Here are a number of things MusES can do, through Smalltalk expressions
A Smalltalk editor on a melody:
A Smalltalk editor on a Jazz chord sequence:
The first project is the construction of a knowledge-based analyzer for jazz chord sequences. The sequences are standard be-bop tunes as found in the Real book/Fake book corpus. The aim of this system is to find underlying tonalities for each chord in a sequence, when possible. The reasoning is represented by rule bases expressed in NéOpus, a first-order forward-chaining inference engine integrated with Smalltalk-80). The model of the reasoning is described in depth in Pachet (1994b) and Pachet (1991), and uses a declarative architecture for representing control knowledge (Pachet & Perrot (1994)).
This system captures musical rules as found in treatises of harmony and counterpoint. These rules are most often stated as constraints, such as "the interval between two successive notes in a melody should be consonant". One of the major drawbacks of the previous attempts is the overuse of the constraint satisfaction mechanism, leading to inefficiencies and complex knowledge bases. The aim of the system is to explore the integration of constraint-satisfaction mechanisms (arc-consistency) and intelligent search (branch & bound), with our existing object structures. This work is still in progress and showed already very promising results in terms of efficiency. See Pierre Roy's page for more details.
This system is an attempt to build a musical memory that explains - at least partially - improvisation processes. A model of memory, based on case-based mechanisms (Cf. Ramalho & Ganascia (1994) has been developed, and is used in conjunction with a representation of musical actions or PACTs (Cf. Pachet (1991), Ramalho & Pachet (1994)). The idea is to model the complete sequence of processes involved in improvisation, from the beginning (parsing of the chord sequence, using the chord sequence analyzer mentioned above) up to the actual generation of notes. The generation of PACTs uses the case-based model of memory in conjunction with an algorithm that generates PACTs according to the musician's experience, as well as general knowledge about musical actions. See Geber Ramalho's page for more details.
The Imprology system aims at automating the extraction of prominent patterns ("formulae", "licks",...) from corpuses of improvized jazz transcriptions (Rolland & Ganascia 1997). Imprology's results are evaluated through confrontation with those of musicologist T. Owens' pattern-based analysis of Charlie Parker's improvisation techniques based on 190 solos. Imprology's central component seeks local similarities in pairs of monophonic melodies, using dynamic programming (DP) algorithms. Experiments with Imprology evidenced limitations of current DP approaches, viz. lack of musical common sense. Operational representations have been proposed for all additional musical descriptions deemed neccessary: metrical aspects; intervallic and directional contours; local tonalities; harmonic " shapes " (II-V, VI-II-V-I);... Also, novel, systematic solutions were proposed for the crucial problem of setting algorithm parameters' values. See Pierre Yves Rolland's page for more details.
Another project is the representation and formalization of the whole Real Book corpus, analysis of Gesualdo works, and other crazy things. People involved in the MusES system are: Francois Pachet, Geber Ramalho, Pierre Roy, Pierre-Yves Rolland, Jean Carrive.
You can have access to some publications about MusES. You can also be interested in a report I co-edited on Artificial Intelligence and Music in France, in the bulletin de l'AFIA.
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