Aaron Levisohn
Philippe Pasquier
ABSTRACT
BeatBender is a computer music project that explores a new method for generating emergent rhythmic drum patterns using the subsumption architecture. Rather than explicitly coding symbolic intelligence into the system using procedural algorithms, BeatBender uses a behavior-based model to elicit emergent rhythmic output from six autonomous agents. From an artistic perspective, the rules used to define the agent behavior provide a simple but original composition language. This language allows the composer to express simple and meaningful constraints that direct the behavior of the agent-percussionists. From these simple rules emerge unexpected behavioral interactions that direct the formation of complex rhythmic output. What is striking is that these rhythmic patterns, whose complexity is beyond human grasp, are both musically interesting and aesthetically pleasing. The output from the system is evaluated using both subjective and objective criteria to assess degrees of complexity, convergence, and aesthetic interest.
- M. Whitelaw, Metacreation: Art and Artificial Life, The MIT Press, 2006. Google Scholar
Digital Library
- H. Cohen, "The further exploits of Aaron, painter," Stanford Hum. Rev., vol. 4, 1995, pp. 141--158. Google ScholarDigital Library
- D. Cope, "Computer modeling of musical intelligence in EMI," Computer Music Journal, vol. 16, 1992, pp. 69--83.Google ScholarCross Ref
- D. Levy and M. Newborn, How computers play chess, Computer Science Press, Inc., 1991; Google ScholarDigital Library
- Brooks, R. A., "Intelligence Without Representation," Artificial Intelligence Journal, vol. 47, 1991, pp. 139--159. Google ScholarDigital Library
- J. Bispham, "Rhythm in Music: What is it? Who has It? And Why?," Music Perception, vol. 24, Dec. 2006, pp. 125--134.Google ScholarCross Ref
- Woolridge, M. and Jennings, N. R., "Intelligent Agents: Theory and Practice," Knowledge Engineering Review, vol. 10(2), 1995.Google Scholar
- J. Bryson, A. Smaill, and G. A. Wiggins, "The Reactive Accompanist: Applying Subsumption Architecture to Software Design," Research Paper 606, Dept. of Artificial Intelligence, Edinburgh, 1992.Google Scholar
- H. Nakashima and I. Noda, "Dynamic Subsumption Architecture for Programming Intelligent Agents," Multi Agent Systems, 1998, pp. 190--197. Google ScholarDigital Library
- G. Weinberg and S. Driscoll, "Robot-human interaction with an anthropomorphic percussionist," Proc. of SIGCHI conf. on Human Factors in computing systems, Montréal, Québec, Canada: ACM, 2006, pp. 1229--1232; Google ScholarDigital Library
- A. Eigenfeldt, "The Creation of Evolutionary Rhythms within a Multi-agent Networked Drum Ensemble," Proc. Intern. Comp. Music Conf., Copenhagen: ICMC 2007.Google Scholar
- A. R. Brown, "Exploring Rhythmic Automata," Applications of Evolutionary Computing, vol. Volume 3449, 2005, pp. 551--556. Google ScholarDigital Library
- F. Pachet, "Rhythms as Emerging Structures," Proc. of 2000 International Computer Music Conference, Berlin, ICMA, 2000.Google Scholar
- E. R. Miranda, "On the Music of Emergent Behavior: What Can Evolutionary Computation Bring to the Musician?," Leonardo, vol. 36, 2003, pp. 55--59.Google ScholarCross Ref
- M. Dolson, "Machine Tongues XII: Neural Networks," Music and Connectionism, vol. 13, 1991.Google Scholar
- N. Tokui and H. Iba, "Music Composition with Interactive Evolutionary Computation," GA2000. Proc. of the Third International Conference on Generative Art, 2000, pp. 215--226.Google Scholar
Index Terms
- BeatBender: subsumption architecture for autonomous rhythm generation
Recommendations
REVIVE: An Audio-visual Performance with Musical and Visual AI Agents
CHI EA '18: Extended Abstracts of the 2018 CHI Conference on Human Factors in Computing SystemsREVIVE explores the affordances of live interaction between the artificial musical agent MASOM, human electronic musicians, and visual generation agents. The Musical Agent based on Self-Organizing Maps (MASOM) has memorized sound objects and learned how ...
RhythmSynthesis: visual music instrument
C&C '11: Proceedings of the 8th ACM conference on Creativity and cognitionOriginating as an investigation into the relationships between rhythm and technology, RhythmSynthesis applies color, shape, and sound to demonstrate how our understanding of visual music, computation, and tangible, audio-visual interactions can be ...
Equal Temperament and Just Intonation Feature Based Analysis of Indian Music
Intelligent Human Computer InteractionAbstractIt is a well-known fact that most western music is based on equal temperament, but Indian music is based on just intonation. However, the west has always been in the lead in creating electronic music processing tools like keyboards and software ...
Comments