The society of mind
A computer participant in musical improvisation
Proceedings of the ACM SIGCHI Conference on Human factors in computing systems
Proceedings of the first international joint conference on Autonomous agents and multiagent systems: part 2
Formal Concept Analysis: Mathematical Foundations
Formal Concept Analysis: Mathematical Foundations
Pragmatics in Language and Music
Proceedings of a Workshop held as part of AI-ED 93, World Conference on Artificial Intelligence in Education on Music Education: An Artificial Intelligence Approach
A multiagent approach for musical interactive systems
AAMAS '03 Proceedings of the second international joint conference on Autonomous agents and multiagent systems
Beyond the Cybernetic Jam Fantasy: The Continuator
IEEE Computer Graphics and Applications
A Dialogue Game Protocol for Multi-Agent Argument over Proposals for Action
Autonomous Agents and Multi-Agent Systems
MAMA: An architecture for interactive musical agents
Proceedings of the 2006 conference on ECAI 2006: 17th European Conference on Artificial Intelligence August 29 -- September 1, 2006, Riva del Garda, Italy
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In this paper we argue there is a need for a formalised description of musical interaction, which allows reasoning about the musical decisions of human and computational players. To this end, we define a simple model of musical transmission which is amenable to distribution among several musical agents. On top of this, we construct a model of musical perception, based on analysis functions from the musical surface to values on lattices. These values are then used to construct a musical context, allowing for a music-oriented version of concepts such as common ground. This context allows for the interpretation of individual musical output as a stream of discrete actions, with the possibility of constructing sets of performative actions, analogous to those used in Speech Act Theory. This allows musical agent systems to construct output in terms of a communicative dialogue, and should enable more responsive, intelligent participation from these virtual musicians. Finally, we discuss a prototype system which implements these concepts in order to perform piano duets with human performers, and discuss how this theory can be seen as a better defined extension of previous theories.