CITATION — REFERENCE ENTRY
ImproteK: Introducing scenarios into human-computer music improvisation — ACM Computers in Entertainment
- Key
- nika2017-improtek
- Authors
- Nika, Jérôme; Chemillier, Marc; Assayag, Gérard
- Issued
- 2017
- Type
- article-journal
- Container
- ACM Computers in Entertainment
- DOI
- 10.1145/3022635
Raw CSL JSON
{
"DOI": "10.1145/3022635",
"URL": "https://hal.science/hal-01380163",
"type": "article-journal",
"title": "ImproteK: Introducing scenarios into human-computer music improvisation",
"author": [
{
"given": "Jérôme",
"family": "Nika"
},
{
"given": "Marc",
"family": "Chemillier"
},
{
"given": "Gérard",
"family": "Assayag"
}
],
"issued": {
"date-parts": [
[
2017
]
]
},
"container-title": "ACM Computers in Entertainment"
}
Claims
-
ImproteK is an interactive music system for human–computer improvisation in idiomatic, pulsed music, used with expert improvisers. It guides generation with a fixed or dynamic "scenario", such as the chord progression of a jazz standard, and combines anticipation of that structure with reactivity to live events, re-injecting captured material in synchrony with a non-metronomic beat. It belongs to a family of systems, with OMax, that learn a sequential memory from music and explore it during performance.
"This interactive music system is used with expert improvisers in work sessions and performances of idiomatic and pulsed music and more broadly in situations of structured or composed improvisation. The article deals with the integration of temporal specifications in the music generation process by means of a fixed or dynamic "scenario" and addresses the issue of the dialectic between reactivity and planning in interactive music improvisation. [...] an audio rendering module performing live re-injection of captured material in synchrony with a non-metronomic beat. [...] Jazz, blues, or rock improvisation generally relies on a "chord progression" that defines a harmonic structure [...]. ImproteK, presented here, and Omax, Somax, and PyOracle belong to a family of related researches and implementations on machine improvisation [...]. They share a sequential model (that we call here "memory") learned from live or offline music streams that is explored interactively at performance time"
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