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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:24611
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。
Firstly, we will briefly explore Logo as an educational philosophy. In its early work, Logo was mainly used for mathematics learning, poetry and music. One of the versions encouraged children to produce new melodies by rearranging and modifying melodic phrases. The learning philosophy was aimed to enable children to have a better understanding of the concept by making them envision or pre-hear a result. Thus, enabling them to work out how to achieve it, and realise the reason behind obtaining an unexpected result. This learning philosophy was derived from a number of sources, including the psychologist Piaget’s notions of how children construct their own knowledge through play.
The Logo approach in relation to microworlds can be somewhat complex. Students are sometimes provided with a simplified version of an AI model in some problem domains. For example, in the case of music composition, fragments of illustrative material can be generated using generative grammars as models of particular composition techniques. The supplied programs can be used by students to explore, criticise, and refine their own (or someone else’s) model of process.
Notice that none of the three components in the ITS model are required in the Logo approach. In practice, students need some form of guidance from teachers in order to make use of their full potential using Logo systems. If there is no guidance from a teacher the students risks only learning a technique without appreciating the wider possibilities and understanding the true meaning of being an experienced musician. The educational philosophy associated with Logo has been applied to a number of systems in music at different levels and in different ways, as mentioned below.
4.1 Music Logo System: Bamberger’s System
Jeanne Bamberger’s Music Logo System (1986, 1991) can be used to work with sound cards or synthesisers. It uses programming elements called functions to structure and control musical sounds. Music Logo’s central data structure is a list of integers representing sequences of durations and pitches, which can be stored separately. These can be manipulated separately before being played by a synthesiser. So for example, to play A above middle C for 30 beats, then middle C for 20 beats, then G for 20 beats , the following expression might be used.
Play [a c g] [30 20 20]
Programming constructs such as repeat can easily be understood by beginners to do musical work. Using arithmetic and list manipulation functions, note and duration list can be manipulated separately. Features such as recursion and random number generators can be used to build complex musical structures. Common musical operations are provided (list manipulation functions).
For example, one function takes a 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。