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Andrew R Brown

Griffith University, Professor of Digital Arts, Faculty Member

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Andrew R. Brown's interests and expertise are in computational music and art, technologies that support creativity and learning, and the philosophy of technology. His research focuses on the aesthetics of computational processes, adaptive music for interactive entertainment, modelling musical intelligence and interactive performance systems. He is an active computer musician, computational artist, and a builder of software tools that support creativity. He is Professor of Digital Arts at Griffith University, Brisbane, Australia. Previous positions include Research Manager for the Australasian Cooperative Research Centre for Interaction Design (ACID), and Professor of Music and Sound at the Queensland University of Technology (QUT).

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Books by Andrew R Brown

Understanding Musical Practices as Agency Networks

Proceedings of the International Conference on Computational Creativity, 2016

This position paper proposes that creative practices can be usefully understood as agency network... more This position paper proposes that creative practices can be usefully understood as agency networks. In particular it looks at interactive algorithmic musical practices and the takes a distributed view of the influences involved in such music making. The elements involved include humans, tools, culture and the physical environment that constitute a system or network of mutual influences. Such an agency network perspective is intended to be useful for the pragmatic tasks of designing new interactive music systems and developing new musical practices that utilise them. Drawing on previous research into generative music and computational creativity, various views on interactive music systems are canvassed and an approach to describing these as agency networks is developed. It is suggested that new human-machine musical practices may arise as a result of adopting an agency network perspective and that these, in turn, can drive cultural innovations.

Game Technology in the Music Classroom: A platform for the design of music and sound

The use of technology in music and education can no longer be described as a recent development. ... more The use of technology in music and education can no longer be described as a recent development. Music learners actively engage with technology in their music making, regardless of the opportunities afforded to them in formal settings. This volume draws together critical perspectives in three overarching areas in which technology is used to support music education: music production; game technology; musical creation, experience and understanding. The fourteen chapters reflect the emerging field of the study of technology in music from a pedagogical perspective. Contributions come not only from music pedagogues but also from musicologists, composers and performers working at the forefront of the domain. The authors examine pedagogical practice in the recording studio, how game technology relates to musical creation and expression, the use of technology to create and assess musical compositions, and how technology can foster learning within the field of Special Educational Needs (SEN). In addition, the use of technology in musical performance is examined, with a particular focus on the current trends and the ways it might be reshaped for use within performance practice. This book will be of value to educators, practitioners, musicologists, composers and performers, as well as to scholars with an interest in the critical study of how technology is used effectively in music and music education.

Music Technology and Education: Amplifying Musicality

Music Technology and Education: Amplifying Musicality lays out principles of music technology and... more Music Technology and Education: Amplifying Musicality lays out principles of music technology and how they can be used to enhance music teaching and learning. The book provides an overview of the field and sufficient detail to extend the reader’s knowledge of, and engagement with, music technology in a variety of ways. It outlines ways in which music technologies can assist learning and teaching across a wide range of musical activities including performance, composition, recording, listening, and scholarship. The book discusses relevant educational and philosophical concepts that guide the use of music technologies in education and provide a framework for curriculum design. This second edition has been significantly reorganized and streamlined, it provides up to date information and advice about technologies and music education that takes into account contemporary trends including networked and mobile computing and advances in online learning.

Making Music with Computers: Creative Programming in Python

by Andrew R Brown and Bill Manaris

Making Music with Computers: Creative Programming in Python introduces important concepts and ski... more Making Music with Computers: Creative Programming in Python introduces important concepts and skills necessary to generate music with computers. It interweaves computing pedagogy with musical concepts and creative activities, showing students how to integrate the creativity and design of the arts with the mathematical rigor and formality of computer science. The book provides an introduction to creative software development in the Python programming language.

Sound Musicianship: Understanding the crafts of music

Sound Musicianship is a book for music educators and musicians about musicianship—about musical s... more Sound Musicianship is a book for music educators and musicians about musicianship—about musical skills, abilities, habits, sensibilities and understandings. Musicianship is explored as a form of craftsmanship. Like most crafts, music requires a balance of theoretical knowledge and practical skills that contribute to a highly tuned ability to appreciate and express music. In particular, the book explores general trends that influence musicianship in the twenty-first century, such as an increased reliance on digital media, greater awareness of the neurological basis for musical behaviour, a renewed interest in connections between bodily movements and musical expression, and increased cultural plurality resulting from more frequent travel, increased levels of migration and ubiquitous telecommunications.

Computers in Music Education: Amplifying Creativity

Computer technology has been rapidly changing, especially when it comes to the field of music. Fo... more Computer technology has been rapidly changing, especially when it comes to the field of music. Form notation soft- ware to MIDI creation, from downloading music for study and enjoyment to uploading personal MP3’s for distribution, computers have transformed how we perform and learn about music. Music teachers have have traditionally been slow to embrace these technological advances, but that trend is changing.

Computers In Music Education, written by a music educator and digital media specialist, cuts through the jargon to present a concise, easy-to-digest overview of the field, with practical suggestions throughout. This book will help educators keep abreast of new developments in the field and provide insight on the uses of a computer as a tool for efficient music making, a medium for music manipulation, and an instrument for musical expression.

Because of the pace of technological change, the book focuses on the general principles of using computers in the music classroom rather than on the use of any particular software.

Making Music With Java: An introduction to computer music, Java programming, and the jMusic library

Making Music with Java is an introduction to music making through software development in the Jav... more Making Music with Java is an introduction to music making through software development in the Java programming language using the jMusic library. It explains musical and programming concepts in a coordinated way. The book is written for the musician who wishes to learn about Java programming and computer music concepts, and for the programmer who is interested in music and sound design with Java. It assumes little musical or programming experience and introduces topics and issues as they arise. Sections on computer music and programming are interlaced throughout, but kept separate enough so that those with experience in either area can skip ahead as required.

Papers by Andrew R Brown

Music, media and making: Humanising digital media in music education

International Journal of Music Education, May 1, 1999

This paper examines three functions of music technology in the study of music. Firstly, as a tool... more This paper examines three functions of music technology in the study of music. Firstly, as a tool, secondly, as an instrument and, lastly, as a medium for thinking. As our societies become increasingly embroiled in digital media for representation and communication, our philosophies of music education need to adapt to integrate these developments while maintaining the essence of music. The foundation of music technology in the 1990s is the digital representation of sound. It is this fundamental shift to a new medium with which to represent sound that carries with it the challenge to address digital technology and its multiple effects on music creation and presentation. In this paper I suggest that music institutions should take a broad and integrated approach to the place of music technology in their courses, based on the understanding of digital representation of sound and these three functions it can serve. Educators should reconsider digital technologies such as synthesizers and computers as music instruments and cognitive amplifiers, not simply as efficient tools.

Diverse Sound Practices: An exploration of experimental electronic music in regional Australia

Organised sound, Dec 1, 2023

Eco-structure data forms: classification of data analysis using perceived design affordances for musical outcomes

Improvisation: Australasian Computer …, 2009

Tools and Outcomes: Computer music systems and musical directions

In the changing context of computer music composition where the computer becomes a commodity rath... more In the changing context of computer music composition where the computer becomes a commodity rather than a novelty, this paper examines the composers' relationship with the computer and how that relates to music making. Computer music making has a history of close association between tool making and music making. This relationship was first forged out of necessity, then out of interest and a dedication to new ways of composing and performing. At the turn of the century, after 50 years of computer music, computers are becoming just another musical instrument. With the development of a wide range of computer music software and hardware, tool making is no longer a necessity for computer music making, nor perhaps even a badge of honour.

◾ Iteration and Lists

Scratch Music Projects

This book introduces readers to concepts in computational thinking and coding alongside parallel ... more This book introduces readers to concepts in computational thinking and coding alongside parallel concepts in music, creative sound, and interaction. The book begins with a gentle introduction to the Scratch 3.0 programming environment through hands-on projects using a computer keyboard and mouse to make music and control sounds, creating original sounds, and performing them as an instrument. The next chapters introduce programming musical sequences, melodies, and structures, and assembling them into a virtual band that can be performed live or automated through algorithms. The final chapters explore computational thinking and music in the contexts of making games with sound effects, teaching the computer to generate music using algorithms and rules, interacting with music using live video, finishing with a chapter on musical live coding, where readers will create and manipulate computer code to perform, improvise, and create original music live.

Improvising with Grid Music Systems

Grid music systems provide discrete geometric methods for simplified music-making by providing sp... more Grid music systems provide discrete geometric methods for simplified music-making by providing spatialised input to construct patterned music on a 2D matrix layout. While they are conceptually simple, grid systems may be layered to enable complex and satisfying musical results. Grid music systems have been applied to a range of systems from small portable devices up to larger systems. In this paper we will discuss the use of grid music systems in general and present an overview of the HarmonyGrid system we have developed as a new interactive performance system. We discuss a range of issues related to the design and use of larger-scale gridbased interactive performance systems such as the HarmonyGrid.

Cooperative Experimentalism: Sharing to enhance electronic media

This article explores the impacts of information sharing and experimentation on electronic media ... more This article explores the impacts of information sharing and experimentation on electronic media practitioners. It draws on characteristics of ‘open’ or ‘DIY’ cultures prevalent in the technological ‘maker’ movement and suggests that we collectively describe such practices as cooperative experimentalism. In particular this article focuses on the discipline of music and describes how adopting an approach to making that privileges sharing of tools and knowledge might be a useful strategy in the development of handmade electronic music instruments and associated live performance practices. The implications of such trends in electronic media suggest that the notion of cooperative experimentalism may well apply more generally to creative electronic media practices in our (post) digital age.

Algorithms and Computation in Music Education

Oxford Handbooks Online, 2018

The chapter discusses how bringing music and computation together in the curriculum offers social... more The chapter discusses how bringing music and computation together in the curriculum offers socially grounded contexts for the learning of digital expression and creativity. It explores how algorithms codify cultural knowledge, how programming can assist students in understanding and manipulating cultural norms, and how these can play a part in developing a student’s musicianship. In order to highlight how computational thinking extends music education and builds on interdisciplinary links, the chapter canvasses the challenges, and solutions, involved in learning through algorithmic music. Practical examples from informal and school-based educational contexts are included to illustrate how algorithmic music has been successfully integrated with established and emerging pedagogical approaches.

Generative music systems for live performance

Music improvisation continues to be an intriguing area for computational creativity. In this pape... more Music improvisation continues to be an intriguing area for computational creativity. In this paper we will outline two software systems designed for live music performance, the LEMu (live electronic music) system and the JamBot (improvisatory accompaniment agent). Both systems undertake an analysis of human created music, generate complementary new music, are designed for interactive use in live performance, and have been tested in numerous live settings. These systems have some degree of creative autonomy, however, we are especially interested in the creative potential of the systems interacting with human performers. The LEMu software generates transitional material between scores provided in MIDI format. The LEMu software uses an evolutionary approach to generated materials that provide an appropriate path between musical targets [1]. This musical morphing process is controlled during performance by an interactive nodal graph that allows the performer to select the morphing source and target as well as transition speed and parameters. Implementations included the MorphTable [2] where users manipulate blocks on a large surface to control musical morphing transitions. This design suits social interaction and is particularly suited to use by inexperienced users. The JamBot [3] listens to an audio stream and plays along. It consists of rhythmic and harmonic analysis algorithms that build a dynamic model of the music being performed. This model holds multiple probable representations at one time in the Chimera Architecture [4] which can be interpreted in various ways by a generative music algorithm that adds accompaniment in real time. These systems have been designed using a research method we have come to call Generation in Context, that relies on iterations of aesthetic reflection on the generated outcomes to inform the processes of enquiry [5].

Autonomy, Autopoeisis, Prosthesis: Cybernetics in Art

Do Androids Dream of Musical Chimera

This paper describes the use of the Chimera Architecture as the basis for a generative rhythmic i... more This paper describes the use of the Chimera Architecture as the basis for a generative rhythmic improvisation system that is intended for use in ensemble contexts. This interactive software system learns in real time based on an audio input from live performers. The paper describes the components of the Chimera Architecture including a novel analysis engine that uses prediction to robustly assess the rhythmic salience of the input stream. Analytical results are stored in a hierarchical structure that includes multiple scenarios which allow abstracted and alternate interpretations of the current metrical context. The system draws upon this Chimera Architecture when generating a musical response. The generated rhythms are intended to have a particular ambiguity in relation to the music performance by other members of the ensemble. Ambiguity is controlled through alternate interpretations of the Chimera. We describe an implementation of the Chimera Architecture that focuses on rhythmic material, and present and discuss initial experimental results of the software system playing along with recordings of a live performance.

Gifford, Toby and Brown, Andrew (2006) The Ambidrum: Automated Rhythmic Improvisation. In Proceedings Australasian Computer Music Conference, pages pp. 44-49, Adelaide, Australia

This paper outlines a system for machine improvisation with a human performer where the focus is ... more This paper outlines a system for machine improvisation with a human performer where the focus is limited to the provision of rhythmic complementarity. Complementarity is achieved through the real-time measurement of metrical coherence in currently playing rhythmic material that informs the generation of subsequent material. A robust computational approach building on recent theories of improvisational intelligence and situated cognition is described. This algorithm can be effective across a range of musical styles.

Understanding Musical Practices as Agency Networks

Proceedings of the International Conference on Computational Creativity, 2016

This position paper proposes that creative practices can be usefully understood as agency network... more This position paper proposes that creative practices can be usefully understood as agency networks. In particular it looks at interactive algorithmic musical practices and the takes a distributed view of the influences involved in such music making. The elements involved include humans, tools, culture and the physical environment that constitute a system or network of mutual influences. Such an agency network perspective is intended to be useful for the pragmatic tasks of designing new interactive music systems and developing new musical practices that utilise them. Drawing on previous research into generative music and computational creativity, various views on interactive music systems are canvassed and an approach to describing these as agency networks is developed. It is suggested that new human-machine musical practices may arise as a result of adopting an agency network perspective and that these, in turn, can drive cultural innovations.

Game Technology in the Music Classroom: A platform for the design of music and sound

The use of technology in music and education can no longer be described as a recent development. ... more The use of technology in music and education can no longer be described as a recent development. Music learners actively engage with technology in their music making, regardless of the opportunities afforded to them in formal settings. This volume draws together critical perspectives in three overarching areas in which technology is used to support music education: music production; game technology; musical creation, experience and understanding. The fourteen chapters reflect the emerging field of the study of technology in music from a pedagogical perspective. Contributions come not only from music pedagogues but also from musicologists, composers and performers working at the forefront of the domain. The authors examine pedagogical practice in the recording studio, how game technology relates to musical creation and expression, the use of technology to create and assess musical compositions, and how technology can foster learning within the field of Special Educational Needs (SEN). In addition, the use of technology in musical performance is examined, with a particular focus on the current trends and the ways it might be reshaped for use within performance practice. This book will be of value to educators, practitioners, musicologists, composers and performers, as well as to scholars with an interest in the critical study of how technology is used effectively in music and music education.

Music Technology and Education: Amplifying Musicality

Music Technology and Education: Amplifying Musicality lays out principles of music technology and... more Music Technology and Education: Amplifying Musicality lays out principles of music technology and how they can be used to enhance music teaching and learning. The book provides an overview of the field and sufficient detail to extend the reader’s knowledge of, and engagement with, music technology in a variety of ways. It outlines ways in which music technologies can assist learning and teaching across a wide range of musical activities including performance, composition, recording, listening, and scholarship. The book discusses relevant educational and philosophical concepts that guide the use of music technologies in education and provide a framework for curriculum design. This second edition has been significantly reorganized and streamlined, it provides up to date information and advice about technologies and music education that takes into account contemporary trends including networked and mobile computing and advances in online learning.

Making Music with Computers: Creative Programming in Python

by Andrew R Brown and Bill Manaris

Making Music with Computers: Creative Programming in Python introduces important concepts and ski... more Making Music with Computers: Creative Programming in Python introduces important concepts and skills necessary to generate music with computers. It interweaves computing pedagogy with musical concepts and creative activities, showing students how to integrate the creativity and design of the arts with the mathematical rigor and formality of computer science. The book provides an introduction to creative software development in the Python programming language.

Sound Musicianship: Understanding the crafts of music

Sound Musicianship is a book for music educators and musicians about musicianship—about musical s... more Sound Musicianship is a book for music educators and musicians about musicianship—about musical skills, abilities, habits, sensibilities and understandings. Musicianship is explored as a form of craftsmanship. Like most crafts, music requires a balance of theoretical knowledge and practical skills that contribute to a highly tuned ability to appreciate and express music. In particular, the book explores general trends that influence musicianship in the twenty-first century, such as an increased reliance on digital media, greater awareness of the neurological basis for musical behaviour, a renewed interest in connections between bodily movements and musical expression, and increased cultural plurality resulting from more frequent travel, increased levels of migration and ubiquitous telecommunications.

Computers in Music Education: Amplifying Creativity

Computer technology has been rapidly changing, especially when it comes to the field of music. Fo... more Computer technology has been rapidly changing, especially when it comes to the field of music. Form notation soft- ware to MIDI creation, from downloading music for study and enjoyment to uploading personal MP3’s for distribution, computers have transformed how we perform and learn about music. Music teachers have have traditionally been slow to embrace these technological advances, but that trend is changing.

Computers In Music Education, written by a music educator and digital media specialist, cuts through the jargon to present a concise, easy-to-digest overview of the field, with practical suggestions throughout. This book will help educators keep abreast of new developments in the field and provide insight on the uses of a computer as a tool for efficient music making, a medium for music manipulation, and an instrument for musical expression.

Because of the pace of technological change, the book focuses on the general principles of using computers in the music classroom rather than on the use of any particular software.

Making Music With Java: An introduction to computer music, Java programming, and the jMusic library

Making Music with Java is an introduction to music making through software development in the Jav... more Making Music with Java is an introduction to music making through software development in the Java programming language using the jMusic library. It explains musical and programming concepts in a coordinated way. The book is written for the musician who wishes to learn about Java programming and computer music concepts, and for the programmer who is interested in music and sound design with Java. It assumes little musical or programming experience and introduces topics and issues as they arise. Sections on computer music and programming are interlaced throughout, but kept separate enough so that those with experience in either area can skip ahead as required.

Music, media and making: Humanising digital media in music education

International Journal of Music Education, May 1, 1999

This paper examines three functions of music technology in the study of music. Firstly, as a tool... more This paper examines three functions of music technology in the study of music. Firstly, as a tool, secondly, as an instrument and, lastly, as a medium for thinking. As our societies become increasingly embroiled in digital media for representation and communication, our philosophies of music education need to adapt to integrate these developments while maintaining the essence of music. The foundation of music technology in the 1990s is the digital representation of sound. It is this fundamental shift to a new medium with which to represent sound that carries with it the challenge to address digital technology and its multiple effects on music creation and presentation. In this paper I suggest that music institutions should take a broad and integrated approach to the place of music technology in their courses, based on the understanding of digital representation of sound and these three functions it can serve. Educators should reconsider digital technologies such as synthesizers and computers as music instruments and cognitive amplifiers, not simply as efficient tools.

Diverse Sound Practices: An exploration of experimental electronic music in regional Australia

Organised sound, Dec 1, 2023

Eco-structure data forms: classification of data analysis using perceived design affordances for musical outcomes

Improvisation: Australasian Computer …, 2009

Tools and Outcomes: Computer music systems and musical directions

In the changing context of computer music composition where the computer becomes a commodity rath... more In the changing context of computer music composition where the computer becomes a commodity rather than a novelty, this paper examines the composers' relationship with the computer and how that relates to music making. Computer music making has a history of close association between tool making and music making. This relationship was first forged out of necessity, then out of interest and a dedication to new ways of composing and performing. At the turn of the century, after 50 years of computer music, computers are becoming just another musical instrument. With the development of a wide range of computer music software and hardware, tool making is no longer a necessity for computer music making, nor perhaps even a badge of honour.

◾ Iteration and Lists

Scratch Music Projects

This book introduces readers to concepts in computational thinking and coding alongside parallel ... more This book introduces readers to concepts in computational thinking and coding alongside parallel concepts in music, creative sound, and interaction. The book begins with a gentle introduction to the Scratch 3.0 programming environment through hands-on projects using a computer keyboard and mouse to make music and control sounds, creating original sounds, and performing them as an instrument. The next chapters introduce programming musical sequences, melodies, and structures, and assembling them into a virtual band that can be performed live or automated through algorithms. The final chapters explore computational thinking and music in the contexts of making games with sound effects, teaching the computer to generate music using algorithms and rules, interacting with music using live video, finishing with a chapter on musical live coding, where readers will create and manipulate computer code to perform, improvise, and create original music live.

Improvising with Grid Music Systems

Grid music systems provide discrete geometric methods for simplified music-making by providing sp... more Grid music systems provide discrete geometric methods for simplified music-making by providing spatialised input to construct patterned music on a 2D matrix layout. While they are conceptually simple, grid systems may be layered to enable complex and satisfying musical results. Grid music systems have been applied to a range of systems from small portable devices up to larger systems. In this paper we will discuss the use of grid music systems in general and present an overview of the HarmonyGrid system we have developed as a new interactive performance system. We discuss a range of issues related to the design and use of larger-scale gridbased interactive performance systems such as the HarmonyGrid.

Cooperative Experimentalism: Sharing to enhance electronic media

This article explores the impacts of information sharing and experimentation on electronic media ... more This article explores the impacts of information sharing and experimentation on electronic media practitioners. It draws on characteristics of ‘open’ or ‘DIY’ cultures prevalent in the technological ‘maker’ movement and suggests that we collectively describe such practices as cooperative experimentalism. In particular this article focuses on the discipline of music and describes how adopting an approach to making that privileges sharing of tools and knowledge might be a useful strategy in the development of handmade electronic music instruments and associated live performance practices. The implications of such trends in electronic media suggest that the notion of cooperative experimentalism may well apply more generally to creative electronic media practices in our (post) digital age.

Algorithms and Computation in Music Education

Oxford Handbooks Online, 2018

The chapter discusses how bringing music and computation together in the curriculum offers social... more The chapter discusses how bringing music and computation together in the curriculum offers socially grounded contexts for the learning of digital expression and creativity. It explores how algorithms codify cultural knowledge, how programming can assist students in understanding and manipulating cultural norms, and how these can play a part in developing a student’s musicianship. In order to highlight how computational thinking extends music education and builds on interdisciplinary links, the chapter canvasses the challenges, and solutions, involved in learning through algorithmic music. Practical examples from informal and school-based educational contexts are included to illustrate how algorithmic music has been successfully integrated with established and emerging pedagogical approaches.

Generative music systems for live performance

Music improvisation continues to be an intriguing area for computational creativity. In this pape... more Music improvisation continues to be an intriguing area for computational creativity. In this paper we will outline two software systems designed for live music performance, the LEMu (live electronic music) system and the JamBot (improvisatory accompaniment agent). Both systems undertake an analysis of human created music, generate complementary new music, are designed for interactive use in live performance, and have been tested in numerous live settings. These systems have some degree of creative autonomy, however, we are especially interested in the creative potential of the systems interacting with human performers. The LEMu software generates transitional material between scores provided in MIDI format. The LEMu software uses an evolutionary approach to generated materials that provide an appropriate path between musical targets [1]. This musical morphing process is controlled during performance by an interactive nodal graph that allows the performer to select the morphing source and target as well as transition speed and parameters. Implementations included the MorphTable [2] where users manipulate blocks on a large surface to control musical morphing transitions. This design suits social interaction and is particularly suited to use by inexperienced users. The JamBot [3] listens to an audio stream and plays along. It consists of rhythmic and harmonic analysis algorithms that build a dynamic model of the music being performed. This model holds multiple probable representations at one time in the Chimera Architecture [4] which can be interpreted in various ways by a generative music algorithm that adds accompaniment in real time. These systems have been designed using a research method we have come to call Generation in Context, that relies on iterations of aesthetic reflection on the generated outcomes to inform the processes of enquiry [5].

Autonomy, Autopoeisis, Prosthesis: Cybernetics in Art

Do Androids Dream of Musical Chimera

This paper describes the use of the Chimera Architecture as the basis for a generative rhythmic i... more This paper describes the use of the Chimera Architecture as the basis for a generative rhythmic improvisation system that is intended for use in ensemble contexts. This interactive software system learns in real time based on an audio input from live performers. The paper describes the components of the Chimera Architecture including a novel analysis engine that uses prediction to robustly assess the rhythmic salience of the input stream. Analytical results are stored in a hierarchical structure that includes multiple scenarios which allow abstracted and alternate interpretations of the current metrical context. The system draws upon this Chimera Architecture when generating a musical response. The generated rhythms are intended to have a particular ambiguity in relation to the music performance by other members of the ensemble. Ambiguity is controlled through alternate interpretations of the Chimera. We describe an implementation of the Chimera Architecture that focuses on rhythmic material, and present and discuss initial experimental results of the software system playing along with recordings of a live performance.

Gifford, Toby and Brown, Andrew (2006) The Ambidrum: Automated Rhythmic Improvisation. In Proceedings Australasian Computer Music Conference, pages pp. 44-49, Adelaide, Australia

This paper outlines a system for machine improvisation with a human performer where the focus is ... more This paper outlines a system for machine improvisation with a human performer where the focus is limited to the provision of rhythmic complementarity. Complementarity is achieved through the real-time measurement of metrical coherence in currently playing rhythmic material that informs the generation of subsequent material. A robust computational approach building on recent theories of improvisational intelligence and situated cognition is described. This algorithm can be effective across a range of musical styles.

Investigating Morphing Algorithms for Generative Music

Computational Aesthetics and Music: The Ugly, the Small and the Boring

Contemporary musical aesthetics, as a field in the humanities, does not typically argue for the e... more Contemporary musical aesthetics, as a field in the humanities, does not typically argue for the existence of aesthetic universals. However, in the field of computational creativity, universals are actively sought, with a view to codification and implementation. This article critiques some statistical and information-based methods that have been used in computational creativity, in particular their application in assessing aesthetic value of musical works, rather than the more modest claim of stylistic characterization. Standard applications of Zipf's Law and Information Rate are argued to be inadequate as computational measures of aesthetic value in musical styles where noise, repetition or stasis are valued features. We describe three of these musical expressions, each with its own aesthetic criteria, and examine several exemplary works for each. Lacking, to date, is a computational framework able to account for socio-political and historical implications of creative processes. Beyond quantitative evaluations of artistic phenomena, we argue for deeper intersections between computer science, philosophy, history and psychology of art.

JythonMusic: An environment for teaching algorithmic music composition, dynamic coding and musical performativity

Journal of Music, Technology & Education, 2016

The practice of coding music live challenges computing conventions with regard to developmental a... more The practice of coding music live challenges computing conventions with regard to developmental agility. The computational representation of music likewise challenges musicians to articulate their practice in new ways. In this article we describe the development, teaching and use of the JythonMusic environment designed to meet these challenges head on. JythonMusic, written in Python, is an open source project for music making and creative programming activities intended for musicians and programmers, of all levels and backgrounds. JythonMusic supports algorithmic music composition, dynamic coding and musical performativity including live coding. This article examines the functionality of JythonMusic for composition and performance projects in the context of university courses that combine computer science and music. The advantages of this medium for music and programming instruction are demonstrated through several projects and a live coding case study, leading to a series of observ...

Stochastic Onset Detection: an approach to detecting percussive attacks in complex audio

This paper introduces a new onset detection algorithm for the extraction of percussive attack tim... more This paper introduces a new onset detection algorithm for the extraction of percussive attack times from a musical audio signal. The crux of the technique is to search for patterns of increasing noise in the signal. We therefore refer to it as the Stochastic Onset Detection (SOD) technique. This technique is designed for use with complex audio signals consisting of both pitched and percussive instrumental sounds together, and aims to report solely on the timing of percussive attacks. In contrast to most onset detection algorithms it operates in the time domain and is very efficient; suiting our requirements for real-time detection. In this paper we describe our approach to onset detection, compare this with other approaches, outline our detection algorithm and provide preliminary results from musical trials to validate the algorithm's effectiveness.

Amplifying Compositional Intelligence: Creating with a psychologically-inspired generative music system

International Computer Music Conference, 2013

We describe the Motivator, a newly developed Computer Assisted Composition (CAC) tool for generat... more We describe the Motivator, a newly developed Computer Assisted Composition (CAC) tool for generating variations of melodic motives. The motivator helps composers to make Gestalt switches in interpretation of multistable motives, generates variations that preserve structural tones in a given interpretation, and suggests variations that enhance the multistability of the motive. The tool has been used in the composition of Entanglement, a work for piano, percussion and live electronics.

Metascore: User Interface Design for Generative Film Scoring

This paper outlines an application called Metascore that provides a visual interface for the cont... more This paper outlines an application called Metascore that provides a visual interface for the control and synchronising of parameters for generative film music scores. Metascore is part of a project under development at the Australasian CRC for Interaction Design (ACID), the aim of which is to create a real-time automatic film scoring system. Metascore allows the user to compose music, using high-level descriptions of compositional intent, in synchronisation with video. Metascore allows control of constant parameters within sections that demarcate film cues, and control of continually varying parameters through free-form break point envelopes. Parameter values in Metascore can themselves be expressions or functions, enabling extensive flexibility for adaptive control of the algorithmic score. This paper will describe the Metascore interface design and illustrate its use in the context of producing an orchestral score for a documentary film.

A Computational Model for the Generation of Orchestral Music in the Germanic Symphonic Tradition: A Progress Report

Understanding Musical Practices as Agency Networks

This position paper proposes that creative practices can be usefully understood as agency network... more This position paper proposes that creative practices can be usefully understood as agency networks. In particular it looks at interactive algorithmic musical practices and the takes a distributed view of the influences involved in such music making. The elements involved include humans, tools, culture and the physical environment that constitute a system or network of mutual influences. Such an agency network perspective is intended to be useful for the pragmatic tasks of designing new interactive music systems and developing new musical practices that utilise them. Drawing on previous research into generative music and computational creativity, various views on interactive music systems are canvassed and an approach to describing these as agency networks is developed. It is suggested that new human-machine musical practices may arise as a result of adopting an agency network perspective and that these, in turn, can drive cultural innovations.

Understanding Musical Practices as Agency Networks

This position paper proposes that creative practices can be usefully understood as agency network... more This position paper proposes that creative practices can be usefully understood as agency networks. In particular it looks at interactive algorithmic musical practices and the takes a distributed view of the influences involved in such music making. The elements involved include humans, tools, culture and the physical environment that constitute a system or network of mutual influences. Such an agency network perspective is intended to be useful for the pragmatic tasks of designing new interactive music systems and developing new musical practices that utilise them. Drawing on previous research into generative music and computational creativity, various views on interactive music systems are canvassed and an approach to describing these as agency networks is developed. It is suggested that new human-machine musical practices may arise as a result of adopting an agency network perspective and that these, in turn, can drive cultural innovations.