@COMMENT This file was generated by bib2html.pl <https://sourceforge.net/projects/bib2html/> version 0.94
@COMMENT written by Patrick Riley <http://sourceforge.net/users/patstg/>
@COMMENT This file came from Sanjit Seshia's publication pages at http://www.eecs.berkeley.edu/~sseshia
@InProceedings{donze-icmc14,
  author = 	 {Alexandre Donz{\'{e}} and Rafael Valle and Ilge Akkaya and Sophie Libkind and Sanjit A. Seshia and David Wessel},
  title = 	 {Machine Improvisation with Formal Specifications},
  booktitle = 	 {Proceedings of the 40th International Computer Music Conference (ICMC)},
  OPTcrossref =  {},
  OPTkey = 	 {},
  pages = 	 {1277--1284},
  year = 	 {2014},
  OPTeditor = 	 {},
  OPTvolume = 	 {},
  OPTnumber = 	 {},
  OPTseries = 	 {},
  OPTaddress = 	 {},
  month = 	 {September},
  OPTorganization = {},
  OPTpublisher = {},
  note = 	 {Available online at \url{http://hdl.handle.net/2027/spo.bbp2372.2014.196}.},
  OPTannote = 	 {},
  abstract={We define the problem of machine improvisation of music 
with formal specifications. In this problem, one seeks to 
create a random improvisation of a given reference melody 
that however satisfies a specification encoding constraints 
that the generated melody must satisfy. More specifically, 
we consider the scenario of generating a monophonic Jazz 
melody (solo) on a given song harmonization. The music 
is encoded symbolically, with the improviser generating a 
sequence of note symbols comprising pairs of pitches (frequencies) 
and discrete durations. Our approach can be decomposed 
roughly into two phases: a generalization phase, 
that learns from a training sequence (e.g., obtained from 
a human improviser) an automaton generating similar sequences, 
and a supervision phase that enforces a specification 
on the generated sequence, imposing constraints on 
the music in both the pitch and rhythmic domains. The supervision 
uses a measure adapted from Normalized Compression 
Distances (NCD) to estimate the divergence between 
generated melodies and the training melody and employs 
strategies to bound this divergence. An empirical 
evaluation is presented on a sample set of Jazz music.},
}