This study explores the extent to which a network that learns the temporal relationships within and between the component features of Western tonal music can account for music theoretic and psychological phenomena such as the tonal hierarchy and rhythmic expectancies. Predicted and generated sequences were recorded as the representation of a 153-note waltz melody was learnt by a predictive, recurrent network. The network learned transitions and relations between and within pitch and timing components: accent and duration values interacted in the development of rhythmic and metric structures and, with training, the network developed chordal expectancies in response to the activation of individual tones. Analysis of the hidden unit representation revealed that musical sequences are represented as transitions between states in hidden unit space.

In recent years, NIPS has heard neural networks generate tunes and harmonize chorales. With a large amount of music becoming available in computer readable form, real data can be used to train connectionist models. At the beginning of this workshop, Andreas Weigend focused on architectures to capture structure on multiple time scales.

In recent years, NIPS has heard neural networks generate tunes and harmonize chorales. With a large amount of music becoming available in computer readable form, real data can be used to train connectionist models. At the beginning of this workshop, Andreas Weigend focused on architectures to capture structure on multiple time scales.

This study explores the extent to which a network that learns the temporal relationships within and between the component features of Western tonal music can account for music theoretic and psychological phenomena such as the tonal hierarchy and rhythmic expectancies. Predicted and generated sequences were recorded as the representation of a 153-note waltz melody was learnt by a predictive, recurrent network. The network learned transitions and relations between and within pitch and timing components: accent and duration values interacted in the development of rhythmic and metric structures and, with training, the network developed chordal expectancies in response to the activation of individual tones. Analysis of the hidden unit representation revealed that musical sequences are represented as transitions between states in hidden unit space.

Mozer, 1991; Bharucha, 1992), the models rarely explain the way in which musical representations are constructed and learned.

In recent years, NIPS has heard neural networks generate tunes and harmonize chorales. With a large amount of music becoming available in computer readable form, real data can be used to train connectionist models. At the beginning of this workshop, Andreas Weigend focused on architectures to capture structure on multiple time scales.

The first Robotics Exhibition and Competition sponsored by the Association for the Advancement of Artificial Intelligence was held in San Jose, California, on 14-16 July 1992 in conjunction with the Tenth National Conference on AI. This article describes the history behind the competition, the preparations leading to the competition, the threedays during which 12 teams competed in the three events making up the competition, and the prospects for other such competitions in the future.

In AAAI-93, pp. 676–682. In german, P. Z. Panini–Backus form suggested. CACM, 10. (3), 137

Learning structure in temporally-extended sequences is a difficult computational problem because only a fraction of the relevant information is available at any instant. Although variants of back propagation can in principle be used to find structure in sequences, in practice they are not sufficiently powerful to discover arbitrary contingencies, especially those spanning long temporal intervals or involving high order statistics. For example, in designing a connectionist network for music composition, we have encountered the problem that the net is able to learn musical structure that occurs locally in time-e.g., relations among notes within a musical phrase-but not structure that occurs over longer time periods--e.g., relations among phrases. To address this problem, we require a means of constructing a reduced deacription of the sequence that makes global aspects more explicit or more readily detectable. I propose to achieve this using hidden units that operate with different time constants.

Learning structure in temporally-extended sequences is a difficult computational problem because only a fraction of the relevant information is available at any instant. Although variants of back propagation can in principle be used to find structure in sequences, in practice they are not sufficiently powerful to discover arbitrary contingencies, especially those spanning long temporal intervals or involving high order statistics. For example, in designing a connectionist network for music composition, we have encountered the problem that the net is able to learn musical structure that occurs locally in time-e.g., relations among notes within a musical phrase-but not structure that occurs over longer time periods--e.g., relations among phrases. To address this problem, we require a means of constructing a reduced deacription of the sequence that makes global aspects more explicit or more readily detectable. I propose to achieve this using hidden units that operate with different time constants.