Directability 1957 1. 1950 Meyer [1] 1970 Higgins [2] 1980 Deutsch [3] 1980 [4] Lerdahl Jackendoff Generative Theory of Tonal Music (GTTM)[5] Narmour Impication - Realization Model (IRM) [6] 1950 1957 [7] 1968 Winograd [8] 669-1337 representation Cope EMI[9] Pachet Continuator[10] 2.
Hiller, Isaacson Band in - a- Box 1 2 1980 [11] [12] Rencon 3 1980 Dannenberg DTW Dynamic Time Warping [13] 2000 HMM [14] Cope EMI Pachet Continuator 2.1. EMI D.Cope 1981 EMI (Experiment in Music Intelligence) [9] Cope EMI 4 EMI Cope 1 EMI 1 http://content3.e-frontier.co.jp/pg/win/ 2 3 http://www.renconmusic.org/ 4 http://arts.ucsc.edu/faculty/cope/experiments.htm
2.2. Continuator Continuator 2004 Pachet [10] Continuator Continuator Continuator 3. Directability 2005 =CrestMuse [15] directability CrestMuse directability 3.1. CrestMuse Beatles Stanley Kubrick CrestMuse CrestMuse elaboration CrestMuse 2006 directabilty 2008 5 3.2. Directability Orpheus[16] BayesianBand [17] 5 http://crestmuse.jp/crestmuse_research2008_j.html
Itopul[18] [19] directability directability [15] directability GUI 3 v.morish GUI (a) v.morish v.morish [20] TANDEM- STRAIGHT[21] A B 4 Mixtract 4. CrestMuse (b) Mixtract Mixtract 4.1. 1950 Shannon Turing 1970
1997 Deep Blue 2005 10 [22] 4.2. Cope EMI 5. directability [1] L. B Meyer, Emotion and Meaning of music, University of Chicago Press, 1956. [2] H. Longuet-Higgins, Perception of Melodies, Nature, Vol. 263, pp. 646-653, 1976. [3] D. Deutsch, and J. Feroe, The Internal Representation of Pitch Sequence in Tonal Music, Psychological Review, Vol.8, pp.503-522, 1981. [4] 1987 [5] F. Lerdahl, and R. Jackendoff, A Gnerative Theory of Tonal Music, MIT Press, 1983. [6] E. Narmour, The analysis and Cognition of Basic Melodic Structure, University of Chicago Press, 1990. [7] L. Hiller, and L.Isaacson, Experimental Music, McGraw-Hill, 1959. [8] T. Winograd, Linguistics and the computer analysis of tonal harmony, Journal of Music Theory, Vol. 12, No. 1, pp. 2-49, 1968. [9] D. Cope, Computers and Music Style, Computer Music and Digital Audio Series, 1991. [10] F. Pachet, The continuator: Musical
interaction with style. Journal of New Music Research, Vol. 31, No. 1, 2002. [11] M.Clynes, Secretes of Life in Music, Proc. ICMC, pp.225 232, 1984. [12] L. Fryd en, and J.Sundberg, Performance Rules for Melodies. Origin, Functions, Purposes, Proc. ICMC, pp.221 225, 1984. [13] R. B. Dannenberg, An On-Line Algorithm for Real-Time Accompaniment, Proc. ICMC, pp. 93 198, 1984. [14],,, 2007. [15], Vol.48, No.12, pp.1359-1364, 2007. [16],,,,,, Orpheus,, p.15, 2008. [17],,, BayesianBand, 2009, pp.31-32, 2009. [18] M. Hashida, and H. Katayose, A Directable Performance Rendering System: Itopul, Proc. New Instruments on Music Expression (NIME), pp.277-280, 2008. [19],, 2008. [20], v.morish: 2009, pp. 25-26, 2009. [21],,,,,, A, vol.j92-a, no.3, pp.163-171, 2009. [22],,,,, 2006. Haruhiro Katayose) 1991 HCI CREST CrestMuse 2 CrestMuse