This article presents a 2-phase computational learning model and application. Asa demonstration, a system has been built, called CHIME for Computer Human Interacting Musical Entity. In phase 1 of training, recurrent back-propagationtrains the machine to reproduce 3 jazz melodies. The recurrent network is expanded and is further trained in phase 2 with a reinforcement learning algorithm and a critique produced by a set of basic rules for jazz improvisation.

We present a probabilistic generative model for timing deviations in expressive music. The structure of the proposed model is equivalent to a switching state space model. We formulate twowell known music recognition problems, namely tempo tracking and automatic transcription (rhythm quantization) as filtering andmaximum a posteriori (MAP) state estimation tasks. The inferences are carried out using sequential Monte Carlo integration (particlefiltering) techniques. For this purpose, we have derived a novel Viterbi algorithm for Rao-Blackwellized particle filters, wherea subset of the hidden variables is integrated out.

To them that had had, more would be given (Lodge 1986, p. 172). "Morris read through the letter. Was it a shade too fulsome? No, that was another law of academic life: it is impossible to be excessive in the flattery of one's peers." There we met Morris That book was made by Mr. Mark I read these lines as a new truth." I haven't even gotten my Who is talking floor, and stepped out on to his regular on the British version of the here? More importantly, whom balcony to inhale the air, scented Discovery Channel), and womanizer should I believe? Messenger, as his wife Twain" disguised as Huck?

We develop, analyze, and evaluate a novel, supervised, specific-to-general learner for a simple temporal logic and use the resulting algorithm to learn visual event definitions from video sequences. First, we introduce a simple, propositional, temporal, event-description language called AMA that is sufficiently expressive to represent many events yet sufficiently restrictive to support learning. We then give algorithms, along with lower and upper complexity bounds, for the subsumption and generalization problems for AMA formulas. We present a positive-examples--only specific-to-general learning method based on these algorithms. We also present a polynomial-time--computable ``syntactic'' subsumption test that implies semantic subsumption without being equivalent to it. A generalization algorithm based on syntactic subsumption can be used in place of semantic generalization to improve the asymptotic complexity of the resulting learning algorithm. Finally, we apply this algorithm to the task of learning relational event definitions from video and show that it yields definitions that are competitive with hand-coded ones.

Is there a general model that can predict the perceived phrase structure in language and music? While it is usually assumed that humans have separate faculties for language and music, this work focuses on the commonalities rather than on the differences between these modalities, aiming at finding a deeper 'faculty'. Our key idea is that the perceptual system strives for the simplest structure (the 'simplicity principle'), but in doing so it is biased by the likelihood of previous structures (the 'likelihood principle'). We present a series of data-oriented parsing (DOP) models that combine these two principles and that are tested on the Penn Treebank and the Essen Folksong Collection. Our experiments show that (1) a combination of the two principles outperforms the use of either of them, and (2) exactly the same model with the same parameter setting achieves maximum accuracy for both language and music. We argue that our results suggest an interesting parallel between linguistic and musical structuring.

In this article, we first survey the three major types of computer music systems based on AI techniques: (1) compositional, (2) improvisational, and (3) performance systems. For this reason, previous approaches, based on following musical rules trying to capture interpretation knowledge, had serious limitations. An alternative approach, much closer to the observation-imitation process observed in humans, is that of directly using the interpretation knowledge implicit in examples extracted from recordings of human performers instead of trying to make explicit such knowledge. In the last part of the article, we report on a performance system, SAXEX, based on this alternative approach, that is capable of generating high-quality expressive solo performances of jazz ballads based on examples of human performers within a case-based reasoning (CBR) system.

In this article, we first survey the three major types of computer music systems based on AI techniques: (1) compositional, (2) improvisational, and (3) performance systems. Representative examples of each type are briefly described. Then, we look in more detail at the problem of endowing the resulting performances with the expressiveness that characterizes human-generated music. This is one of the most challenging aspects of computer music that has been addressed just recently. The main problem in modeling expressiveness is to grasp the performer's "touch," that is, the knowledge applied when performing a score. Humans acquire it through a long process of observation and imitation. For this reason, previous approaches, based on following musical rules trying to capture interpretation knowledge, had serious limitations. An alternative approach, much closer to the observation-imitation process observed in humans, is that of directly using the interpretation knowledge implicit in examples extracted from recordings of human performers instead of trying to make explicit such knowledge. In the last part of the article, we report on a performance system, SAXEX, based on this alternative approach, that is capable of generating high-quality expressive solo performances of jazz ballads based on examples of human performers within a case-based reasoning (CBR) system.

This book looks at some of the results of this synergy among AI, cognitive science, and education. Examples include virtual students whose misconceptions force students to reflect on their own knowledge, intelligent tutoring systems, and speech recognition technology that helps students learn to read. Some of the systems described are already used in classrooms and have been evaluated; a few are still laboratory efforts. The book also addresses cultural and political issues involved in the deployment of new educational technologies. ISBN 0-0-262-56141-7 To order call 800-405-1619.

The debut of the AI in the News column elsewhere in this issue of AI Magazine created a good opportunity to introduce the professional community to the AI Topics web site, home of the AI in the news virtual page. Although AI Topics is designed for the lay public, it serves a much larger audience.

This article presents an overview and survey of current work in case-based reasoning (CBR) integrations. There has been a recent upsurge in the integration of CBR with other reasoning modalities and computing paradigms, especially rule-based reasoning (RBR) and constraint-satisfaction problem (CSP) solving. CBR integrations with modelbased reasoning (MBR), genetic algorithms, and information retrieval are also discussed. This article characterizes the types of multimodal reasoning integrations where CBR can play a role, identifies the types of roles that CBR components can fulfill, and provides examples of integrated CBR systems. Past progress, current trends, and issues for future research are discussed.