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Abstract: I discuss three issues relevant to the use of constraints in musical AI applications: four-part harmony; serial composition; and music representation. I describe two small pieces of work in the former two, and suggest that the last constitutes an important challenge question for those interested in designing constraint systems for use in an AI/Music context. 1 Introduction In this paper, I discuss three issues which are relevant to the use of constraint programming (specifically in my case,... (Update)
Context of citations to this paper: More
.... of human behaviour, its aims, limitations, insights, strategies and emotional conditions should precede the modelling task (see also Wiggins, 1998) Outputs of computer programs that are comparable to creative products are mainly based on one component of creative acts, the...
Cited by: More
Creativity - Simply Random? - Zimmermann (Correct)
Active bibliography (related documents): More All
1.3: Musical Knowledge: what can Artificial Intelligence bring to.. - Wiggins, Smaill (Correct)
0.5: Representing Music Symbolically - Harris, Smaill, Wiggins (1996) (Correct)
0.5: Real-Time Music Generation for a Virtual Environment - Robertson, de Quincey.. (Correct)
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0.6: The Four-Part Harmonisation Problem: A comparison between - Genetic Algorithms And (Correct)
0.2: An Experiment In The Automatic Creation Of Music - Which Has Specific (Correct)
0.2: Aspects of a Cognitive Theory of Creativity in Musical.. - Pearce, Wiggins (Correct)
BibTeX entry: (Update)
Wiggins, G.: The Use of Constraint Systems for Musical Composition, in: F. Pachet (ed.): ECAIWorkshop on Constraint Techniques for Artistic Applications, Brighton 1998. http://citeseer.ist.psu.edu/wiggins98use.html More
@misc{ wiggins98use,
author = "G. Wiggins",
title = "The Use of Constraint Systems for Musical Composition",
text = "Wiggins, G.: The Use of Constraint Systems for Musical Composition, in:
F. Pachet (ed.): ECAIWorkshop on Constraint Techniques for Artistic Applications,
Brighton 1998.",
year = "1998",
url = "citeseer.ist.psu.edu/wiggins98use.html" }
Citations (may not include all citations):1931 Adaptation in Natural and Artificial Systems (context) - Holland - 1992
6 Swedish Institute of Computer Science (context) - of, The et al. - 1998
4 Hierarchical music representation for analysis and compositi.. (context) - Smaill, Wiggins et al. - 1993
4 Representing music for analysis and composition (context) - Wiggins, Harris et al. - 1989
4 A framework for the evaluation of music representation syste.. (context) - Wiggins, Miranda et al. - 1993
3 Representing music symbolically - Harris, Smaill et al. - 1991
2 Evolving musical harmonisation (context) - Phon-Amnuaisuk, Tuson et al. - 1998
2 Penser la musique aujourd'hui (context) - Boulez - 1963
1 An expert system for harmonizing four-part chorales (context) - Darwin, On - 1988
1 The Musician's Guide to Acoustics (context) - Campbell, Greated - 1988
1 Translated from the original German by Eithne Wilkins and Er.. (context) - Schoenberg - 1974
1 Style and Idea: selected writings of Arnold Schoenberg (context) - Schoenberg - 1984
1 The Well-Tempered Klavier (context) - Bach - 1951
Documents on the same site (http://www.dai.ed.ac.uk/groups/aimusic/references.html): More
Evolutionary Methods for Musical Composition - Wiggins, Papadopoulos.. (1998) (Correct)
Statistical Learning of Harmonic Movement - Ponsford, Wiggins, Mellish (1999) (Correct)
Real-Time Music Generation for a Virtual Environment - Robertson, de Quincey.. (Correct)
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