英语论文网

g blocks are required; 2) the assumption that a hall-mark of a creative task is that there is no precise goal, but only some pre-existing constraints or criteria that must be met (Johnson-Laird, 1988a).

From this, the act of creation can be characterised in terms of satisfaction of constraints and iterative posing by the artist. New constraints may be added by the artist at the weaker criteria. Results are tested at each iteration against acceptance criteria. It may be acceptable to sacrifice a pre-existing constraint or criteria on order to allow constraints made by the new artist. This is explained clearly by Sloboda (1985):

“..we will find composers breaking…rules [specifying the permissible compositional options] from time to time when they consider some other organisational principal to tale precedence.”

(Sloboda, 1985)

6.1.1 The type of constraints in music

There are three types of constraints in music: 1) fostering perceptual and cognitive conditions for effective communications; 2) cultural consensus; 3) introduced from scratch by the artist. The first kind of constraint appears in research used in western tonal music, such as Balzano (1980 and Minsky (1981). The focus is on harmony and amongst other things voice-leading. This research asserts how the features of music are important in the role of fostering perceptual and cognitive conditions for an effective communication structure.

Cultural consensus is the second constraint. It is important to realise the listeners’ familiarity with the materials used from previous compositions. When listeners hear a new piece of music, cognitive theories of listening posit that the music must be chunked in various ways to cope with memory and processing limitations (Sloboda, 1985). The kind of chunking that can be done depends on the listeners’ familiarity with the material. Levitt explains the connection between stylistic constraints and constraints introduced by a composer:

“Effective communication requires musicians to repeat structures frequently within a piece and collectively over many pieces. Usually we view ‘musical style’ and ‘theme and variation’ as utterly different. Computationally and socially they are similar things with different time spans; style tries to exploit long term ‘cultural memory’, while theme and variation exploits (sic) recent events. In either case, the considerate composer uses an idea of what is already in the audiences head to make the piece understandable.”

(Levitt, 1981)

6.1.2 A computation model of creativity

Using the information mentioned earlier, we can assume that creative activities can be modelled using the following process:

Given a set of building blocks,

Choose a goal.

Select constraints.

Iterate the following process:

apply the constraints to generate a result,

test the result against acceptance criteria,

adjust constraints until acceptance criteria are sufficiently closely met.

6.1.3 MC framework and its components

The MC model provides a set of interacting components. These components act as a cognitive support tool for creative pro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。