Supervision

Adaptive Editing of Music Videos

Tue, 26 Jul 2011 10:44:57 +1000

Julia Stephan - Doctor of Philosophy
“Personalising view experiences of music videos through adaptive algorithmic editing.”
With the development of HTML5 and open web technologies that allow for native video implementation on websites, increasing interest has been drawn towards interactive and non-linear music videos. The rising importance of the Internet is transforming the delivery of media into becoming adaptive and user focused. The research question is “how can adaptation and plasticity be used to personalise the viewer experience with regards to music videos?” The actual terms adaptation and plasticity refer to a system’s ability to provide variation while preserving usability.
This project will develop a model and algorithmic system for the online delivery of interactive music videos that aims to provide a user-focused platform where the audience will get an opportunity to create playlists tailored to their musical tastes and influence the way this music is visualised; affecting aspects like colours or mood.

Cross-Genre Ensemble Practices

Fri, 6 May 2011 11:03:39 +1000

George Browning - Master of Music Studies
“Professional practices of contemporary cross-genre music ensembles in Brisbane.”
In recent decades a trend has developed toward significant inter-traditional practices in music performance and composition. Many musicians and ensembles choose to draw on concepts and techniques from Western Art Music, Jazz, Popular Music and imported non-Western music or World Music. This project examines this trend in the present ecology of music with a focus on music in the city of Brisbane through 3 or 4 case studies on local ensembles or musicians, such as Topology, Minsinterprotato, and Clocked Out.
The research examines How professional musicians are concurrently engaging with a variety of musical traditions and a how this shapes their management of the cultural ecology, specifically in Brisbane.

Statistical identification of music style

Tue, 8 Feb 2011 11:13:48 +1000

Hector Bellmann - PhD
“Statistical identification of the characteristics of music style.”
The human mind can learn to hear stylistic characteristics in music over time. The probabilistic theory of mind suggests that this is due to statistic inference. This research shows how machine learning processes can identify salient statistical markers of musical style, and use these to distinguish between works of particular style or composer. This process involves extensive corpus analysis of many piano works from the Western cannon.

Audiovisual Drumming

Thu, 10 Jun 2010 13:27:45 +1000

Ben Wiesner - MMus
“Audio-visual mappings of drumming performance gestures”
Gesture is an integral part of music performance, both in the creation of sound and as a communicator of information to an audience. This project aims to explore the importance of gesture in a musical performance by a drummer/percussionist and its potential for expressive meaning through audiovisual mapping. The significance of performer gesture to audience appreciation has been the topic of numerous studies that have shown that the visual aspect of a musical performance helps to reinforce the musical intention of the performance. This project will explore the capture and audiovisual mapping of drumming gestures to audiovisual performance enhancements.

The Performing Audiovisualist

Thu, 18 Sep 2008 12:40:19 +1000

Lloyd Barrett - PhD
“The Performing Audiovisualist: approaches to integrated media performance”
This research project will examine the changing nature of digital media practice in order to highlight emerging approaches to audiovisual performance design undertaken by solo digital musicians.
The introduction of the laptop computer as a musical instrument in the 1990s provided a tool for empowering the solo musician. The various approaches to the use of this technology in performance are debated to this day. The increasing ubiquity of digital media combined with the power of current generation notebook technology has provided the perfect platform to realise integrated audio-visual toolsets that respond to musical controllers and provide mixed-media results. Despite emerging practitioners increasingly availing themselves to the affordances of this technology, theoretical discussion in the field ignores the various approaches a solo musician might take to developing integrated media works for performance.
In an increasingly crowded niche there is a clear compulsion to consider expanded modes of performance, yet lacking any formal framework these integrations can easily alienate an audience, distract from performance and lead to criticisms of novelty for novelty's sake.
As an emerging area of practice where the interoperability between sound, image, text and gesture is dissolved, this emergent form of expression requires a formalised typology that extends beyond novelty and technological determinism; beyond the restrictions of a traditional instrument/performer/audience approach and the confines of disciplinary boundaries towards an integration of senses and an integrity of context, form and function suitable to a hybrid medium; to a new audiovisual practice that emerges from histories of musical performance and media production.

Space and Grid Music Systems

Sun, 22 Jun 2008 13:17:16 +1000

Roland Adeney - PhD
“Space in Grid Music Systems”
This research aims to show how various internal representations of space, involving musical perception and conceptions (to be termed music representative spaces), can coexist with music-space, a new definition of experiential, concomitant music and space, to provide for a multi-modal complete musical-spatial experience in music-making and performance. It is argued that a music system can, and ideally would, provide such a capability.
Specifically this research has focused on Grid music systems (GMSs) that provide discrete geometric methods for simplified music-making by providing spatialised input to construct patterned music on a 2D grid layout. The input provides spatial access and plotting of gestures or paths onto the grid. Paths relate to independent musical parameters, such as motif, harmony, rhythms, dynamic, playback location, and so on.The output displays the grid with its representation of musical elements via graphic projection, and quadraphonic sound. While conceptually simple, paths around a grid framework may be layered, enabling complex and satisfying musical results.
A new system, the HarmonyGrid, has beed developed and provides a generative music-making system, that is intended to accompany, or play along with, an improvising musician, in a larger-scale system that has all the advantages listed above. Furthermore, playing with the system creates an enhanced performance - with its live interactive musical, graphical and spatial activity.

Meaningful Musical Engagement

Tue, 12 Jun 2007 11:11:28 +1000

Kathy Hirche - Master of Arts
“Meaningful Musical Engagement – Generative music systems and their potential impact on learning experiences”
This research explored the use of a conceptual framework for the development of appropriate and engaging music resources for use in various educational and community contexts. The thesis interrogates the idea that there is evidence for a link between music making and cognitive, social and cultural benefit. It seeks to examine the relationship between music resources, teaching and experience design through evaluation of an interactive networked resource.
In particular it focused on resources to accompany the Meaningful Engagement Matrix (Brown and Dillion) and the jam2jam generative music software.
Music making with jam2jam involves improvised performance. Musical knowledge is embedded in the interface. The use of generative music systems in this context provides a means by which participants can experience and contribute to musical composition and performance activities without having acquired high-level instrumental performance skills. The research is interested in what assists participants to engage with the creative activity, and what creative social connections are enabled by the activity?

Performing Composition

Mon, 11 Dec 2006 10:00:44 +1000

Thorin Kerr - Master of Arts
“Performing Composition: Developing a Computer Assisted Composition System through Live-coding performance”
The aim of this research is to create a hybrid artistic practice consisting of performance, composition and software development. In developing a hybrid practice, the distinctions between these paradigms becomes less defined. A new understanding of this hybrid practice needs to be considered. Therefore, the question under which this research operates is: what is the nature of the artistic practice when combining software development, composition and performance?
The research includes develop an interactive composition system in an environment which facilitates live performances. Specifically a library of composition tools have been developed in the Impromptu live-coding environment. The library of tools is a means of encapsulating compositional ideas in software. Using the Impromptu environment allows these tools to be used as performance tools. The design of the tools must therefore be considered in relation to both music creation and music performance. As such, an integral part of the research has been to consider the development process itself as an aspect of the artistic practice.

Abjection and Evolution: Art and the body

Tue, 10 Oct 2006 13:45:38 +1000

Svenja Kratz - PhD
“Evolutionary Transgressions: A Phenomenological Approach to Abjection through the Integration of Organic and Inorganic Elements in the Creation of Generative and Interactive Audio Visual Installations”
Evolutionary Transgressions is a practice-led bio-media arts investigation developed in a creative partnership between the Creative Industries Faculty and the Institute of Health and Biomedical Innovation. Drawing on a variety of research sources including biology, philosophy and cultural studies and particularly informed by the work of Deleuze and Guattari, the project explores the concept of continual ‘becoming‘, reciprocity and the shifting interconnections between the body and the world. New insights are developed through the creative exploration manifest in an evolving multi-medium art exhibition. This research blurs the boundaries between science, philosophy and art and functions as a ‘machinic assemblage’ of interconnecting ideas from which new knowledge can emerge.
A central idea within this investigation is the notion of ‘becoming‘, a concept developed by Deleuze and Guattari that resits essentialism and the unitary and stable assumptions inherent in ‘being‘. Rather than describing a body in its essence, ‘becoming’ reveals the body as a process of continual transformation through complex non-linear interconnections, deterritorialisation and re-territorialisation.
Perceiving the body both biologically and conceptually, as a shifting mass of connections, enables a move beyond thinking of the human in terms of fixity, standardisation and ‘the norm’ (hallmarks of oppression) to an embedded, temporal force of potential becoming and difference. The emphasis on interrelationships and connections between different bodies also challenges the view of human separation and superiority over other organisms and problematises categorical thinking that is governed by boundaries.
An important aspect in the context of becoming is the idea of ‘virtual potential’ a concept that gestures towards the knowledge that within every structure and organism lies the potential for multiple future transformations based on past, current, and future connections and encounters with the unexpected which cannot from the outset be conceptualised. ‘Becoming’, like evolution, has no objective and no end. It is therefore, an ethical position that moves beyond judgements of ‘good’ and ‘bad’ to states, tendencies and potentialities. Mutation, variation and difference also become distanced from their negative associations, becoming instead driving transformative forces of change, that open us to new and unforseen ways of understanding the world.

Musical Morphing

Mon, 20 Mar 2006 13:07:04 +1000

Rene Wooller - PhD
“Techniques for automated and interactive note sequence morphing of mainstream electronic music”
Note sequence morphing is the combination of two note sequences to create a ‘hybrid transition’, or ‘morph’. The morph is a ‘hybrid’ in the sense that it exhibits properties of both sequences. The morph is also a ‘transition’, in that it can segue between them. An automated and interactive approach allows manipulation in realtime by users who may control the relative influence of source or target and the transition length. The techniques that were developed through this research were designed particularly for popular genres of predominantly instrumental electronic music which will be refered to collectively as Mainstream Electronic Music (MEM). The research has potential for application within contexts such as computer games, multimedia, live electronic music, interactive installations and accessible music or “music therapy”. Musical themes in computer games and multimedia can morph adaptively in response to parameters in realtime. Morphing can be used by electronic music producers as an alternative to mixing in live performance. Interactive installations and accessible music devices can utilise morphing algorithms to enable expressive control over the music through simple interface components.
The research included development of a software application called LEMorpheus which consists of software infrastructure for morphing and three alternative note sequence morphing algorithms: parametric morphing, probabilistic morphing and evolutionary morphing. Parametric morphing involves converting the source and target into continuous envelopes, interpolation, and converting the interpolated envelopes back into note sequences. Probabilistic morphing involves converting the source and target into probability matrices and seeding them on recent output to generate the next note. Evolutionary morphing involves iteratively mutating the source into multiple possible candidates and selecting those which are judged as more similar to the target, until the target is reached.
Formal evaluation of the probabilistic morphing algorithm was conducted by extracting qualitative feedback from participants in a live electronic music situation, benchmarked against a live, professional DJ. The probabilistic algorithm was competitive, being favoured particularly for long morphs. The evolutionary morphing algorithm was formally evaluated using an online questionnaire, benchmarked against a human composer/producer. For particular samples, the morphing algorithm was competitive and occasionally seen as innovative; however, the morphs created by the human composer typically received more positive feedback, due to coherent, large scale structural changes, as opposed to the forced continuity of the morphing software.

Standardising Widgets

Thu, 16 Mar 2006 12:45:43 +1000

Marcos Caceres - PhD
“Standardising Widgets: Improving the development, distribution and deployment, accessibility, security, metadata, internationalisation and device‐independence of client‐side web applications.”
This research argues that the continued proliferation of a class of software application known as widgets onto desktop computers and mobile phones has resulted in incompatibilities across most widget‐related software. It demonstrates how these incompatibilities currently affect distribution and deployment, accessibility, security, metadata, internationalisation and the device‐ independence of widgets. This document proposes standardisation as a possible solution to overcoming these issues.
The PhD study involves investigating technical aspects that constitute a widget, aspects related to the development and deployment of widgets on multiple devices, and aspects related to the applications on which widgets are hosted, known as widget engines. Outcomes from this PhD have contributed to an international effort to standardise widgets through a standards organisation known as the World Wide Web Consortium (W3C).

Eco-structuralism: A Compositional Process

Fri, 10 Mar 2006 09:58:49 +1000

Tim Opie - PhD.
“Eco-structuralism: Exploring Environmental Sound Patterns as Metaphors for Computer Assisted Musical Composition.”
This research investigates new methods for musical composition. These new methods will be derived from investigations into the behaviour of environmental sounds, or sounds of the natural environment. The new musical methods operate on both a sonic and structural level, often described as the musical microstructure and macrostructure. Sonic patterns and deviations derived from analysis of the environmental sounds will be processed and catalogued to form the basis of a new method, called eco-structiuralism.
Through experimentation, a set of parameters have been established to control processes of generation and transformation based on these patterns. The objectives of this approach are to a) provide synthetic sounds based on the microstructure of natural sounds and b) to establish a series of macrostructure topographies and rules of form derived from these natural microstructures.
As well as a new compositional framework, the project tests and demonstrates this technique through a series of compositions that explore the application of the new methods.

Open source, real-time signal processing

Thu, 9 Mar 2006 10:59:17 +1000

Leon Zadorin - Master of Information Technology
“Signal processing extensions for open source audio”
This project developed an interactive real-time digital audio-signal- processing engine known as "AIME" (Another Interactive Music Engine), an open source project originally written by Andrew Sorensen and Andrew R. Brown.
In simplified terms, AIME represents a software system which allows for an interactive realisation of parameterised music composition (e.g., it generates audio/sound signals "on the fly" based on a given music/composition data and possibly a number of parameters which are expected to be controlled by user(s) in real-time).
This project extends and improve AIME's functionality by introducing new features as well as improving on the existing mechanisms so as to further the alignment of AIME with adaptive music principles. The project will specifically research optimal algorithms for various signal processing functions int he literature, and implements them for the AIME system. Functions include reverb, pitch shifting, and compression.

Software framework for adaptive music

Wed, 8 Mar 2006 11:43:20 +1000

Anna Gerber - PhD
“A Framework for Computer-Assisted Composition of Adaptive Music”
This research aims to devise a framework on which to base interactive tools to support dynamic music generation for media such as computer games.
The focuses is on how musical concepts are manifest in computer-assisted composition (CAC) software for adaptive music. Adaptive music changes in response to its context, for example, a common application of adaptive music is as background music within a computer game. The music might vary randomly, or depending on the current state of the game such as the location of the player, the actions of other players, or whether the player is currently engaged in combat. This adaptability can be achieved through use of techniques such as recombination of and transitioning between short musical fragments or for a looped sequence, by altering parameters such as the orchestration, key, tempo, or mix of parts playing.
The framework allows different aspects of a musical score to be identified and tagged in order to determine where and which generative processes could be applied. The framework is designed to integrate with existing tools and practises, allowing the composer to add metadata to scores and to specify linkages between components of each score and data from within the context for which the music is to be generated.
The expected outcomes from developing the framework include:
Increased productivity for composers through better tool support for integrating generative techniques with existing scoring practise
Capture of score metadata and relationships between each context (of an interactive medium) and its musical score so that they can be used in dynamic generation

Semi-Automated Musical Improvisation

Thu, 22 Dec 2005 14:02:15 +1000

Toby Gifford - PhD
“Improvisation in Interactive Music Systems”
This research investigates algorithmic approaches to musical improvisation. The findings of this research have been embodied in a computational agent capable of real-time musical improvisation in an ensemble setting. Conceptually the agent’s functionality is split into three domains: perception, analysis and improvisation.
The project has resulted in novel techniques for addressing a range of issues in each of these domains. In the perception domain I have created a suite of onset detection algorithms for detecting and classifying percussive onsets, and created a new polyphonic pitch tracking algorithm which improves upon the current best published algorithms. In the analysis domain I have created novel beat-tracking and metre-induction algorithms that operate in real-time and are responsive to change in a live setting. In the improvisation domain I have implemented a novel improvisational architecture drawing on theories of music perception, which provides a mechanism for the real- time generation of complementary accompaniment in a ensemble setting.
All of these innovations have been combined into a computational agent - the Jambot, which is capable of producing improvised musical accompaniment to an audio stream in real-time. I situate the architectural philosophy of the Jambot within contemporary debate regarding the nature of cognition and artificial intelligence, and argue for an approach to algorithmic improvisation that privileges the minimisation of cognitive dissonance in human-computer interaction.
JamBot info: http://www.dr.offig.com/

Sound Creatures: Artificial life soundscape

Thu, 15 Dec 2005 10:49:10 +1000

Lloyd Barrett - Master of Music
“Sound Creatures: Artificial life as a tool for Soundscape Composition”
Sound Creatures is a multi-channel compositional tool utilising artificial life and sound morphing. The work includes software agents, sound creatures, that interact in a virtual world to create spatially projected soundscape. Written in Processing the audio-visual work acts as an autonomous installation or can be interacted with for performance. Sound creatures are defined with a set of attributes that allow them to move around and interact with other creatures.
A list of system features:

• Object instantiation
• Communication between sound and graphics
• Breeding and mutation

A list of interactions:

• ‘move’ around the screen, bouncing off the edges and tracking interactions with other creatures;
• ‘mate’ with other creatures to ‘spawn’ a new sound that is a relative combination of both sounds;
• ‘kill’ other creatures which will subsequently remove that creatures sound;
• ‘call’ other creatures towards them or ‘repel’ them;
• ‘follow’ a path determined by the user (or not – depending on how obedient they are);
• ‘eat’ food to survive – a ‘life’ level determines needs to some degree and could also indicate amplitude – the food may even be used to alter some part of the creatures sound.

Changing perceptive emotions in music

Fri, 21 Oct 2005 13:35:17 +1000

Stephen Livingstone - PhD
“Changing Musical Emotion through Score and Performance with a Computational Rule System”
Arguably music’s most enduring feature is its capacity to communicate and induce emotion. Music has the ability to engender emotion in listeners in powerful and often deeply personal ways. This dissertation outlines the construction of a Computational Music Emotion Rule System (CERMS) for the control of perceived musical emotions, that modifies a musical work at the levels of score and performance in real-time. An initial literature review focused on the collation score-based musical features. From this review, a set of six rules, termed the Primary Music-Emotion Structural Rules, were identified as pivotal mechanisms in the control of perceived musical emotion.
A new system was built, CMERS, which possessed structural (score-based) and performance music-emotion rules, with expressive performance capability. It was hypothesised that the addition of performance music-emotion rules and expressive performance capability would improve the system’s emotional accuracy and power. CMERS possesses real-time, fine-grained emotion modification capability allowing for its use in a variety of external application environments. As a research tool, CMERS provides researchers with a mechanism to isolate and modify individual music features, allowing for the determination of specific contributions to musical emotion and other perception factors. As a computer gaming music-emotion engine, CMERS real-time capability and simple emotion message passing format permits the modification of musical emotion in response to gaming requests, also making it ideal for a range of other real-time applications.
Results of testing CMERS showed that the technique was successful in changing the emotion of all selected music works to all four intended emotion quadrants with an overall accuracy of up to 78%. It demonstrated the need for both structural and performance music-emotion rules when influencing musical emotion.

Non-linear compositional structures

Thu, 2 Jun 2005 12:30:55 +1000

Lindsay Vickery - PhD
“Non-linear structures for real-time interactive works”
This research explores the essential paradox: how can a work that is non-linear be resolved or read within a formal framework? The research examines the expanding theoretical basis for non-linear formal structuring and focuses on applying these models to musical works involving live musicians in conjunction with a computer in their performance. The project is to undertake this exploration through critical reflection on existing practice, the development of new theory, and the development of original creative works.
Within the narrowed band under consideration, the discussion is further focused principally on works with the following characteristics:
• relatively fixed duration (rather than an open-ended installation or web-based work);
• requiring a distribution of human and computer-based decision-making;
• attempting to create an interpretable meaning or narrative (as opposed to works based entirely on chance or rejecting intention such as some of the works of John Cage)
The exploration of these ideas will examine these issues in regard to a range of continuums, namely:
• the point(s) of interactive control (foreground, middle ground and background) of components of the work’s structure;
• the range of approaches involved in the interaction – whether discursive (improvised) or narrative (formal);
• the distribution of decision-making between the performer(s) and computer(s);
• the nature of interaction between performer and computer agents;
• the perception of non-linearity and formal structure in terms of the composition, the performer and the audience.

Real-Time Granular Synthesis

Thu, 19 May 2005 10:09:13 +1000

Tim Opie - Master of Arts
“Granular Synthesis: Real-time performances and experiments”
The thesis is a study of real-time granular synthesis as used in live performance. It first explores the early traditions of granular synthesis, and then takes a look at modern trends of live performance involving granular synthesis. Then, using this vast background, it describes the design and use of an instrument for live performances using granular synthesis. It steps through the creation and preparation stages right through to uses in performance. The instrument construction and performance is compared to some other recent granular synthesis performances conducted in Australia.
Check out Tim’s Granular Synthesis site:
http://granularsynthesis.com/

Adaptive Interactive Music Systems

Mon, 17 Jan 2005 11:29:04 +1000

Craig Gibbons - Master of Music
“Adaptive Interactive Composition and Sound Design for Multimedia Applications”
This research explores adaptive interactive composition through creation of Java based algorithms that can accept various input data and change the resultant musical output in an effective and aesthetically pleasing fashion. These algorithms explore the areas of sound design, composition and enhancement of the immersion experience. The original Java algorithms, sound designs and compositions are presented in a simple multimedia application allowing simple point and click operations. The presentation will have capabilities for real-time adjustment of variables, thus demonstrating adaptive interactive composition through the use of these algorithms.
This project is significant because of the continuing growth and popularity of video games and multimedia applications, the quality and effectiveness of the immersion process experienced by the user is an area that lends itself to further development. Ideally, the music will appear as if it has been specifically scored for each time the application is run, adjusting and adapting to the users’ actions and/or surroundings within this virtual environment. Furthermore, the quality of the sound design within this virtual world needs to maximize the capabilities imposed by data size restraints effectively, especially with regard to the emerging growth in portable multimedia devices such as mobile phones and personal data organisers. The music and sound design both need to be high in quality and responsive to the users’ actions to provide this immersive and possibly hyper-real experience.

eLearning in the creative arts

Mon, 8 Nov 2004 11:57:31 +1000

Bradley Voltz - PhD
“Improving eLearning methods that support education in creative practice”
The use of online technologies for learning is dramatically increasing, but its application to improving student creativity and innovation has been limited because effective strategies have been unavailable or unproven. This research helps to redress this situation by assessing the effectiveness of current strategies and developing and testing new methods. The challenges of mediated human interaction and multimedia data are most acute in creative activities, therefore, answers generated in this context will add value to eLearning in other fields. Outcomes include a clearer understanding of the value of online teaching methods for creative practices and improved eLearning strategies for performing arts.

LEMu: Live Electronic Music Software

Wed, 17 Dec 2003 10:29:24 +1000

Rene Wooller - Master of Music
“LEMu: Live Electronic Music Software”
This research explores effective ways of creating and manipulating aspects of current electronic dance music in real-time, by developing unique software for real-time control of algorithmic transformations. This research focused on the following objectives:
They are written so as to provide a more practical reference for project success:
1. Music generated by software will appeal to the EDM aesthetic.
2. The music composition will be easily manipulated in various ways in realtime.
3. The software should be able to run on an entry price computer on any popular OS.
4. The software should be able to function with at least one software synthesiser running at the same time.
5. The physical interface will be able to engage the software without difficulty.
6. The application should be intuitive and easy to learn.
7. The interface (physical also) will make sense to experienced electronic artists.
8. A performer should be able to prepare and perform an extended concert.
9. To establish the effectiveness of the system, the performer should be able to jam with and compete easily with other current forms of live electronic music, e.g., Turn-Tables

Keyboard Kapers

Fri, 6 Sep 2002 10:40:10 +1000

Mark Gibson - Master of Arts
“Keyboard Kapers: Enriching the Musical Experience Through Multimedia”
Keyboard Kapers is a cross-platform multimedia project which explores and develops techniques that facilitate the learning of piano/keyboard music in a contextual environment. The multimedia setting is an integral part of the enrichment process rather than a technological gimmick. The seven pieces that are featured in Keyboard Kapers represent a snapshot of how an entire music book may be presented through a computer interface. To this extent, Keyboard Kapers should be considered a prototype since it demonstrates multimedia possibilities using a limited number of keyboard pieces. The multimedia environment is used to establish immediate relationships (visual and aural) between pitch, rhythm, notation and duration through the use of sound recordings, colour encoded traditional music notation, and colour encoded notes on a virtual keyboard. Keyboard Kapers has been developed as a learning or teaching tool not as a stand alone program or teacher substitute. The target audience for Keyboard Kapers is children aged from four to six years.

Markov Processes and Musical Style

Wed, 21 Feb 1996 09:52:44 +1000

Andrew Sorensen - Master of Arts.
“A Markov approach to style replication”
This research explored the use of Markov probabilistic processes to capture and reproduce musical styles. Based on the Markovian analysis of samples of work, the resulting matrices were used to generate new material. An aesthetic comparison of the materials were undertaken and discussions about the strengths and weaknesses of the approach to capture the musical characterises of the style were undertaken.
The project included the development of an AdaptiveMatrix algorithm implemented int he Java language. This algorithm is responsible for holding Markov information in an internal hash table matrix which may be written to disk as a serialized java object. The matrix itself contains two arrays. The first array contains historic note data. The second array contains weightings for note sequence probabilities. This process is significant as it allows for n level Markov Matrices to be accessed in a dynamic way during generative music making.