{"title":"Music, Intelligence and Artificiality","authors":"A. Marsden","doi":"10.4324/9780203059746-7","DOIUrl":null,"url":null,"abstract":"The discipline of Music-AI is defined as that activity which seeks to program computers to perform musical tasks in an intelligent, which possibly means humanlike way. A brief historical survey of different approaches within the discipline is presented. Two particular issues arise: the explicit representation of knowledge; and symbolic and subsymbolic representation and processing. When attempting to give a precise definition of Music-AI, it is argued that all musical processes must make some reference to human behaviour, and so Music-AI is a central rather than a peripheral discipline for musical computing. However, it turns out that the goals of Music-AI as first expressed, the mimicking of human behaviour, are impossible to achieve in full, and that it is impossible, in principle, for computers to pass a musical version of the Turing test. In practice, however, computers are used for their non-human-like behaviour just as much as their human-like behaviour, so the real goal of Music-AI must be reformulated. Furthermore, it is argued that the non-holistic analysis of human behaviour which this reformulation entails is actually informative for our understanding of human behaviour. Music-AI could also be fruitfully concerned with developing musical intelligences which were explicitly not human. Music-AI is then seen to be as much a creative enterprise as a scientific one.","PeriodicalId":121121,"journal":{"name":"Readings in Music and Artificial Intelligence","volume":"346 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"10","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Readings in Music and Artificial Intelligence","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.4324/9780203059746-7","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 10
Abstract
The discipline of Music-AI is defined as that activity which seeks to program computers to perform musical tasks in an intelligent, which possibly means humanlike way. A brief historical survey of different approaches within the discipline is presented. Two particular issues arise: the explicit representation of knowledge; and symbolic and subsymbolic representation and processing. When attempting to give a precise definition of Music-AI, it is argued that all musical processes must make some reference to human behaviour, and so Music-AI is a central rather than a peripheral discipline for musical computing. However, it turns out that the goals of Music-AI as first expressed, the mimicking of human behaviour, are impossible to achieve in full, and that it is impossible, in principle, for computers to pass a musical version of the Turing test. In practice, however, computers are used for their non-human-like behaviour just as much as their human-like behaviour, so the real goal of Music-AI must be reformulated. Furthermore, it is argued that the non-holistic analysis of human behaviour which this reformulation entails is actually informative for our understanding of human behaviour. Music-AI could also be fruitfully concerned with developing musical intelligences which were explicitly not human. Music-AI is then seen to be as much a creative enterprise as a scientific one.