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论文作者:www.51lunwen.org论文属性:硕士毕业论文 thesis登出时间:2014-07-07编辑:felicia点击率:24770
论文字数:8929论文编号:org201407062205435872语种:英语 English地区:中国价格:免费论文
关键词:principal approachesMusic EducationArtificial Intelligencecreativityproblem-seekingproblem-solving
摘要:音乐教育,是一个急需创造力、想象力、求知欲的教育领域,涉及到各个学科的知识内容,如音乐心理学、哲学、计算机科学等,随着音乐教育的不断发展,人工智能渐渐融入到音乐教育中。本文通过人工智能在音乐教育中的作用,探索其今后的发展。
It has a vast library of functions, including neural nets facilities, used for processing, generating and transforming musical data and processes, commonly built on Lisp. The system is primarily aimed at composers and researchers. Another culture which offers an educational paradigm with many links to AI culture is the Smalltalk culture. An example of such a system is Pachet’s (1994) MusES environment, implemented in Smalltalk 80. It is aimed at experimenting with knowledge representation techniques in tonal music.
MuSES includes systems for harmonisation, analysis and improvisation. Finally, an example of a commercial program is Band in a Box (Binary Designs, 1996). It takes a chord sequence as input and at output can play an accompaniment based on the chord in a wide variety of styles. At one moment in time this would have required AI techniques but in today’s era it is a conventional method.
6. Supporting learning with Computational Models of Creativity
6.1 A cognitive support framework: constraint-based model of creativity
“I noticed that the [drawing] teacher didn’t tell people much….Instead, he tried to inspire us to experiment with new approaches. I thought of how we teach physics: we have so many techniques-so many mathematical methods – that we never stop telling the students how to do things. On the other hand, the drawing teacher is afraid to teach you anything.
If your lines are very heavy, the teacher can’t say “your lines are too heavy” because some artist has figured out a way of making great pictures using heavy lines. The teacher doesn’t want to push you in some particular direction. So the drawing teacher has this problem of communicating how to draw by osmosis and not by instruction, while the physics teacher has the problem of always teaching techniques, rather than spirit of how to go about solving physical problem”
Feynman (1986)
“John and I….were quite happy to nick things off people, because…you start off with the nicked piece and it gets into a the song…and when you’ve put it all together…of course it does make something original”
Paul McCartney quoted in (Moore, 1992)
There are limitations present in both traditional AI approaches in education mentioned earlier (ITS and Logo). ITS’s don not work very well in problem-seeking domains and Logo type approaches require support from a human teacher in order to be effective. One way of investigating these problems has been addressed by MC (Holland, 1989, 1991; Holland and Elsom-Cook, 1990). ‘MC’ is an acronym for both ‘Meta Constraints’ and ‘Master of Ceremonies’, which is a general framework for interactive learning environments in open-ended domains. We will focus on the domain model rather than the teaching model.
The current version is designed at teaching ab initio students to compose tonal chord sequences, with particular reference to popular music and jazz harmony. It uses a cognitive theory of Harmony (Balzano, 1980). Two elements from Johnson-Laird’s definition of creativity are: 1) the assumption that creative tasks cannot proceed from nothing: that some initial buildin本论文由英语论文网提供整理,提供论文代写,英语论文代写,代写论文,代写英语论文,代写留学生论文,代写英文论文,留学生论文代写相关核心关键词搜索。