  
Oleg Starostenko ◽  
Alejandro Lopez-Rincon

Algorithmic music composition has recently become an area of prestigious research in projects such as Google’s Magenta, Aiva, and Sony’s CSL Lab aiming to increase the composers’ tools for creativity. There are advances in systems for music feature extraction and generation of harmonies with short-time and long-time patterns of music style, genre, and motif. However, there are still challenges in the creation of poly-instrumental and polyphonic music, pieces become repetitive and sometimes these systems copy the original files. The main contribution of this paper is related to the improvement of generating new non-plagiary harmonic developments constructed from the symbolic abstraction from MIDI music non-labeled data with controlled selection of rhythmic features based on evolutionary techniques. Particularly, a novel approach for generating new music compositions by replacing existing harmony descriptors in a MIDI file with new harmonic features from another MIDI file selected by a genetic algorithm. This allows combining newly created harmony with a rhythm of another composition guaranteeing the adjustment of a new music piece to a distinctive genre with regularity and consistency. The performance of the proposed approach has been assessed using artificial intelligent computational tests, which assure goodness of the extracted features and shows its quality and competitiveness.


2021 ◽  
Vol 2021 ◽  
pp. 1-15
Author(s):  
Han Hu

Computer-aided composition is an attempt to use a formalized process to minimize human (or composer) involvement in the creation of music using a computer. Exploring the problem of computer-aided composition can enable us to understand and simulate the thinking mode of composers in the special process of music creation, which is an important application of artificial intelligence in the field of art. Feature extraction on the MIDI files has been introduced in this paper. Based on the genetic algorithm in this paper, a platform of the sampling coding method to optimize the character representation has solved the traditional algorithmic music composition study. Music directly from the pitch and duration can be derived from the characteristics, respectively, in the form of a one-hot encoding independently said. Failure to the rhythm of the characterization of the pitch and duration are problems that lead to the inability of compositional networks to learn musical styles better. Rhythm is the combination of pitch and time values according to certain rules. The rhythm of music affects the overall style of music. By associating the pitch and time value coding, the rhythm style of music can be preserved better so that the composition network can learn the style characteristics of music more easily.


Author(s):  
Abigail Wiafe ◽  
Pasi Fränti

Affective algorithmic composition systems are emotionally intelligent automatic music generation systems that explore the current emotions or mood of a listener and compose an affective music to alter the person's mood to a predetermined one. The fusion of affective algorithmic composition systems and smart spaces have been identified to be beneficial. For instance, studies have shown that they can be used for therapeutic purposes. Amidst these benefits, research on its related security and ethical issues is lacking. This chapter therefore seeks to provoke discussion on security and ethical implications of using affective algorithmic compositions systems in smart spaces. It presents issues such as impersonation, eavesdropping, data tempering, malicious codes, and denial-of-service attacks associated with affective algorithmic composition systems. It also discusses some ethical implications relating to intensions, harm, and possible conflicts that users of such systems may experience.


Author(s):  
Panida Wiriyachaiporn ◽  
Kankawee Chanasit ◽  
Atiwong Suchato ◽  
Proadpran Punyabukkana ◽  
Ekapol Chuangsuwanich

2017 ◽  
Vol 15 (2) ◽  
pp. 151-161
Author(s):  
Konstantinos Bakogiannis ◽  
George Cambourakis

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