Motivations and Methodologies for Automation of the Compositional Process
Identifieur interne : 000539 ( Istex/Corpus ); précédent : 000538; suivant : 000540Motivations and Methodologies for Automation of the Compositional Process
Auteurs : Marcus Pearce ; David Meredith ; Geraint WigginsSource :
- Musicae scientiae [ 1029-8649 ] ; 2002.
English descriptors
- Teeft :
- Academic press, Acceptability algorithm, Active style synthesis, Algorithm, Algorithmic, Algorithmic composition, Algorithmic style theory, Ames, Appropriate level, Appropriate methodologies, Appropriate methodology, Architecture specification, Artificial intelligence, Atypical scenarios, Baroni, Behaviour, Cambridge university press, Chorale, Cognition, Cognitive, Cognitive hypotheses, Cognitive mechanisms, Cognitive model, Cognitive models, Cognitive musicology, Cognitive processes, Cognitive processing, Cognitive science, Cognitive theories, Cognitive theory, Comparative analysis, Composition, Composition musicale, Compositional, Compositional expertise, Compositional process, Compositional process marcus pearce, Compositional processes, Compositional systems, Compositional tool, Compositional tools, Composizione musicale, Computational, Computational approach, Computational level, Computational level theory, Computational model, Computational modelling, Computational models, Computational procedures, Computational requirements, Computational techniques, Computational theories, Computer, Computer program, Computer programs, Constraint, Cybernetic composer, David meredith, Desain, Design phase, Different disciplines, Different kinds, Different methodologies, Different motivations, Domino, Ebcioglu, Empirical experiments, Empirical style modelling, Engineering science, Existential statement, Experimental stimuli, Expert system, First level, Functional organisation, Future research, General level, Generative, Generative grammar, Generative modelling, Generative theories, Geraint, Grammar, Harmonising chorales, Human behaviour, Human data, Implementation phase, Implicit assumption, Improvisation, Independent support, Integral part, Interdisciplinary, Jazz improvisation, Knowledge acquisition, Laske, Lindblom, Lower level, Methodological, Methodological issues, Methodological malaise, Methodology, Modelling, More detail, Morgan kaufmann, Motivaciones, Motivation, Motivazioni, Multiple features, Music cognition, Music research, Music theory, Musical composition, Musical events, Musical knowledge, Musical style, Musical styles, Musicale, Musicology, Mwic, Mwic cognition, Natural science, Neural networks, Organisation, Organisational abstraction, Other hand, Other motivations, Oxford university press, Particular composition, Particular problem, Pearce, Potential advantages, Practical applications, Practical motivations, Requirements specification, Research project, Same manner, Second approach, Single composition, Software, Stylistic, Stylistic hypotheses, Subjective evaluation, Such systems, Sundberg, Test piece, Theoretical significance, Theoretical value, Universal statement, Weak generative capacity, Wiggins.
Abstract
Our aim in this paper is to clarify the range of motivations that have inspired the development of computer programs for the composition of music. We consider this to be important since different methodologies are appropriate for different motivations and goals. We argue that a widespread failure to specify the motivations and goals involved has lead to a methodological malaise in music related research. A brief consideration of some of the earliest attempts to produce computational systems for the composition of music leads us to identify four activities involving the development of computer programs which compose music each of which is inspired by different practical or theoretical motivations. These activities are algorithmic composition, the design of compositional tools, the computational modelling of musical styles and the computational modelling of music cognition. We consider these four motivations in turn, illustrating the problems that have arisen from failing to distinguish between them. We propose a terminology that clearly differentiates the activities defined by the four motivations and present methodological suggestions for research in each domain. While it is dearly important for researchers to embrace developments in related disciplines, we argue that research in the four domains will continueto stagnate unless the motivations and aims of research projects are clearly stated and appropriate methodologies are adopted for developing and evaluating systems that compose music.
Nuestro objetivo en este trabajo es clarificar el cojunto de motivaciones que han inspirado el desarrollo de progamas informáticos destinados a la composición musical. Consideramos la importancia de esto desde diferentes metodologías apropiadas para diferentes motivaciones y objetos. Argüimos que un extendido error al especificar las motivaciones y objetivos buscados ha conducido a un fracaso metodológico en la investigación relacionada con la música. Una breve consideración de algunos de los más tempranos intentos de conseguir sistemas informáticos para la composición musical nos lleva a identificar cuatro actividades relacionadas con el desarrollo de programas informáticos que componen música, cada uno de los cuales está inspirado por diferentes motivaciones prácticas o teóricas. Dichas actividades son la composición algorítmica, el diseño de herramientas compositivas, la modelización informática de estilos musicales y la modelización informática de la cognición musical. Consideramos estas cuatro motivaciones de nuevo, ilustrando los problemas que implica una distinción errónea entre ellas. Proponemos una terminología que diferencie claramente las actividades definidas por las cuatro motivaciones y presente sugerencias metodológicas para la investigación en cada campo. Aunque es claramente importante para los investigadores abrazar desarrollos en disciplinas afines, sostenemos que la investigación de los cuatro campos continuará estancada a menos que las motivaciones y objetivos de los proyectos de investigación estén claramente establecidos y se adopten las metodologías apropiadas para desarrollar y evaluar los sistemas de composición musical.
Lo scopo del presente articolo è di chiarire la serie di motivazioni che ha ispirato lo sviluppo di software per la composizione musicale. Riteniamo importante tale chiarimento, considerato che metodologie differenti sono appropriate per motivazioni e scopi differenti. Sosteniamo che una diffusa negligenza nello specificare le motivazioni e gli scopi in questione abbia portato ad un malessere metodologico nella relativa ricerca musicale. Una breve rassegna di alcuni fra i primi tentativi di produrre sistemi informatici per la composizione musicale ci porta a identificare quattro attività riguardanti lo sviluppo di programmi informatici in grado di comporre musica, ognuna delle quali è mossa a da differenti motivazioni pratiche o teoriche. Tali attività sono la composizione algoritmica, la progettazione di strumenti per la composizione, i modelli informatici degli stili musicali e i modelli informatici della cognizione musicale. Prendiamo in considerazione una per una queste quattro motivazioni, illustrando i problemi che sono sorti dalla mancanza di distinzione fra di esse. Proponiamo una terminologia che differenzi chiaramente le attività definite dalle quattro motivazioni, e presentiamo suggerimenti metodologici per la ricerca in ognuno di tali ambiti. Mentre è certamente importante che i ricercatori accolgano gli sviluppi delle discipline correlate, sosteniamo che la ricerca in quei quattro ambiti continuerà a ristagnare a meno che le motivazioni e gli scopi dei progetti di ricerca non vengano chiaramente determinati, e non vengano adottate metodologie appropriate per lo sviluppo e la valutazione dei sistemi per la composizione musicale.
On cherche ici à éclaircir les motivations sur lesquelles se fondent le développement de programmes informatiques destinés à la composition musicale. A notre sens, il s'agit là d'une question importante, puisque les méthodologies sont à la fois fonction des motivations et des buts. Nous soutenons même que l'ignorance largement répandue des motivations et des buts qui entrent ici en jeu est à l'origine d'un malaise méthodologique au sein de la recherche musicale. Un survol de quelques-uns des tout premiers systèmes informatiques destinés à la composition musicale donne à penser que quatre activités interviennent dans le développement de ces programmes informatiques et que chacune d'elles découle de motivations pratiques et théoriques distinctes. ***Il s'agit d'une part de la composition algorithmique, de la conception d'outils compositionnels et de la modélisation informatique des styles musicaux, et, de l'autre, de la cognition musicale. On étudie successivement ces quatre motivations, en mettant chaque fois l'accent sur l'un des problèmes issus d'une non-identification précise desdites motivations. C'est pourquoi nous proposons une terminologie où sont clairement différenciées les activités inhérentes aux quatre motivations ainsi que des méthodologies de recherche propres à chacun de ces domaines. Certes, la recherche ne peut ignorer les développements des disciplines connexes, mais, s'agissant des quatre domaines en question, elle continuera à stagner tant que ne seront pas clairement fixés les motivations et les buts ni adoptées des méthodologies en adéquation avec le développement et l'évaluation des systèmes de composition musicale.
Ziel dieses Beitrages ist es, die verschiedenen Beweggründe für die Entwicklung von Computerprogrammen zur Komposition von Musik zu erhellen. Dies erscheint wichtig, da unterschiedliche Motivationen und Ziele unterschiedliche Vorgehensweisen verlangen. Es wird die Ansicht vertreten, daß ein weitgehender Verzicht auf die Spezifizierung von Motiven und Zielen zu einem methodologischen Unbehagen in der musikbezogenen Forschung geführt hat Eine kurze Betrachtung einiger der frühesten Versuche, Rechensysteme für die Komposition von Musik zu entwickeln, führt zur Identifikation von vier Aktivitäten, welche die Entwicklung von Computerprogrammen zur Komposition von Musik einschlossen, von denen jede durch verschiedene praktische oder theoretische Motivationen angeregt wurde. Es sind dies: algorithmische Komposition, die Art des kompositorischen Instrumentariums, die rechnerische Modellierung von Musikstilen und die Modellierung der musikalischen Notation. Diese vier Motivationen werden nacheinander betrachtet, wobei die Probleme, die aus der mangelnden Unterscheidung zwischen ihnen entstanden sind, illustriert werden. Es wird eine Terminologie vorgeschlagen, welche klar zwischen den angeführten Aktivitäten differenziert und methodische Vorschläge für die Forschung in jedem dieser Bereiche vorstellt. Trotz der Wichtigkeit der Einbeziehung von Entwicklungen in verwandten Disziplinen, sind wird der Ansicht, daß die Forschung in diesen vier Bereichen weiterhin stagnieren wird, wenn die Motivationen und Ziele der Forschungsprojekte nicht deutlich herausgestellt und geeignete Methoden für die Entwicklung und Evaluierung von Kompositionstechniken adaptiert werden.
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DOI: 10.1177/102986490200600203
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<front><div type="abstract" xml:lang="en">Our aim in this paper is to clarify the range of motivations that have inspired the development of computer programs for the composition of music. We consider this to be important since different methodologies are appropriate for different motivations and goals. We argue that a widespread failure to specify the motivations and goals involved has lead to a methodological malaise in music related research. A brief consideration of some of the earliest attempts to produce computational systems for the composition of music leads us to identify four activities involving the development of computer programs which compose music each of which is inspired by different practical or theoretical motivations. These activities are algorithmic composition, the design of compositional tools, the computational modelling of musical styles and the computational modelling of music cognition. We consider these four motivations in turn, illustrating the problems that have arisen from failing to distinguish between them. We propose a terminology that clearly differentiates the activities defined by the four motivations and present methodological suggestions for research in each domain. While it is dearly important for researchers to embrace developments in related disciplines, we argue that research in the four domains will continueto stagnate unless the motivations and aims of research projects are clearly stated and appropriate methodologies are adopted for developing and evaluating systems that compose music.</div>
<div type="abstract" xml:lang="es">Nuestro objetivo en este trabajo es clarificar el cojunto de motivaciones que han inspirado el desarrollo de progamas informáticos destinados a la composición musical. Consideramos la importancia de esto desde diferentes metodologías apropiadas para diferentes motivaciones y objetos. Argüimos que un extendido error al especificar las motivaciones y objetivos buscados ha conducido a un fracaso metodológico en la investigación relacionada con la música. Una breve consideración de algunos de los más tempranos intentos de conseguir sistemas informáticos para la composición musical nos lleva a identificar cuatro actividades relacionadas con el desarrollo de programas informáticos que componen música, cada uno de los cuales está inspirado por diferentes motivaciones prácticas o teóricas. Dichas actividades son la composición algorítmica, el diseño de herramientas compositivas, la modelización informática de estilos musicales y la modelización informática de la cognición musical. Consideramos estas cuatro motivaciones de nuevo, ilustrando los problemas que implica una distinción errónea entre ellas. Proponemos una terminología que diferencie claramente las actividades definidas por las cuatro motivaciones y presente sugerencias metodológicas para la investigación en cada campo. Aunque es claramente importante para los investigadores abrazar desarrollos en disciplinas afines, sostenemos que la investigación de los cuatro campos continuará estancada a menos que las motivaciones y objetivos de los proyectos de investigación estén claramente establecidos y se adopten las metodologías apropiadas para desarrollar y evaluar los sistemas de composición musical.</div>
<div type="abstract" xml:lang="it">Lo scopo del presente articolo è di chiarire la serie di motivazioni che ha ispirato lo sviluppo di software per la composizione musicale. Riteniamo importante tale chiarimento, considerato che metodologie differenti sono appropriate per motivazioni e scopi differenti. Sosteniamo che una diffusa negligenza nello specificare le motivazioni e gli scopi in questione abbia portato ad un malessere metodologico nella relativa ricerca musicale. Una breve rassegna di alcuni fra i primi tentativi di produrre sistemi informatici per la composizione musicale ci porta a identificare quattro attività riguardanti lo sviluppo di programmi informatici in grado di comporre musica, ognuna delle quali è mossa a da differenti motivazioni pratiche o teoriche. Tali attività sono la composizione algoritmica, la progettazione di strumenti per la composizione, i modelli informatici degli stili musicali e i modelli informatici della cognizione musicale. Prendiamo in considerazione una per una queste quattro motivazioni, illustrando i problemi che sono sorti dalla mancanza di distinzione fra di esse. Proponiamo una terminologia che differenzi chiaramente le attività definite dalle quattro motivazioni, e presentiamo suggerimenti metodologici per la ricerca in ognuno di tali ambiti. Mentre è certamente importante che i ricercatori accolgano gli sviluppi delle discipline correlate, sosteniamo che la ricerca in quei quattro ambiti continuerà a ristagnare a meno che le motivazioni e gli scopi dei progetti di ricerca non vengano chiaramente determinati, e non vengano adottate metodologie appropriate per lo sviluppo e la valutazione dei sistemi per la composizione musicale.</div>
<div type="abstract" xml:lang="fr">On cherche ici à éclaircir les motivations sur lesquelles se fondent le développement de programmes informatiques destinés à la composition musicale. A notre sens, il s'agit là d'une question importante, puisque les méthodologies sont à la fois fonction des motivations et des buts. Nous soutenons même que l'ignorance largement répandue des motivations et des buts qui entrent ici en jeu est à l'origine d'un malaise méthodologique au sein de la recherche musicale. Un survol de quelques-uns des tout premiers systèmes informatiques destinés à la composition musicale donne à penser que quatre activités interviennent dans le développement de ces programmes informatiques et que chacune d'elles découle de motivations pratiques et théoriques distinctes. ***Il s'agit d'une part de la composition algorithmique, de la conception d'outils compositionnels et de la modélisation informatique des styles musicaux, et, de l'autre, de la cognition musicale. On étudie successivement ces quatre motivations, en mettant chaque fois l'accent sur l'un des problèmes issus d'une non-identification précise desdites motivations. C'est pourquoi nous proposons une terminologie où sont clairement différenciées les activités inhérentes aux quatre motivations ainsi que des méthodologies de recherche propres à chacun de ces domaines. Certes, la recherche ne peut ignorer les développements des disciplines connexes, mais, s'agissant des quatre domaines en question, elle continuera à stagner tant que ne seront pas clairement fixés les motivations et les buts ni adoptées des méthodologies en adéquation avec le développement et l'évaluation des systèmes de composition musicale.</div>
<div type="abstract" xml:lang="de">Ziel dieses Beitrages ist es, die verschiedenen Beweggründe für die Entwicklung von Computerprogrammen zur Komposition von Musik zu erhellen. Dies erscheint wichtig, da unterschiedliche Motivationen und Ziele unterschiedliche Vorgehensweisen verlangen. Es wird die Ansicht vertreten, daß ein weitgehender Verzicht auf die Spezifizierung von Motiven und Zielen zu einem methodologischen Unbehagen in der musikbezogenen Forschung geführt hat Eine kurze Betrachtung einiger der frühesten Versuche, Rechensysteme für die Komposition von Musik zu entwickeln, führt zur Identifikation von vier Aktivitäten, welche die Entwicklung von Computerprogrammen zur Komposition von Musik einschlossen, von denen jede durch verschiedene praktische oder theoretische Motivationen angeregt wurde. Es sind dies: algorithmische Komposition, die Art des kompositorischen Instrumentariums, die rechnerische Modellierung von Musikstilen und die Modellierung der musikalischen Notation. Diese vier Motivationen werden nacheinander betrachtet, wobei die Probleme, die aus der mangelnden Unterscheidung zwischen ihnen entstanden sind, illustriert werden. Es wird eine Terminologie vorgeschlagen, welche klar zwischen den angeführten Aktivitäten differenziert und methodische Vorschläge für die Forschung in jedem dieser Bereiche vorstellt. Trotz der Wichtigkeit der Einbeziehung von Entwicklungen in verwandten Disziplinen, sind wird der Ansicht, daß die Forschung in diesen vier Bereichen weiterhin stagnieren wird, wenn die Motivationen und Ziele der Forschungsprojekte nicht deutlich herausgestellt und geeignete Methoden für die Entwicklung und Evaluierung von Kompositionstechniken adaptiert werden.</div>
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<abstract xml:lang="en"><p>Our aim in this paper is to clarify the range of motivations that have inspired the development of computer programs for the composition of music. We consider this to be important since different methodologies are appropriate for different motivations and goals. We argue that a widespread failure to specify the motivations and goals involved has lead to a methodological malaise in music related research. A brief consideration of some of the earliest attempts to produce computational systems for the composition of music leads us to identify four activities involving the development of computer programs which compose music each of which is inspired by different practical or theoretical motivations. These activities are algorithmic composition, the design of compositional tools, the computational modelling of musical styles and the computational modelling of music cognition. We consider these four motivations in turn, illustrating the problems that have arisen from failing to distinguish between them. We propose a terminology that clearly differentiates the activities defined by the four motivations and present methodological suggestions for research in each domain. While it is dearly important for researchers to embrace developments in related disciplines, we argue that research in the four domains will continueto stagnate unless the motivations and aims of research projects are clearly stated and appropriate methodologies are adopted for developing and evaluating systems that compose music.</p>
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<abstract xml:lang="es"><p>Nuestro objetivo en este trabajo es clarificar el cojunto de motivaciones que han inspirado el desarrollo de progamas informáticos destinados a la composición musical. Consideramos la importancia de esto desde diferentes metodologías apropiadas para diferentes motivaciones y objetos. Argüimos que un extendido error al especificar las motivaciones y objetivos buscados ha conducido a un fracaso metodológico en la investigación relacionada con la música. Una breve consideración de algunos de los más tempranos intentos de conseguir sistemas informáticos para la composición musical nos lleva a identificar cuatro actividades relacionadas con el desarrollo de programas informáticos que componen música, cada uno de los cuales está inspirado por diferentes motivaciones prácticas o teóricas. Dichas actividades son la composición algorítmica, el diseño de herramientas compositivas, la modelización informática de estilos musicales y la modelización informática de la cognición musical. Consideramos estas cuatro motivaciones de nuevo, ilustrando los problemas que implica una distinción errónea entre ellas. Proponemos una terminología que diferencie claramente las actividades definidas por las cuatro motivaciones y presente sugerencias metodológicas para la investigación en cada campo. Aunque es claramente importante para los investigadores abrazar desarrollos en disciplinas afines, sostenemos que la investigación de los cuatro campos continuará estancada a menos que las motivaciones y objetivos de los proyectos de investigación estén claramente establecidos y se adopten las metodologías apropiadas para desarrollar y evaluar los sistemas de composición musical.</p>
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<abstract xml:lang="it"><p>Lo scopo del presente articolo è di chiarire la serie di motivazioni che ha ispirato lo sviluppo di software per la composizione musicale. Riteniamo importante tale chiarimento, considerato che metodologie differenti sono appropriate per motivazioni e scopi differenti. Sosteniamo che una diffusa negligenza nello specificare le motivazioni e gli scopi in questione abbia portato ad un malessere metodologico nella relativa ricerca musicale. Una breve rassegna di alcuni fra i primi tentativi di produrre sistemi informatici per la composizione musicale ci porta a identificare quattro attività riguardanti lo sviluppo di programmi informatici in grado di comporre musica, ognuna delle quali è mossa a da differenti motivazioni pratiche o teoriche. Tali attività sono la composizione algoritmica, la progettazione di strumenti per la composizione, i modelli informatici degli stili musicali e i modelli informatici della cognizione musicale. Prendiamo in considerazione una per una queste quattro motivazioni, illustrando i problemi che sono sorti dalla mancanza di distinzione fra di esse. Proponiamo una terminologia che differenzi chiaramente le attività definite dalle quattro motivazioni, e presentiamo suggerimenti metodologici per la ricerca in ognuno di tali ambiti. Mentre è certamente importante che i ricercatori accolgano gli sviluppi delle discipline correlate, sosteniamo che la ricerca in quei quattro ambiti continuerà a ristagnare a meno che le motivazioni e gli scopi dei progetti di ricerca non vengano chiaramente determinati, e non vengano adottate metodologie appropriate per lo sviluppo e la valutazione dei sistemi per la composizione musicale.</p>
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<abstract xml:lang="fr"><p>On cherche ici à éclaircir les motivations sur lesquelles se fondent le développement de programmes informatiques destinés à la composition musicale. A notre sens, il s'agit là d'une question importante, puisque les méthodologies sont à la fois fonction des motivations et des buts. Nous soutenons même que l'ignorance largement répandue des motivations et des buts qui entrent ici en jeu est à l'origine d'un malaise méthodologique au sein de la recherche musicale. Un survol de quelques-uns des tout premiers systèmes informatiques destinés à la composition musicale donne à penser que quatre activités interviennent dans le développement de ces programmes informatiques et que chacune d'elles découle de motivations pratiques et théoriques distinctes. ***Il s'agit d'une part de la composition algorithmique, de la conception d'outils compositionnels et de la modélisation informatique des styles musicaux, et, de l'autre, de la cognition musicale. On étudie successivement ces quatre motivations, en mettant chaque fois l'accent sur l'un des problèmes issus d'une non-identification précise desdites motivations. C'est pourquoi nous proposons une terminologie où sont clairement différenciées les activités inhérentes aux quatre motivations ainsi que des méthodologies de recherche propres à chacun de ces domaines. Certes, la recherche ne peut ignorer les développements des disciplines connexes, mais, s'agissant des quatre domaines en question, elle continuera à stagner tant que ne seront pas clairement fixés les motivations et les buts ni adoptées des méthodologies en adéquation avec le développement et l'évaluation des systèmes de composition musicale.</p>
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<abstract xml:lang="de"><p>Ziel dieses Beitrages ist es, die verschiedenen Beweggründe für die Entwicklung von Computerprogrammen zur Komposition von Musik zu erhellen. Dies erscheint wichtig, da unterschiedliche Motivationen und Ziele unterschiedliche Vorgehensweisen verlangen. Es wird die Ansicht vertreten, daß ein weitgehender Verzicht auf die Spezifizierung von Motiven und Zielen zu einem methodologischen Unbehagen in der musikbezogenen Forschung geführt hat Eine kurze Betrachtung einiger der frühesten Versuche, Rechensysteme für die Komposition von Musik zu entwickeln, führt zur Identifikation von vier Aktivitäten, welche die Entwicklung von Computerprogrammen zur Komposition von Musik einschlossen, von denen jede durch verschiedene praktische oder theoretische Motivationen angeregt wurde. Es sind dies: algorithmische Komposition, die Art des kompositorischen Instrumentariums, die rechnerische Modellierung von Musikstilen und die Modellierung der musikalischen Notation. Diese vier Motivationen werden nacheinander betrachtet, wobei die Probleme, die aus der mangelnden Unterscheidung zwischen ihnen entstanden sind, illustriert werden. Es wird eine Terminologie vorgeschlagen, welche klar zwischen den angeführten Aktivitäten differenziert und methodische Vorschläge für die Forschung in jedem dieser Bereiche vorstellt. Trotz der Wichtigkeit der Einbeziehung von Entwicklungen in verwandten Disziplinen, sind wird der Ansicht, daß die Forschung in diesen vier Bereichen weiterhin stagnieren wird, wenn die Motivationen und Ziele der Forschungsprojekte nicht deutlich herausgestellt und geeignete Methoden für die Entwicklung und Evaluierung von Kompositionstechniken adaptiert werden.</p>
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<aff>Department of Computing, City University, London</aff>
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<author-notes><corresp id="corresp1-102986490200600203">Address for correspondence: Marcus Pearce Department of Computing City University Northampton Square London EC1V OHB e-mail: <email xlink:href="m.t.pearce@city.ac.uk" xlink:type="simple">m.t.pearce@city.ac.uk</email>
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<abstract><p>Our aim in this paper is to clarify the range of motivations that have inspired the development of computer programs for the composition of music. We consider this to be important since different methodologies are appropriate for different motivations and goals. We argue that a widespread failure to specify the motivations and goals involved has lead to a methodological malaise in music related research. A brief consideration of some of the earliest attempts to produce computational systems for the composition of music leads us to identify four activities involving the development of computer programs which compose music each of which is inspired by different practical or theoretical motivations. These activities are algorithmic composition, the design of compositional tools, the computational modelling of musical styles and the computational modelling of music cognition. We consider these four motivations in turn, illustrating the problems that have arisen from failing to distinguish between them. We propose a terminology that clearly differentiates the activities defined by the four motivations and present methodological suggestions for research in each domain. While it is dearly important for researchers to embrace developments in related disciplines, we argue that research in the four domains will continueto stagnate unless the motivations and aims of research projects are clearly stated and appropriate methodologies are adopted for developing and evaluating systems that compose music.</p>
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<trans-abstract xml:lang="ES"><p>Nuestro objetivo en este trabajo es clarificar el cojunto de motivaciones que han inspirado el desarrollo de progamas informáticos destinados a la composición musical. Consideramos la importancia de esto desde diferentes metodologías apropiadas para diferentes motivaciones y objetos. Argüimos que un extendido error al especificar las motivaciones y objetivos buscados ha conducido a un fracaso metodológico en la investigación relacionada con la música. Una breve consideración de algunos de los más tempranos intentos de conseguir sistemas informáticos para la composición musical nos lleva a identificar cuatro actividades relacionadas con el desarrollo de programas informáticos que componen música, cada uno de los cuales está inspirado por diferentes motivaciones prácticas o teóricas. Dichas actividades son la composición algorítmica, el diseño de herramientas compositivas, la modelización informática de estilos musicales y la modelización informática de la cognición musical. Consideramos estas cuatro motivaciones de nuevo, ilustrando los problemas que implica una distinción errónea entre ellas. Proponemos una terminología que diferencie claramente las actividades definidas por las cuatro motivaciones y presente sugerencias metodológicas para la investigación en cada campo. Aunque es claramente importante para los investigadores abrazar desarrollos en disciplinas afines, sostenemos que la investigación de los cuatro campos continuará estancada a menos que las motivaciones y objetivos de los proyectos de investigación estén claramente establecidos y se adopten las metodologías apropiadas para desarrollar y evaluar los sistemas de composición musical.</p>
</trans-abstract>
<trans-abstract xml:lang="IT"><p>Lo scopo del presente articolo è di chiarire la serie di motivazioni che ha ispirato lo sviluppo di software per la composizione musicale. Riteniamo importante tale chiarimento, considerato che metodologie differenti sono appropriate per motivazioni e scopi differenti. Sosteniamo che una diffusa negligenza nello specificare le motivazioni e gli scopi in questione abbia portato ad un malessere metodologico nella relativa ricerca musicale. Una breve rassegna di alcuni fra i primi tentativi di produrre sistemi informatici per la composizione musicale ci porta a identificare quattro attività riguardanti lo sviluppo di programmi informatici in grado di comporre musica, ognuna delle quali è mossa a da differenti motivazioni pratiche o teoriche. Tali attività sono la composizione algoritmica, la progettazione di strumenti per la composizione, i modelli informatici degli stili musicali e i modelli informatici della cognizione musicale. Prendiamo in considerazione una per una queste quattro motivazioni, illustrando i problemi che sono sorti dalla mancanza di distinzione fra di esse. Proponiamo una terminologia che differenzi chiaramente le attività definite dalle quattro motivazioni, e presentiamo suggerimenti metodologici per la ricerca in ognuno di tali ambiti. Mentre è certamente importante che i ricercatori accolgano gli sviluppi delle discipline correlate, sosteniamo che la ricerca in quei quattro ambiti continuerà a ristagnare a meno che le motivazioni e gli scopi dei progetti di ricerca non vengano chiaramente determinati, e non vengano adottate metodologie appropriate per lo sviluppo e la valutazione dei sistemi per la composizione musicale.</p>
</trans-abstract>
<trans-abstract xml:lang="FR"><p>On cherche ici à éclaircir les motivations sur lesquelles se fondent le développement de programmes informatiques destinés à la composition musicale. A notre sens, il s'agit là d'une question importante, puisque les méthodologies sont à la fois fonction des motivations et des buts. Nous soutenons même que l'ignorance largement répandue des motivations et des buts qui entrent ici en jeu est à l'origine d'un malaise méthodologique au sein de la recherche musicale. Un survol de quelques-uns des tout premiers systèmes informatiques destinés à la composition musicale donne à penser que quatre activités interviennent dans le développement de ces programmes informatiques et que chacune d'elles découle de motivations pratiques et théoriques distinctes. ***Il s'agit d'une part de la composition algorithmique, de la conception d'outils compositionnels et de la modélisation informatique des styles musicaux, et, de l'autre, de la cognition musicale. On étudie successivement ces quatre motivations, en mettant chaque fois l'accent sur l'un des problèmes issus d'une non-identification précise desdites motivations. C'est pourquoi nous proposons une terminologie où sont clairement différenciées les activités inhérentes aux quatre motivations ainsi que des méthodologies de recherche propres à chacun de ces domaines. Certes, la recherche ne peut ignorer les développements des disciplines connexes, mais, s'agissant des quatre domaines en question, elle continuera à stagner tant que ne seront pas clairement fixés les motivations et les buts ni adoptées des méthodologies en adéquation avec le développement et l'évaluation des systèmes de composition musicale.</p>
</trans-abstract>
<trans-abstract xml:lang="DE"><p>Ziel dieses Beitrages ist es, die verschiedenen Beweggründe für die Entwicklung von Computerprogrammen zur Komposition von Musik zu erhellen. Dies erscheint wichtig, da unterschiedliche Motivationen und Ziele unterschiedliche Vorgehensweisen verlangen. Es wird die Ansicht vertreten, daß ein weitgehender Verzicht auf die Spezifizierung von Motiven und Zielen zu einem methodologischen Unbehagen in der musikbezogenen Forschung geführt hat Eine kurze Betrachtung einiger der frühesten Versuche, Rechensysteme für die Komposition von Musik zu entwickeln, führt zur Identifikation von vier Aktivitäten, welche die Entwicklung von Computerprogrammen zur Komposition von Musik einschlossen, von denen jede durch verschiedene praktische oder theoretische Motivationen angeregt wurde. Es sind dies: algorithmische Komposition, die Art des kompositorischen Instrumentariums, die rechnerische Modellierung von Musikstilen und die Modellierung der musikalischen Notation. Diese vier Motivationen werden nacheinander betrachtet, wobei die Probleme, die aus der mangelnden Unterscheidung zwischen ihnen entstanden sind, illustriert werden. Es wird eine Terminologie vorgeschlagen, welche klar zwischen den angeführten Aktivitäten differenziert und methodische Vorschläge für die Forschung in jedem dieser Bereiche vorstellt. Trotz der Wichtigkeit der Einbeziehung von Entwicklungen in verwandten Disziplinen, sind wird der Ansicht, daß die Forschung in diesen vier Bereichen weiterhin stagnieren wird, wenn die Motivationen und Ziele der Forschungsprojekte nicht deutlich herausgestellt und geeignete Methoden für die Entwicklung und Evaluierung von Kompositionstechniken adaptiert werden.</p>
</trans-abstract>
<custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name>
<meta-value>Fall 2002</meta-value>
</custom-meta>
</custom-meta-wrap>
</article-meta>
</front>
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<titleInfo type="alternative" lang="en" contentType="CDATA"><title>Motivations and Methodologies for Automation of the Compositional Process</title>
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<name type="personal"><namePart type="given">David</namePart>
<namePart type="family">Meredith</namePart>
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<name type="personal"><namePart type="given">Geraint</namePart>
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<dateIssued encoding="w3cdtf">2002</dateIssued>
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<abstract lang="en">Our aim in this paper is to clarify the range of motivations that have inspired the development of computer programs for the composition of music. We consider this to be important since different methodologies are appropriate for different motivations and goals. We argue that a widespread failure to specify the motivations and goals involved has lead to a methodological malaise in music related research. A brief consideration of some of the earliest attempts to produce computational systems for the composition of music leads us to identify four activities involving the development of computer programs which compose music each of which is inspired by different practical or theoretical motivations. These activities are algorithmic composition, the design of compositional tools, the computational modelling of musical styles and the computational modelling of music cognition. We consider these four motivations in turn, illustrating the problems that have arisen from failing to distinguish between them. We propose a terminology that clearly differentiates the activities defined by the four motivations and present methodological suggestions for research in each domain. While it is dearly important for researchers to embrace developments in related disciplines, we argue that research in the four domains will continueto stagnate unless the motivations and aims of research projects are clearly stated and appropriate methodologies are adopted for developing and evaluating systems that compose music.</abstract>
<abstract lang="es">Nuestro objetivo en este trabajo es clarificar el cojunto de motivaciones que han inspirado el desarrollo de progamas informáticos destinados a la composición musical. Consideramos la importancia de esto desde diferentes metodologías apropiadas para diferentes motivaciones y objetos. Argüimos que un extendido error al especificar las motivaciones y objetivos buscados ha conducido a un fracaso metodológico en la investigación relacionada con la música. Una breve consideración de algunos de los más tempranos intentos de conseguir sistemas informáticos para la composición musical nos lleva a identificar cuatro actividades relacionadas con el desarrollo de programas informáticos que componen música, cada uno de los cuales está inspirado por diferentes motivaciones prácticas o teóricas. Dichas actividades son la composición algorítmica, el diseño de herramientas compositivas, la modelización informática de estilos musicales y la modelización informática de la cognición musical. Consideramos estas cuatro motivaciones de nuevo, ilustrando los problemas que implica una distinción errónea entre ellas. Proponemos una terminología que diferencie claramente las actividades definidas por las cuatro motivaciones y presente sugerencias metodológicas para la investigación en cada campo. Aunque es claramente importante para los investigadores abrazar desarrollos en disciplinas afines, sostenemos que la investigación de los cuatro campos continuará estancada a menos que las motivaciones y objetivos de los proyectos de investigación estén claramente establecidos y se adopten las metodologías apropiadas para desarrollar y evaluar los sistemas de composición musical.</abstract>
<abstract lang="it">Lo scopo del presente articolo è di chiarire la serie di motivazioni che ha ispirato lo sviluppo di software per la composizione musicale. Riteniamo importante tale chiarimento, considerato che metodologie differenti sono appropriate per motivazioni e scopi differenti. Sosteniamo che una diffusa negligenza nello specificare le motivazioni e gli scopi in questione abbia portato ad un malessere metodologico nella relativa ricerca musicale. Una breve rassegna di alcuni fra i primi tentativi di produrre sistemi informatici per la composizione musicale ci porta a identificare quattro attività riguardanti lo sviluppo di programmi informatici in grado di comporre musica, ognuna delle quali è mossa a da differenti motivazioni pratiche o teoriche. Tali attività sono la composizione algoritmica, la progettazione di strumenti per la composizione, i modelli informatici degli stili musicali e i modelli informatici della cognizione musicale. Prendiamo in considerazione una per una queste quattro motivazioni, illustrando i problemi che sono sorti dalla mancanza di distinzione fra di esse. Proponiamo una terminologia che differenzi chiaramente le attività definite dalle quattro motivazioni, e presentiamo suggerimenti metodologici per la ricerca in ognuno di tali ambiti. Mentre è certamente importante che i ricercatori accolgano gli sviluppi delle discipline correlate, sosteniamo che la ricerca in quei quattro ambiti continuerà a ristagnare a meno che le motivazioni e gli scopi dei progetti di ricerca non vengano chiaramente determinati, e non vengano adottate metodologie appropriate per lo sviluppo e la valutazione dei sistemi per la composizione musicale.</abstract>
<abstract lang="fr">On cherche ici à éclaircir les motivations sur lesquelles se fondent le développement de programmes informatiques destinés à la composition musicale. A notre sens, il s'agit là d'une question importante, puisque les méthodologies sont à la fois fonction des motivations et des buts. Nous soutenons même que l'ignorance largement répandue des motivations et des buts qui entrent ici en jeu est à l'origine d'un malaise méthodologique au sein de la recherche musicale. Un survol de quelques-uns des tout premiers systèmes informatiques destinés à la composition musicale donne à penser que quatre activités interviennent dans le développement de ces programmes informatiques et que chacune d'elles découle de motivations pratiques et théoriques distinctes. ***Il s'agit d'une part de la composition algorithmique, de la conception d'outils compositionnels et de la modélisation informatique des styles musicaux, et, de l'autre, de la cognition musicale. On étudie successivement ces quatre motivations, en mettant chaque fois l'accent sur l'un des problèmes issus d'une non-identification précise desdites motivations. C'est pourquoi nous proposons une terminologie où sont clairement différenciées les activités inhérentes aux quatre motivations ainsi que des méthodologies de recherche propres à chacun de ces domaines. Certes, la recherche ne peut ignorer les développements des disciplines connexes, mais, s'agissant des quatre domaines en question, elle continuera à stagner tant que ne seront pas clairement fixés les motivations et les buts ni adoptées des méthodologies en adéquation avec le développement et l'évaluation des systèmes de composition musicale.</abstract>
<abstract lang="de">Ziel dieses Beitrages ist es, die verschiedenen Beweggründe für die Entwicklung von Computerprogrammen zur Komposition von Musik zu erhellen. Dies erscheint wichtig, da unterschiedliche Motivationen und Ziele unterschiedliche Vorgehensweisen verlangen. Es wird die Ansicht vertreten, daß ein weitgehender Verzicht auf die Spezifizierung von Motiven und Zielen zu einem methodologischen Unbehagen in der musikbezogenen Forschung geführt hat Eine kurze Betrachtung einiger der frühesten Versuche, Rechensysteme für die Komposition von Musik zu entwickeln, führt zur Identifikation von vier Aktivitäten, welche die Entwicklung von Computerprogrammen zur Komposition von Musik einschlossen, von denen jede durch verschiedene praktische oder theoretische Motivationen angeregt wurde. Es sind dies: algorithmische Komposition, die Art des kompositorischen Instrumentariums, die rechnerische Modellierung von Musikstilen und die Modellierung der musikalischen Notation. Diese vier Motivationen werden nacheinander betrachtet, wobei die Probleme, die aus der mangelnden Unterscheidung zwischen ihnen entstanden sind, illustriert werden. Es wird eine Terminologie vorgeschlagen, welche klar zwischen den angeführten Aktivitäten differenziert und methodische Vorschläge für die Forschung in jedem dieser Bereiche vorstellt. Trotz der Wichtigkeit der Einbeziehung von Entwicklungen in verwandten Disziplinen, sind wird der Ansicht, daß die Forschung in diesen vier Bereichen weiterhin stagnieren wird, wenn die Motivationen und Ziele der Forschungsprojekte nicht deutlich herausgestellt und geeignete Methoden für die Entwicklung und Evaluierung von Kompositionstechniken adaptiert werden.</abstract>
<relatedItem type="host"><titleInfo><title>Musicae scientiae</title>
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<identifier type="ISSN">1029-8649</identifier>
<identifier type="eISSN">2045-4147</identifier>
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<part><date>2002</date>
<detail type="title"><title>Themed issue: Hommage a Jean-Pierre Lecanuet</title>
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<extent unit="pages"><start>119</start>
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