Music 206: Emotions, Style and Meaning…
Reading list with some annotations
Introduction:
Common sense in AI, Minsky’s ideas on Music, role of body in reasoning and Sentics
- “The St. ThomasCommon SenseSymposium:Designing Architecturesfor Human-Level Intelligence”, Marvin Minsky, Push Singh, and Aaron Sloman, AI Magazine, 2004
- “Music, Mind, and Meaning”, Marvin Minsky, Computer Music Journal, 1981,
- “Building Brains for Bodies, Rodney Brooks and Lynn Andrea Stein, Autonomous Robots, 1 (1994)
- “Time-Forms, Nature's Generators and Communicators of Emotion”, Manfred Clynes, IEEE International Workshop on Robot and Human Communication, Tokyo, Japan, Sept. 1992.
Decision Making and Mental Models:
Relation between rational behavior and mental models, what are the behavioral aspectsof decision making and alternative models for games theory.
- “Decision Making and Problem Solving”, by Herbert A. Simon et al., Research Briefings 1986
- “Mental models: a gentle guide for outsiders”, P.N. Johnson-Laird, Vittorio Girotto, and Paolo Legrenzi, 1998
- “Behavioural studies of strategicthinking in games”, Colin F. Camerer, TRENDS in Cognitive Sciences Vol.7 No.5 May 2003
- “Mental Models and Normal Errors”, Kevin Burns, 2002
- Game theory and the Cuban missile crisis”, Steven J. Brams, 2001
Complexity:
Complexity in nature, cognition and music
- "The Architecture of Complexity", The Sciences of the Artificial, By Herbert Simon, 1969
- “Cognitive complexity and the structure of musical patterns”, Jeff Pressing.
- “Complexity measures of musical rhythms”, Shmulevich, I., Povel, D.J. (2000). In P. Desain &L.Windsor, Rhythm perception and production
- “Complexity Measures for complex systems and complex objects”, Pablo Funes
Emotions:
Models of Emotions in rationality and in music
- “Beyond Shallow Models of Emotion”, Aaron Sloman, Cognitive Processing, Vol. 2, No 1, 2001
- “Rationality and the Emotions”, Jon Elster, The Economic Journal, 1996
- “Detecting Emotion in Music”, Tao Li and Mitsunori Ogihara, 2003
- “Disambiguating Music Emotion using Software Agents”, Dan Yang, WonSook Lee, 2004
Affective Processing:
Algorithms and methods for affect processing
- “Digital Processing of Affective Signals”, Jennifer Healey and Rosalind Pickard, ICASSP 98.
- “Affective Content Detection using HMMs”, Hang-Bong Kang, MM’03
- “Using audio features to model the affective response to music”, Marc Leman, Valery Vermeulen, Liesbeth De Voogdt, Dirk Moelants, ISMA2004
- “Composing Affective Music with a Generate and Sense Approach”, Sunjung Kim and Elisabeth André, 2004
Improvisation and Emergence:
- “Improvisation: Methods and Models”,in Generative processes in music(ed. J. Sloboda) Oxford University Press 1987
- “The Mechanisms of Emergence”, R.K.Sawyer, Philosophy of Social Sciences, 2003
- “Improvisational Cultures: Collaborative Emergence andCreativity in Improvisation”, R.K.Sawyer, Mind, Culture and Activity, 2000
Narrative:
- “Understanding Narrative is Like Observing Agents”, Guido Boella, Rossana Damiano, and Leonardo Lesmo, AAAI 1999
- “Narrative Intelligence”, Michael Mateas and Phoebe Sengers, AAAI 1999
- “Notes on the Use of Plan Structures in the Creation of Interactive Plot”, R. Michael Young, AAAI 99
- “Improvisation and Narrative”, R.K.Sawyer, Narrative Inquiry, 2002
Style:
Style as surface features and local structures
- “Style Machines”, Matthew Brand Aaron Hertzmann, SIGGRAPH 2000
- “Machine Learning of Musical Style”, Dubnov and Assayag, Computer Magazine, 2002
- “Separating Style and Content”, J.B. Tennenbaum and W.T. Freeman, Adv. In NIPS, 1997
- “Style as a Choice of Blending Principles”, Joseph A. Goguen and D. Fox Harrell, 2004
Flow:
Is Flow and alternative for describingartistic experience?
- “Quality of Experience in VirtualEnvironments”, Andrea GAGGIOLI, Marta BASSI, Antonella DELLE FAVE, 2003
- “Improvisation Planning and Jam Session Design using concepts of Sequence Variation and Flow Experience”, Dubnov and Assayag, 2005
Musical Forces:
Physical metaphors and emotional forces
- “Musical Forces and Melodic Expectations: ComparingComputer Models and Experimental Results”, Steve Larson, Music Perception, 2004
- “Influences of Large-Scale Form on Continuous Ratings in Response to a Contemporary Piece in a Live Concert Setting”, McAdams et al., Music Perception, 2004
- “Structural and Affective Aspects of Music from Statistical Audio Signal Analysis”, Dubnov et al, JASIST 2005
Influential Aspects of Information:
Information that affects the receiver
- “Toward a Theory of Information Processing”, Sinan Sinanovi´c and Don H. Johnson, 2004.
- “Spectral Anticipations”, Dubnov, 2005
Computational Media Aesthetics:
Semantic gap between features and meaning and its relation to aesthetics
- “Bridging the Semantic Gap in Content Management, Systems: Computational Media Aesthetics”, Chitra Dorai, Svetha Venkatesh
- “Negotiating the semantic gap: from feature maps to semantic landscapes”, Rong Zhao, W.I. Grosky, Pattern Recognition 35 (2002)
- “Where DoesComputationalMedia AestheticsFit?”, Brett Adams, 2003