References
- 1Aebersold, J. (1967). Volume 1 – How To Play Jazz & Improvise. Jamey Aebersold Play-A-Long Series. Jamey Aebersold Jazz.
- 2Ariza, C. (2009). The interrogator as critic: The Turing test and the evaluation of generative music systems. Computer Music Journal, 33(2): 48–70. DOI: 10.1162/comj.2009.33.2.48
- 3Bäck, T., Fogel, D. B., and Michalewicz, Z. (1997). Handbook of Evolutionary Computation. CRC Press, Boca Raton, USA. DOI: 10.1201/9780367802486
- 4Bäckman, K., and Dahlstedt, P. (2008).
A generative representation for the evolution of jazz solos . In Applications of Evolutionary Computing, pages 371–380. Springer. DOI: 10.1007/978-3-540-78761-7_40 - 5Bailey, D. (1993). Improvisation: Its Nature And Practice In Music. Hachette Books, New York, USA.
- 6Bates, D., Mächler, M., Bolker, B., and Walker, S. (2015). Fitting linear mixed-effects models using lme4. Journal of Statistical Software, 67(1): 1–48. DOI: 10.18637/jss.v067.i01
- 7Berliner, P. F. (1994). Thinking in Jazz: The Infinite Art of Improvisation. University of Chicago Press, Chicago, USA. DOI: 10.7208/chicago/9780226044521.001.0001
- 8Biemann, C. (2006).
Chinese Whispers: An efficient graph clustering algorithm and its application to natural language processing problems . In Proceedings of TextGraphs: The First Workshop on Graph Based Methods for Natural Language Processing, pages 73–80, Morristown, USA. Association for Computational Linguistics. DOI: 10.3115/1654758.1654774 - 9Biles, J. A. (1994).
GenJam: A genetic algorithm for generating jazz solos . In Proceedings of the International Computer Music Conference (ICMC 1994), pages 131–137. International Computer Association. - 10Biles, J. A. (1998).
Interactive GenJam: Integrating real-time performance with a genetic algorithm . In Proceedings of the International Computer Music Conference (ICMC 1998), pages 131–137. International Computer Association. - 11Biles, J. A. (2007a). Evolutionary computation for musical tasks. In (Miranda and Biles, 2007), pages 28–51. DOI: 10.1007/978-1-84628-600-1_2
- 12Biles, J. A. (2007b). Improvizing with genetic algorithms: GenJam. In (Miranda and Biles, 2007), pages 137–169. DOI: 10.1007/978-1-84628-600-1_7
- 13Brown, A., Horrigan, M., Eigenfeldt, A., Gifford, T., Field, D., and McCormack, J. (2018). Interacting with Musebots. In Proceedings of the International Conference on New Interfaces for Musical Expression, pages 19–24.
- 14Castro, R. (2003). Bossa Nova: The Story of the Brazilian Music That Seduced the World. Chicago Review Press.
- 15ChordStudio. (2008). Jam Studio.com – The online music factory. Chord Studio, Inc.,
http://www.jamstudio.com/Studio/index.htm . Accessed: 13/10/2021. - 16Collins, N. (2010). Introduction to Computer Music. Wiley, Chichester, UK.
- 17Colton, S. (2008). Creativity versus the perception of creativity in computational systems. In Proceedings of the AAAI Symposium on Creative Systems, pages 14–20.
- 18Colton, S., Charnley, J., and Pease, A. (2011). Computational creativity theory: The FACE and IDEA descriptive models. In Proceedings of the 2nd International Conference on Computational Creativity, pages 90–95.
- 19De Prisco, R., Malandrino, D., Zaccagnino, G., and Zaccagnino, R. (2016).
An evolutionary composer for real-time background music . In Evolutionary and Biologically Inspired Music, Sound, Art and Design, pages 135–151. Springer International Publishing. DOI: 10.1007/978-3-319-31008-4_10 - 20Dias, R., and Guedes, C. (2013). A contour-based jazz walking bass generator. In Proceedings of the Sound and Music Computing Conference, pages 305–308.
- 21Fein, M. (2017). Teaching Music Improvisation with Technology. Oxford University Press, New York, USA.
- 22Flextron. (2001). Chord Pulse – The handy virtual backing band. Flextron Bt.,
http://www.chordpulse.com/index.html . Accessed: 13/10/2021. - 23Gannon, P. (1990). Band-in-a-Box. PG Music, Inc.
- 24Gartland-Jones, A. (2003).
MusicBlox: A real-time algorithmic composition system incorporating a distributed interactive genetic algorithm . In Applications of Evolutionary Computing, pages 490–501, Berlin, Heidelberg. Springer. DOI: 10.1007/3-540-36605-9_45 - 25Gioia, T. (2011). The History of Jazz. Oxford University Press, Oxford, UK.
- 26Hoffman, G., and Weinberg, G. (2011). Interactive improvisation with a robotic marimba player. Autonomous Robots, 31: 133–153. DOI: 10.1007/s10514-011-9237-0
- 27Holm, S. (1979). A simple sequentially rejective multiple test procedure. Scandinavian Journal of Statistics, pages 65–70.
- 28Husbands, P., Copley, P., Eldridge, A., and Mandelis, J. (2007). An introduction to evolutionary computing for musicians. In (Miranda and Biles, 2007), pages 1–27. DOI: 10.1007/978-1-84628-600-1_1
- 29Hutchings, P., and McCormack, J. (2017).
Using autonomous agents to improvise music compositions in real-time . In Computational Intelligence in Music, Sound, Art and Design, pages 114–127. Springer International Publishing. DOI: 10.1007/978-3-319-55750-2_8 - 30Jordanous, A. K. (2012a). Evaluating Computational Creativity: A Standardised Procedure for Evaluating Creative Systems and its Application. PhD thesis, Department of Informatics, University of Sussex.
- 31Jordanous, A. K. (2012b). A standardised procedure for evaluating creative systems: Computational creativity evaluation based on what it is to be creative. Cognitive Computation, 4(3): 246–279. DOI: 10.1007/s12559-012-9156-1
- 32Kaliakatsos-Papakostas, M. A., Floros, A., and Vrahatis, M. N. (2013).
evoDrummer: Deriving rhythmic patterns through interactive genetic algorithms . In Evolutionary and Biologically Inspired Music, Sound, Art and Design, volume 7834, pages 25–36, Berlin/Heidelberg, Germany. Springer. DOI: 10.1007/978-3-642-36955-1_3 - 33Keller, B., Jones, S., Thom, B., and Wolin, A. (2005).
An interactive tool for learning improvisation through composition . Technical Report Tech Report HMC-CS-2005-02, Harvey Mudd College, Claremont, USA. - 34Kondak, Z., Konst, M., Lessard, C., Siah, D., and Keller, R. M. (2016). Active trading with Impro-Visor. In Proceedings 4th International Workshop on Musical Metacreation (MUME 2016).
- 35Kuznetsova, A., Brockhoff, P. B., and Christensen, R. H. B. (2017). lmerTest package: Tests in linear mixed effects models. Journal of Statistical Software, 82(13): 1–26. DOI: 10.18637/jss.v082.i13
- 36Levine, M. (1995). The Jazz Theory Book. Sher Music Co., Petaluma, USA.
- 37Lewis, G. E. (2000). Too many notes: Computer, complexity and culture in Voyager. Leonardo Music Journal, 10: 33–39. DOI: 10.1162/096112100570585
- 38Lin, D. (1998). An information-theoretic definition of similarity. In Proceedings of the 15th International Conference on Machine Learning, pages 296–304, Madison, USA.
- 39Loughran, R., and O’Neill, M. (2020). Evolutionary music: Applying evolutionary computation to the art of creating music. Genetic Programming and Evolvable Machines, 21: 55–85. DOI: 10.1007/s10710-020-09380-7
- 40McCormack, J., Gifford, T., Hutchings, P., Llano Rodriguez, M. T., Yee-King, M., and d’Inverno, M. (2019). In a silent way: Communication between ai and improvising musicians beyond sound. In Proceedings of the 2019 CHI Conference on Human Factors in Computing Systems, pages 1–11.
Association for Computing Machinery . DOI: 10.1145/3290605.3300268 - 41Miranda, E. R., and Biles, J. A., editors (2007). Evolutionary Computer Music. Springer, London, UK. DOI: 10.1007/978-1-84628-600-1
- 42Nachmanovitch, S. (1990). Free Play: Improvisation in Life and Art. Penguin Putnam, New York, USA.
- 43Ostermann, F., Vatolkin, I., and Rudolph, G. (2017). Evaluation rules for evolutionary generation of drum patterns in jazz solos. In Computational Intelligence in Music, Sound, Art and Design (Evo-MUSART 2017), pages 246–261. Springer. DOI: 10.1007/978-3-319-55750-2_17
- 44R Core Team. (2019). R: A Language and Environment for Statistical Computing. R Foundation for Statistical Computing, Vienna, Austria.
https://www.Rproject.org/ . - 45Raphael, C. (2001). Synthesizing musical accompaniments with Bayesian belief networks. Journal of New Music Research, 30(1): 59–67. DOI: 10.1076/jnmr.30.1.59.7121
- 46Ritchie, G. (2001). Assessing creativity. In Proceedings of the AISB Symposium on AI and Creativity in Arts and Science, pages 3–11, York, UK.
- 47Santarosa, R., Moroni, A., and Manzolli, J. (2006).
Layered genetical algorithms evolving into musical accompaniment generation . In Applications of Evolutionary Computing, pages 722–726, Berlin, Heidelberg. Springer. DOI: 10.1007/11732242_70 - 48Sonuus. (2018). g2M V3 – Universal Guitar-to-MIDI Converter Version 3. Sonuus Limited,
https://www.iconnectivity.com/sonuusshop/g2m-v3-universal-guitar-to-midiconverter-version-3 . Accessed: 13/10/2021. - 49Technimo. (2012–2021). iReal Pro: Tutorials – Learn the Ropes. New York, USA.
https://www.irealpro.com/video-tutorials/ . Accessed: 13/10/2021. - 50Turing, A. M. (1950). Computing machinery and intelligence. Mind, 59(236): 433–460. DOI: 10.1093/mind/LIX.236.433
- 51UK Music Apps. (2012). Session Band. UK Music Apps Ltd. Company, England.
http://sessionbandapp.com/index.html . Accessed: 13/10/2021. - 52Vaartstra, B. (2010). Learn jazz standards.
https://www.learnjazzstandards.com/about/ . Accessed: 13/10/2021.