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ere are many opportunities to extend the work of the Logo approach into other areas of music. Intelligent Tutoring Systems are best suited to areas which require hard rules and have set goals, and defining systematic errors.

Harmony Space is a human-interaction system which focuses on AI theories in music and its methodologies. This system is quite powerful. Harmony Space is based on AI theories of a domain in music (harmony) and uses them instead of a human computer interface. Direct Manipulation techniques are then applied which modifies the domain when and where necessary. Balzano’s (1980) theory is also quite an interesting viewpoint. It would be interesting to explore whether a similar interface could be used in other domains, not necessarily related to music.

The MC framework can be applied to any open-ended problem seeking domain. In terms of harmony it is quite a powerful tool, for a number of reasons which include: employing the representations for harmony used in Harmony Space; and generalising over modal and tonal properties. MOTIVE demonstrates that these views can also be applied to other areas of music.

Negotiation is an important part of AI in music education. There are various applications to deal with the limitations of AI theories in music and exploring human-machine co-operation. Considering the amount of knowledge in this particular domain which is available to systems, and the direct manipulation and visualisation techniques available, mean the extent to which it can be applied practically is unclear or very limited, in regards to music education.

Reflection is a very useful tool in terms of problem-seeking. It allows the user to re-compose a piece using their ability to solve a problem. However, there is still much work needed before it can be applied practically to music education.

10. References

Baker, M. (1989). An artificial intelligence approach to musical grouping analysis. Contemporary Music Review, 2, 43-68.

Baker, M. (1990). Arguing with the Tutor. In M. Elsom-Cook (Eds.), Guided Discovery Tutoring London: Paul Chapman Publishing.

Baker, M. (1994). A Model for Negotiation in Learning Teaching Dialogues. Journal of Artificial Intelligence in Education, 5(2).

Balzano (1980). The Group-theoretic Description of 12-fold and Microtonal Pitch Systems. Computer Music Journal, 4(4).

Bamberger, J. (1986) Music Logo. Cambridge, Mass. Terrapin Inc.

Carbonell, J. R. (1970). AI in CAI: an artificial intelligence approach to computer-aided instruction. IEEE Transactions on Man-Machine Systems(MMS), 11(4), 190-202.

Cook, J. (1994). Agent Reflection in an Intelligent Learning Environment Architecture for Composition. In M. Smith, A. Smaill, & G. A. Wiggins (Eds.), Music Education: An Artificial Approach London: Springer Verlag.

Cook, J. and Morgan, N. (1995). COLERIDGE: Composition Learning Environment for Reflection about Intentions and Dialogue Goals in Education. In A. Smaill (Ed.), International Congress in Music and Artificial Intelligence, University of Edinburgh, Department of Music.

Cork, C. (1988). Harmony by LEGO bricks.

Cumming, N. (1992). Eugene Narmour’s Theory of Melody: Music Analysis, 11(203), 35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。