パーピープン: ジャズ和音を生成する創作支援ツール
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(12) ²I'2J4è+ºÒ'Kª]k.S]RI ¿+ ÷í' K(RGx5 Pa-Pi-Pun: Creativity-Support Tool for Generating Jazz Harmony. Keiji Hiratay and Tatsuya Aoyagiyy This paper presents the design principle, musical knowledge representation method, system organization, and implementation of a musical system called \Pa-Pi-Pun". Pa-Pi-Pun is a creativity-support tool that takes a simple chord progression as an input and then generates a new progression that re ects the user's intention and takes into account the harmonic context on a cadence basis. The primary goal of a creativity-support tool is to give diverse stimulation to a user. In order to do so, Pa-Pi-Pun employs a deductive object-oriented database technique for musical knowledge representation and case-based reasoning. Moreover, it invokes an existing music analysis theory to represent the user's intention, introduces a relative similarity using the subsumption relation, and uses a new case retrieval method based on the relative similarity which provides a high anity for musical introspection and intuition. It has been con
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(247) 43 2Ë`RÖ« Iºû.: *CM42.+ +ZK(RA45. z £ ô. 1) Ames, C.: Protocol: Motivation, Design, and Production of a Composition for Solo Piano, Machine Models of Music (Schwanauer, S. M. and Levitt, D. A.(eds.)), The MIT Press, pp. 357{382 (1993). 2) 3º3: C@#GS&@, S4E (ÖS.ã (pýÓK, I%Å3, ª7|, ªÙ ®f (¿)), 9
(248) õö, pp. 283{305 (1998). 3) Balaban, M., Ebcioglu, K. and Laske, O.(eds.): Understanding Music with AI , The.
(249) Vol. 42 No. 3. MIT Press (1992). 4) Boulanger, R.(ed.): The Csound Book , The MIT Press (2000). 5) Cope, D.: Experiments in Musical Intelligence , A-R Editions, Inc. (1996). 6) Cope, D.: The Composer's Underscoring Environment: CUE, Computer Music J., Vol. 21, No. 3, pp. 20{37 (1997). 7) Dannenberg, R. B.: Music Representation Issues, Techniques, and Systems, Computer Music J., Vol. 17, No. 3, pp. 20{30 (1993). 8) 4 T, ªÙ®f: /3 : ¦ý 67. (AM+Ç%4&CI4)+J/B* 4K&@, sÞ 2Q
(250) õÞ, Vol. 96,. No. 75, pp. 33{38 (1996). 96-MUS-16. 9) Hirata, K.: Representation of Jazz Piano Knowledge Using a Deductive Object-Oriented Approach, Proc. of Int'l Computer Music Conf., ICMA, pp. 244{247 (1996). 10) ªÙ®f: S4Eh'.ÖS'x.J
(251) , S4E(ÖS.ã (pýÓK, I%Å3, ª7 |, ªÙ®f (¿)), 9
(252) õö, pp. 163{181 (1998). 11) Hirata, K. and Aoyagi, T.: Musically Intelligent Agent for Composition and Interactive Performance, Proc. of Int'l Computer Music Conf., ICMA, pp. 167{170 (1999). 12) ªÙ®f, 3: 147S: 8'B)'. B4SI&36+18K'¿CÖ÷í &@, sÞ 2Q
(253) õÞ, Vol. 99, No. 68, pp. 7{12 (1999). 99-MUS-31. 13) ªÙ®f, ª7?-: ¦ý 67(AM' 9RÖ4¦r÷í27JGS S (M, ®V'Q
(254) X, Vol. 14, No. 6, pp.. 1033{1040 (1999). 14) Johnson-Laird, P. N.: Jazz Improvization: A Theory at the Computational Level, Representing Musical Structure (Howell, P. et al.(eds.)), Academic Press, pp. 291{325 (1991). 15) Kifer, M.: Deductive and Object Data Languages: A Quest for Integration, Proc. of 4th Int'l Conf. on Deductive and Object-Oriented Databases (1995). Also in LNCS 1013. 16) 1ÖÚ: dìj (1) 3 (2), ®V'Q
(255) X, Vol. 8, No. 2&3, pp. 184{191&305{311 (1993). 17) Kolodner, J.: Case-Based Reasoning , Morgan Kaufmann (1993). 18) KLIC ;
(256) ;@:: http://www.klic.org/ index.ja.html (1998). 19) Lerdahl, F. and Jackendo , R.: A Generative. 641. Theory of Tonal Music , The MIT Press (1983). 20) Plaza, E.: Cases as Terms: A Feature Term Approach to the Structured Representation of Cases, Lecture Notes in Arti
(257) cial Intelligence Vol. 1010 , Springer-Verlag, pp.265{276 (1995). Proc. of ICCBR-95. 21) Rowe, R.: Interactive Music System , The MIT Press (1993). 22) Rowe, R. and Garton, B.: Editor's Note: Putting Max in Perspective, Computer Music J., Vol. 17, No. 2, pp. 3{11 (1993). 23) Sadie, S.(ed.): The New Grove Dictionary of Music and Musicians , Macmillan Publishers Limited (1980). 24) Wiggins, G., Miranda, E., Smaill, A. and Harris, M.: A Framework for the Evaluation of Music Representation Systems, Computer Music J., Vol. 17, No. 3, pp. 31{42 (1993). 25) Winkler, T.: Composing Interactive Music , The MIT Press (1998). 26) Xenakis, I.: Formalized Music , Pendragon Press, pp. 329{334 (1992). Appendix III: The New UPIC System. 27) ¾ÙKô: ¦ý 67(AM'9+ $4&, S4E5(672, Vol. 9, No. 4, pp. 3{18 (1992).. (ªí124ß 3 o¼b) (ªí131ß11oÙ). ªÙ ®f*ô
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