英语论文网

ery impressive system. It has a quality musical editor, tackles complex musical paradigm and has been used in real teaching contexts. However, there are some intrinsic problems. The rules are at a very low level, and there are a high number of them. There is a system rule which prevents over one hundred comments being made about any one given attempt to complete an exercise. For example, typical remarks made by Lasso include;

“A melodic interval of a third is followed by stepwise motion in the same direction.”

“Accented quarter passing note? The dissonant quarter note is not preceded by a descending step.” (Newcomb, 1985).

The quantity of relevant text required to put in help context of myriad low-level criticisms could easily overwhelm students. Students complained that it was so difficult to meet Lasso’s demands that they were forced to revise the same task repeatedly. A solution to this problem would be to incorporate general principles to govern the low-level rules. Using such codified principles will reduce the number of comments required to relevant text and generalise observations.

3.4 Concluding remarks on Intelligent Tutoring Systems: A ‘Classical Approach’

The traditional Intelligent Tutoring System approach assumes an objectivist approach to knowledge. Such systems depend on the assumption there is a well-defined body of knowledge to be taught and can be put into precise concepts and relationships. This works with four-part harmonisation and 16th century counterparts. However, in a more open-ended context, an objectivist approach can be very limited. In domains which are artificially limited, teaching of rules drawn from practical experience tends not be a very good approach.

Using verbal definitions to teach a musical concept is limited and does not compare to the knowledge required to identify the true meaning of these definitions to be an experienced musician. It is all very well to define a chord, a dominant eighth in terms of its interval pattern and provide general rules but to an experienced musician the ‘meaning’ of a chord or a dominant eight is much more depending on the context. Being able to intelligently manipulate structures is far more important than to just being able to understand and obey a set of rules, which an experienced musician will be capable of doing so. Rather than just a set of explanations, a student needs a structured set of experiences making them more aware of musical structures, being able to manipulate them intelligently and most importantly, more capable of formulating sensible musical goals to pursue.

4. Open-ended Microworlds: The Logo Philosophy

A contrasted idea from the classical approach of AI in education, which is just as influential as the notion of an ITS is the Logo approach (Papert, 1980). The Logo philosophy has particular attractions to open-ended domains such as music. It focuses its approach on the idea of an educational microworld. An educational microworld is an open-ended environment for learning. Therefore, there are no specific built-in lessons. The Logo approach in associated microworlds does not need to involve much, or indeed any AI at point of delivery.

However, their designs tend to be strongly influenced by AI method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。