Modeling Musical Anticipation From the time of music to the music of time Arshia Cont Jointly supervised between University of California in San Diego (UCSD), Music Department. Center for Research in Computing and the Arts. + University of Paris VI, Ecole Doctorale de l’EDITE, IRCAM-Centre Pompidou, Equipe IMTR. Committee in charge Alain DE CHEVEIGNÉ ENS, Paris chair Shlomo DUBNOV UCSD, Music chair David WESSEL UC Berkeley, CNMAT Reporter Lawrence SAUL UCSD, CSE Reporter Miller S. PUCKETTE UCSD, Music Reader Philippe MANOURY UCSD, Music Reader Jean-Pierre BRIOT UPMC, LIP6 President Thesis Explicit consideration of anticipatory mechanisms, as observed in music cognition, within a computational framework, could Address “complex” problems in computer music, Reduce complexity of computation and design, and Provide access to temporal structures of music information as they unfold in (real) time, for creative applications (computer music). Modeling Musical Anticipation Arshia Cont From the time of music to the music of time 16/10/2008 2 Motivations Role of expectations in musical experience • In listening experience Expectations imply mental representations in which our daily musical experience is being examined and updated. Major responsibility for musical emotions • In musical creativity Meyer (1954): composition = choreography of musical expectations Huron (2006): Demonstrates explicit cases of these “choreographies” Grisey (1987): “A composer’s reflections on musical time” The skin of time From the time of music to the music of time... • No major consideration for expectation in computer music Modeling Musical Anticipation Arshia Cont From the time of music to the music of time 16/10/2008 3 Approach • A voyage from the domain of natural science to the science of the artificial Define and clear out the context From modeling anticipation to anticipatory modeling Modeling anticipation: Research in music cognition literature for the study of musical behavior pertaining to expectations Anticipatory modeling: A cognitive design principle for modeling artificial systems. • Propose anticipatory models addressing three main preoccupations of musical expectations: What to expect How to expect When to expect Modeling Musical Anticipation Arshia Cont From the time of music to the music of time 16/10/2008 4 PART (I) Natural Science “I think that the search for a universal answer to Music Cognition the questions raised by musical experience will never be completely fulfilled; but we know that a question raised is often more significant than the answer received. Only a reckless spirit, today, Modeling would try to give a total explanation of music, Investigations but anyone who would never pose the problem is even more reckless.” Remembering the future Anticipatory Modeling Luciano Berio Artificial Science From Modeling Anticipation to Anticipatory Modeling vii Anticipation, Expectation, Prediction Definitions? • Prediction: Act of forecasting based on previously gained knowledge from an environment. • Expectation: “a form of mental or corporeal belief that some event or class of events is likely to happen in the future.” (Huron 2006) • But anticipation... Huron (2006): Anticipation is “a sub-product of expectation when the sense of appraisal for the expected future event is high.” Bharucha (96) calls this yearning. ! ! ! Narmour (90) calls this implication. Schmuckler (97): “Expectation is an anticipation of upcoming events based on information from past and present.” Modeling Musical Anticipation Arshia Cont Part I. From modeling anticipation to anticipatory modeling 16/10/2008 6 Psychology of Musical Expectation Fact Constitution 1. Expectations entail mental representations, whether partial, accurate or fallible. 2. Expectations are learned through interactions with a surrounding environment (auditory learning) The determinant factor for learning auditory phenomena is their stability in the surrounding environment Statistical nature of auditory learning 3. Concurrent and Competitive Representations Listeners appear to possess multiple representations for the same phenomena (concurrency) Expectations are differentially favored depending on their predictive success (competitive) 4. Expectations lead to predictions, which by themselves evoke actions (physiological, mental or physical) Expectations are always coupled with their consequent actions In theory and also in practice... . Modeling Musical Anticipation Arshia Cont Part I. From modeling anticipation to anticipatory modeling 16/10/2008 7 What is Anticipation? We study the activism aspect of expectation under the term Anticipation: Definition Anticipation is an action, that a system takes as a result of pre- diction, based on current belief or expectations, including actions on its own internal state or belief. • Implications: Expectations demand constant adaptation and interaction with an environment Anticipation is an activity of coupling with the environment. Anticipation is not a process in the brain, but a kind of skillful activity and a mode of exploration of the environment. Modeling Musical Anticipation Arshia Cont Part I. From modeling anticipation to anticipatory modeling 16/10/2008 8 Modeling Investigations • What is modeling? In natural sciences, by modeling musical expectations researchers aim at assessing a theory regarding one among many aspects of the psychology of musical expectations • Things to be aware of... (A) Imperfect Heuristics Recall “fact 1”: Consequent mental representations out of auditory learning can be fallible. We are selective and imperfect learners, constrained by all problems of induction. Biological goal of expectation vs. Musical goal of expectation Biological goal: Faulty heuristics Potential danger Musical goal: Every danger is... welcome! Our senses are biased through the world! Modeling Musical Anticipation Arshia Cont 16/10/2008 9 Modeling Investigations • Things to be aware of... (B) Naive Realism Naive Realists consider senses as unbiased windows through the real world. A sobering point for music theorists! Considering that the structures seen in notations are the ones we experience, and what is experienced is what is seen in the notation. The majority of music theoretic models of expectation undergo naive realism. Example: The story of post-skip reversal Common perception pattern among western-listeners Adopted by many music theory researchers as an “rule” underlying melodic expectation (Narmour, Lerdahl, Margulis). Not true! Von Hipple and Huron (2000) show that post-skip reversal in music scores is the result of a less exciting phenomena. Except in the music of Giovanni Palestrina, the initiator of the rule. So... Should we “model” anticipation? Revise the question! Modeling Musical Anticipation Arshia Cont Part I. From modeling anticipation to anticipatory modeling 16/10/2008 10