One of the most challenging problems in recommender systems based on the collaborative filtering (CF) concept is data sparseness, i.e., limited user preference data is available for making recommendations. Cross-domain collaborative filtering (CDCF) has been studied as an effective mechanism to alleviate data sparseness of one domain using the knowledge about user preferences from other domains. A key question to be answered in the context of CDCF is what common characteristics can be deployed to link different domains for effective knowledge transfer. In this paper, we assess the usefulness of user-contributed (social) tags in this respect. We do so by means of the Generalized Tag-induced Cross-domain Collaborative Filtering (GTagCDCF) approach that we propose in this paper and that we developed based on the general collective matrix factorization framework. Assessment is done by a series of experiments, using publicly available CF datasets that represent three cross-domain cases, i.e., two two-domain cases and one three-domain case. A comparative analysis on two-domain cases involving GTagCDCF and several state-of-the-art CDCF approaches indicates the increased benefit of using social tags as representatives of explicit links between domains for CDCF as compared to the implicit links deployed by the existing CDCF methods. In addition, we show that users from different domains can already benefit from GTagCDCF if they only share a few common tags. Finally, we use the three-domain case to validate the robustness of GTagCDCF with respect to the scale of datasets and the varying number of domains.

Algorithmic composition is the partial or total automation of the process of music composition by using computers. Since the 1950s, different computational techniques related to Artificial Intelligence have been used for algorithmic composition, including grammatical representations, probabilistic methods, neural networks, symbolic rule-based systems, constraint programming and evolutionary algorithms. This survey aims to be a comprehensive account of research on algorithmic composition, presenting a thorough view of the field for researchers in Artificial Intelligence.

Hidden Markov Models have been used frequently in the audio domain to identify underlying musical structure. Much less work has been done in the purely symbolic realm. Recently, a substantial amount of expert-labelled symbolic musical data has been injected into the research community. The new availability of data allows for the application of machine learning models to purely symbolic tasks. Similarly, the continued expansion of the field of machine learning provides new perspectives and implementations of machine learning methods, which are powerful tools when approaching complex musical challenges. This research explores the use of an extended probabilistic model such as the Hidden Semi-Markov Model (HSMM) to approach the task of automatic harmonization. One distinct advantage of the HSMM is that it is able to automatically differentiate harmonic boundaries, through its inclusion of an extra parameter: duration. In this way, a melody can be harmonized automatically in the style of a particular corpus. In the case of this research, the corpus was in the style of Rock 'n' Roll.

HARMI (Human and Robotic Musical Improvisation) is a software and hardware system that enables musical robots to improvise with human performers. The goal of the system is not to replicate human musicians, but rather to explore the novel kinds of musical expression that machines can produce. At the same time, the system seeks to create spaces where humans and robots can communicate with each other in a common language. To help achieve the former, ideas from contemporary compositional practice and music theory were used to shape the system’s expressive capabilities. In regard to the latter, research from the field of cognitive psychology was incorporated to enable communication, interaction, and understanding between human and robotic performers. The system was partly developed in conjunction with a residency at High Concept Laboratories in Chicago, IL, where a group of human improvisers performed with the robotic instruments. The system represents an approach to the question of how humans and robots can interact and improvise in musical contexts. This approach purports to highlight the unique expressive spaces of humans, the unique expressive spaces of machines, and the shared spaces between the two.

Building on recent research in musical creativity and the composition process, this paper presents a specific practical application of our theory and software to sound design. The BigBang rubette module that brings gestural music composition methods to the Rubato Composer software was recently generalized in order to work with any kinds of musical and non-musical objects. Here, we focus on time-independent sound objects to illustrate several levels of metacreativity. On the one hand, we show a sample process of designing the sound objects themselves by defining appropriate datatypes, which can be done at runtime. On the other hand, we demonstrate how the creative process itself, recorded by the software once the composer starts working with these sound objects, can be used for both improvisation with and automation of any defined operations and transformations.

We present a novel, real-time system for exploring harmonic spaces of musical styles, to generate music in collaboration with human performers utilizing gesture devices (such as the Kinect) together with MIDI and OSC instruments / controllers. This corpus-based environment incorporates statistical and evolutionary components for exploring potential flows through harmonic spaces, utilizing power-law (Zipf-based) metrics for fitness evaluation. It supports visual exploration and navigation of harmonic transition probabilities through interactive gesture control. These probabilities are computed from musical corpora (in MIDI format). Herein we utilize the Classical Music Archives 14,000+ MIDI corpus, among others. The user interface supports real-time exploration of the balance between predictability and surprise for musical composition and performance, and may be used in a variety of musical contexts and applications.

Multi-armed bandit problems are receiving a great deal of attention because they adequately formalize the exploration-exploitation trade-offs arising in several industrially relevant applications, such as online advertisement and, more generally, recommendation systems. In many cases, however, these applications have a strong social component, whose integration in the bandit algorithm could lead to a dramatic performance increase. For instance, we may want to serve content to a group of users by taking advantage of an underlying network of social relationships among them. In this paper, we introduce novel algorithmic approaches to the solution of such networked bandit problems. More specifically, we design and analyze a global strategy which allocates a bandit algorithm to each network node (user) and allows it to "share" signals (contexts and payoffs) with the neghboring nodes. We then derive two more scalable variants of this strategy based on different ways of clustering the graph nodes. We experimentally compare the algorithm and its variants to state-of-the-art methods for contextual bandits that do not use the relational information. Our experiments, carried out on synthetic and real-world datasets, show a marked increase in prediction performance obtained by exploiting the network structure.

Traditionally focused on good old-fashioned AI and robotics, the Spanish AI community holds a vigorous computational intelligence substrate. Neuromorphic, evolutionary, or fuzzylike systems have been developed by many research groups in the Spanish computer sciences. It is no surprise, then, that these naturegrounded efforts start to emerge, enriching the AI catalogue of research projects and publications and, eventually, leading to new directions of basic or applied research. In this article, we review the contribution of Melomics in computational creativity.

The OSCAR (octagonal selection and clustering algorithm for regression) regularizer consists of a L_1 norm plus a pair-wise L_inf norm (responsible for its grouping behavior) and was proposed to encourage group sparsity in scenarios where the groups are a priori unknown. The OSCAR regularizer has a non-trivial proximity operator, which limits its applicability. We reformulate this regularizer as a weighted sorted L_1 norm, and propose its grouping proximity operator (GPO) and approximate proximity operator (APO), thus making state-of-the-art proximal splitting algorithms (PSAs) available to solve inverse problems with OSCAR regularization. The GPO is in fact the APO followed by additional grouping and averaging operations, which are costly in time and storage, explaining the reason why algorithms with APO are much faster than that with GPO. The convergences of PSAs with GPO are guaranteed since GPO is an exact proximity operator. Although convergence of PSAs with APO is may not be guaranteed, we have experimentally found that APO behaves similarly to GPO when the regularization parameter of the pair-wise L_inf norm is set to an appropriately small value. Experiments on recovery of group-sparse signals (with unknown groups) show that PSAs with APO are very fast and accurate.

We consider in this paper the problem of noisy 1-bit matrix completion under a general non-uniform sampling distribution using the max-norm as a convex relaxation for the rank. A max-norm constrained maximum likelihood estimate is introduced and studied. The rate of convergence for the estimate is obtained. Information-theoretical methods are used to establish a minimax lower bound under the general sampling model. The minimax upper and lower bounds together yield the optimal rate of convergence for the Frobenius norm loss. Computational algorithms and numerical performance are also discussed.