![]() We were among the first university presses to offer titles electronically and we continue to adopt technologies that allow us to better support the scholarly mission and disseminate our content widely. The article concludes with a discussion of the current status of the system, with regards to ideas from the computational creativity literature, among other sources, and suggestions for future work that may advance the compositional ability of the system beyond its current level and towards human-like expertise.Īmong the largest university presses in the world, The MIT Press publishes over 200 new books each year along with 30 journals in the arts and humanities, economics, international affairs, history, political science, science and technology along with other disciplines. Evaluation of Autocousmatic has involved three main components: the entry of its output works into composition competitions, the public release of the software with an associated questionnaire and sound examples on SoundCloud, and direct feedback from three highly experienced electroacoustic composers. Generation of the formal structure of output pieces utilizes models derived from a small corpus of exemplar electroacoustic music, and a dynamic time-warping similarity-measure technique drawn from music information retrieval is employed to decide between candidate final mixes. An iterative, automatic effects processing system is coupled to machine-listening components, including the assessment of the "worthiness" of intermediate files to continue to a final mixing stage. After surveying previous projects in automated mixing and algorithmic composition, the design and implementation of the current system is outlined. This article presents Autocousmatic, an algorithmic system that creates electroacoustic art music using machine-listening processes within the design cycle.
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