Provides a holistic overview of the foundational ideas in music, from the physical and mathematical properties of sound to symbolic representations Combines signlas and language models in one place to explore how sound may be represented and manipulated by computer systems More complex discussions are gradually incorporated and each chapter includes guided programming activities to familiarise readers with the discussed theory
The ability to communicate cultural codes in multimedia depends on their meaning and beauty, as perceived by different audiences around the globe. In this book, the ongoing research on computational modeling of visual, musical and textual contents is described in terms of identifying and mapping their semantic representations across different cultures. The underlying psychology of sense-making is quantified through analysis of aesthetics in terms of organizational and structural aspects of the contents that influence an audience’s formation of expectations for future signals, violations of these expectations, and explanations of their meaning. Complexity-accuracy tradeoffs in sound representation are further used to develop new computational methods that capture poietic and aesthetic aspects in music communication. Experimental studies are reported that try to characterize preferences for complexity in abstract, classical and traditional art and music across samples of Western and Far Eastern cultures. These experiments illustrate how aesthetics can be computed in terms of semantic and information measures, highlighting commonalities and uncovering differences in aesthetic preferences across cultures and individuals.
Style is a fundamental and ubiquitous aspect of the human experience: Everyone instantly and constantly assesses people and things according to their individual styles, academics establish careers by researching musical, artistic, or architectural styles, and entire industries maintain themselves by continuously creating and marketing new styles. Yet what exactly style is and how it works are elusive: We certainly know it when we see it, but there is no shared and clear understanding of the diverse phenomena that we call style. The Structure of Style explores this issue from a computational viewpoint, in terms of how information is represented, organized, and transformed in the production and perception of different styles. New computational techniques are now making it possible to model the role of style in the creation of and response to human artifacts—and therefore to develop software systems that directly make use of style in useful ways. Argamon, Burns, and Dubnov organize the research they have collected in this book according to the three roles that computation can play in stylistics. The first section of the book, Production, provides conceptual foundations by describing computer systems that create artifacts—musical pieces, texts, artworks—in different styles. The second section, Perception, explains methods for analyzing different styles and gleaning useful information, viewing style as a form of communication. The final section, Interaction, deals with reciprocal interaction between style producers and perceivers, in areas such as interactive media, improvised musical accompaniment, and game playing. The Structure of Style is written for researchers and practitioners in areas including information retrieval, computer art and music, digital humanities, computational linguistics, and artificial intelligence, who can all benefit from this comprehensive overview and in-depth description of current research in this active interdisciplinary field.
Providing an essential and unique bridge between the theories of signal processing, machine learning, and artificial intelligence (AI) in music, this book provides a holistic overview of foundational ideas in music, from the physical and mathematical properties of sound to symbolic representations. Combining signals and language models in one place, this book explores how sound may be represented and manipulated by computer systems, and how our devices may come to recognize particular sonic patterns as musically meaningful or creative through the lens of information theory. Introducing popular fundamental ideas in AI at a comfortable pace, more complex discussions around implementations and implications in musical creativity are gradually incorporated as the book progresses. Each chapter is accompanied by guided programming activities designed to familiarize readers with practical implications of discussed theory, without the frustrations of free-form coding. Surveying state-of-the art methods in applications of deep neural networks to audio and sound computing, as well as offering a research perspective that suggests future challenges in music and AI research, this book appeals to both students of AI and music, as well as industry professionals in the fields of machine learning, music, and AI.
The ability to communicate cultural codes in multimedia depends on their meaning and beauty, as perceived by different audiences around the globe. In this book, the ongoing research on computational modeling of visual, musical and textual contents is described in terms of identifying and mapping their semantic representations across different cultures. The underlying psychology of sense-making is quantified through analysis of aesthetics in terms of organizational and structural aspects of the contents that influence an audience’s formation of expectations for future signals, violations of these expectations, and explanations of their meaning. Complexity-accuracy tradeoffs in sound representation are further used to develop new computational methods that capture poietic and aesthetic aspects in music communication. Experimental studies are reported that try to characterize preferences for complexity in abstract, classical and traditional art and music across samples of Western and Far Eastern cultures. These experiments illustrate how aesthetics can be computed in terms of semantic and information measures, highlighting commonalities and uncovering differences in aesthetic preferences across cultures and individuals.
Crossovers compares Jewish anti-Zionism and Palestinian anti-Semitism from political and philosophical points of view. The authors' goal is to expose what is unique about these phenomena, and what they share, so that both ideologies and their practical impact can be better understood. The authors identify a symbiotic relationship between anti-Semitic Palestinian doctrines and those Jews who are anti-Zionists. There has been a great deal of research on these as separate phenomena, but there has thus far been no research that has noted their similarities. Palestinian anti- Semitism and Jewish anti-Zionism may stem from different sources, but they have similar consequences. Palestinian views derive from religious Islamic as well as nationalist- Arab roots, while the views of anti-Zionist Jews grew out of an ideological-Marxist-Trotskyite background. But both share a common goal: the destruction of the Jewish-Zionist nation, and a common strategy, to achieve a bi-national state as a first stage in the march to this goal. Jewish history is replete with examples of how Jews have ignored repeated threats and acts of violence against them. That characteristic of Jews reflects their Messianic belief, but it lacks a basis in history. That belief has resisted change even in the face of threats that were obvious and that have endangered Jewish lives in the past. Contemporary anti-Zionists share this optimistic outlook. Paradoxically, while the Jewish-Zionist State of Israel contends in public that another Holocaust will not happen and is patently impossible, the lesson of recent Jewish history is that a Holocaust can happen again. This work is unrelenting in its criticisms and tough minded in its assessments of the future. It merits careful, serious reading.
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