The Musical Instrument Digital Interface (MIDI), introduced in 1983, revolutionized music production by allowing computers and instruments to communicate efficiently. MIDI files encode musical instructions compactly, facilitating convenient music sharing. They benefit Music Information Retrieval (MIR), aiding in research on music understanding, computational musicology, and generative music. The GigaMIDI dataset contains over 1.4 million unique MIDI files, encompassing 1.8 billion MIDI note events and over 5.3 million MIDI tracks. GigaMIDI is currently the largest collection of symbolic music in MIDI format available for research purposes under fair dealing. Distinguishing between non-expressive and expressive MIDI tracks is challenging, as MIDI files do not inherently make this distinction. To address this issue, we introduce a set of innovative heuristics for detecting expressive music performance. These include the Distinctive Note Velocity Ratio (DNVR) heuristic, which analyzes MIDI note velocity; the Distinctive Note Onset Deviation Ratio (DNODR) heuristic, which examines deviations in note onset times; and the Note Onset Median Metric Level (NOMML) heuristic, which evaluates onset positions relative to metric levels. Our evaluation demonstrates these heuristics effectively differentiate between non-expressive and expressive MIDI tracks. Furthermore, after evaluation, we create the most substantial expressive MIDI dataset, employing our heuristic, NOMML. This curated iteration of GigaMIDI encompasses expressively-performed instrument tracks detected by NOMML, containing all General MIDI instruments, constituting 31% of the GigaMIDI dataset, totalling 1,655,649 tracks.

We present and release MIDI-GPT, a generative system based on the Transformer architecture that is designed for computer-assisted music composition workflows. MIDI-GPT supports the infilling of musical material at the track and bar level, and can condition generation on attributes including: instrument type, musical style, note density, polyphony level, and note duration. In order to integrate these features, we employ an alternative representation for musical material, creating a time-ordered sequence of musical events for each track and concatenating several tracks into a single sequence, rather than using a single time-ordered sequence where the musical events corresponding to different tracks are interleaved. We also propose a variation of our representation allowing for expressiveness. We present experimental results that demonstrate that MIDI-GPT is able to consistently avoid duplicating the musical material it was trained on, generate music that is stylistically similar to the training dataset, and that attribute controls allow enforcing various constraints on the generated material. We also outline several real-world applications of MIDI-GPT, including collaborations with industry partners that explore the integration and evaluation of MIDI-GPT into commercial products, as well as several artistic works produced using it.

Our research explores the development and application of musical agents, human-in-the-loop generative AI systems designed to support music performance and improvisation within co-creative spaces. We introduce MACAT and MACataRT, two distinct musical agent systems crafted to enhance interactive music-making between human musicians and AI. MACAT is optimized for agent-led performance, employing real-time synthesis and self-listening to shape its output autonomously, while MACataRT provides a flexible environment for collaborative improvisation through audio mosaicing and sequence-based learning. Both systems emphasize training on personalized, small datasets, fostering ethical and transparent AI engagement that respects artistic integrity. This research highlights how interactive, artist-centred generative AI can expand creative possibilities, empowering musicians to explore new forms of artistic expression in real-time, performance-driven and music improvisation contexts.

Revival is an innovative live audiovisual performance and music improvisation by our artist collective K-Phi-A, blending human and AI musicianship to create electronic music with audio-reactive visuals. The performance features real-time co-creative improvisation between a percussionist, an electronic music artist, and AI musical agents. Trained in works by deceased composers and the collective's compositions, these agents dynamically respond to human input and emulate complex musical styles. An AI-driven visual synthesizer, guided by a human VJ, produces visuals that evolve with the musical landscape. Revival showcases the potential of AI and human collaboration in improvisational artistic creation.

Users of these models can produce diverse and high-quality visuals through meticulously written text prompts. These models mark a significant shift from the era when artists used personally-trainable generative models like Generative Adversarial Networks (GANs) and Variational Autoencoders (VAEs). LTGMs have made the generation of visuals accessible to everyone, but this shift in attention has overshadowed the practice of "model crafting", whereas artists personalize their work by experimenting with training sets, model architectures, and hyperparameters in addition to combining, adapting and manipulating pre-trained models [14]. Model crafting offered artists a sense of craftsmanship and ownership over the creative process and its outcomes.

Non-technical end-users are silent and invisible users of the state-of-the-art explainable artificial intelligence (XAI) technologies. Their demands and requirements for AI explainability are not incorporated into the design and evaluation of XAI techniques, which are developed to explain the rationales of AI decisions to end-users and assist their critical decisions. This makes XAI techniques ineffective or even harmful in high-stakes applications, such as healthcare, criminal justice, finance, and autonomous driving systems. To systematically understand end-users' requirements to support the technical development of XAI, we conducted the EUCA user study with 32 layperson participants in four AI-assisted critical tasks. The study identified comprehensive user requirements for feature-, example-, and rule-based XAI techniques (manifested by the end-user-friendly explanation forms) and XAI evaluation objectives (manifested by the explanation goals), which were shown to be helpful to directly inspire the proposal of new XAI algorithms and evaluation metrics. The EUCA study findings, the identified explanation forms and goals for technical specification, and the EUCA study dataset support the design and evaluation of end-user-centered XAI techniques for accessible, safe, and accountable AI.

The boundaries of existing explainable artificial intelligence (XAI) algorithms are confined to problems grounded in technical users' demand for explainability. This research paradigm disproportionately ignores the larger group of non-technical end users, who have a much higher demand for AI explanations in diverse explanation goals, such as making safer and better decisions and improving users' predicted outcomes. Lacking explainability-focused functional support for end users may hinder the safe and accountable use of AI in high-stakes domains, such as healthcare, criminal justice, finance, and autonomous driving systems. Built upon prior human factor analysis on end users' requirements for XAI, we identify and model four novel XAI technical problems covering the full spectrum from design to the evaluation of XAI algorithms, including edge-case-based reasoning, customizable counterfactual explanation, collapsible decision tree, and the verifiability metric to evaluate XAI utility. Based on these newly-identified research problems, we also discuss open problems in the technical development of user-centered XAI to inspire future research. Our work bridges human-centered XAI with the technical XAI community, and calls for a new research paradigm on the technical development of user-centered XAI for the responsible use of AI in critical tasks.

The rise of non-linear and interactive media such as video games has increased the need for automatic movement animation generation. In this survey, we review and analyze different aspects of building automatic movement generation systems using machine learning techniques and motion capture data. We cover topics such as high-level movement characterization, training data, features representation, machine learning models, and evaluation methods. We conclude by presenting a discussion of the reviewed literature and outlining the research gaps and remaining challenges for future work.

The AIIDE-14 Workshop program was held Friday and Saturday, October 3–4, 2014 at North Carolina State University in Raleigh, North Carolina. The workshop program included five workshops covering a wide range of topics. The titles of the workshops held Friday were Games and Natural Language Processing, and Artificial Intelligence in Adversarial Real-Time Games. The titles of the workshops held Saturday were Diversity in Games Research, Experimental Artificial Intelligence in Games, and Musical Metacreation.

The AIIDE-14 Workshop program was held Friday and Saturday, October 3–4, 2014 at North Carolina State University in Raleigh, North Carolina. The workshop program included five workshops covering a wide range of topics. The titles of the workshops held Friday were Games and Natural Language Processing, and Artificial Intelligence in Adversarial Real-Time Games. The titles of the workshops held Saturday were Diversity in Games Research, Experimental Artificial Intelligence in Games, and Musical Metacreation. This article presents short summaries of those events.