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Дисертації з теми "Intelligence artificielle – Musique":
Baboni, Schilingi Jacopo. "La musique hyper-systémique." Paris 8, 2010. http://www.theses.fr/2010PA084172.
The research we are presenting is about systemic in music, its applications through the more recent generative systems, and the definition of a new theory, able to include the more recent studies in the field of human/machine interaction, touching the writing of music. Specifically, it studies the relation between formalization of rules and free choice inside of a given system, and it is based on the development of some softwares allowing an application and a concrete demonstration of the theoretical conclusions we were able to reach. The thesis itself is articulated into four different typologies of documents : I – A text of fundamental theories, in which we expose a sociological, anthropological and systemic study of today's written music, together with a new theory for musical composition. II – Four articles published within different specialized reviews, which explains in detail some problematics inherent to computer music. III – Three software tools necessary for the algorithmic and practical demonstration of our hypotheses. IV – Four musical compositions, as examples of our concrete work in the field of artistic creation
Fradet, Nathan. "Apprentissage automatique pour la modélisation de musique symbolique." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUS037.pdf.
Symbolic music modeling (SMM) represents the tasks performed by Deep Learning models on the symbolic music modality, among which are music generation or music information retrieval. SMM is often handled with sequential models that process data as sequences of discrete elements called tokens. This thesis study how symbolic music can be tokenized, and what are the impacts of the different ways to do it impact models performances and efficiency. Current challenges include the lack of software to perform this step, poor model efficiency and inexpressive tokens. We address these challenges by: 1) developing a complete, flexible and easy to use software library allowing to tokenize symbolic music; 2) analyzing the impact of various tokenization strategies on model performances; 3) increasing the performance and efficiency of models by leveraging large music vocabularies with the use of byte pair encoding; 4) building the first large-scale model for symbolic music generation
Hadjeres, Gaëtan. "Modèles génératifs profonds pour la génération interactive de musique symbolique." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUS027/document.
This thesis discusses the use of deep generative models for symbolic music generation. We will be focused on devising interactive generative models which are able to create new creative processes through a fruitful dialogue between a human composer and a computer. Recent advances in artificial intelligence led to the development of powerful generative models able to generate musical content without the need of human intervention. I believe that this practice cannot be thriving in the future since the human experience and human appreciation are at the crux of the artistic production. However, the need of both flexible and expressive tools which could enhance content creators' creativity is patent; the development and the potential of such novel A.I.-augmented computer music tools are promising. In this manuscript, I propose novel architectures that are able to put artists back in the loop. The proposed models share the common characteristic that they are devised so that a user can control the generated musical contents in a creative way. In order to create a user-friendly interaction with these interactive deep generative models, user interfaces were developed. I believe that new compositional paradigms will emerge from the possibilities offered by these enhanced controls. This thesis ends on the presentation of genuine musical projects like concerts featuring these new creative tools
Afchar, Darius. "Interpretable Music Recommender Systems." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS608.
‘‘Why do they keep recommending me this music track?’’ ‘‘Why did our system recommend these tracks to users?’’ Nowadays, streaming platforms are the most common way to listen to recorded music. Still, music recommendations — at the heart of these platforms — are not an easy feat. Sometimes, both users and engineers may be equally puzzled about the behaviour of a music recommendation system (MRS). MRS have been successfully employed to help explore catalogues that may be as large as tens of millions of music tracks. Built and optimised for accuracy, real-world MRS often end up being quite complex. They may further rely on a range of interconnected modules that, for instance, analyse audio signals, retrieve metadata about albums and artists, collect and aggregate user feedbacks on the music service, and compute item similarities with collaborative filtering. All this complexity hinders the ability to explain recommendations and, more broadly, explain the system. Yet, explanations are essential for users to foster a long-term engagement with a system that they can understand (and forgive), and for system owners to rationalise failures and improve said system. Interpretability may also be needed to check the fairness of a decision or can be framed as a means to control the recommendations better. Moreover, we could also recursively question: Why does an explanation method explain in a certain way? Is this explanation relevant? What could be a better explanation? All these questions relate to the interpretability of MRSs. In the first half of this thesis, we explore the many flavours that interpretability can have in various recommendation tasks. Indeed, since there is not just one recommendation task but many (e.g., sequential recommendation, playlist continuation, artist similarity), as well as many angles through which music may be represented and processed (e.g., metadata, audio signals, embeddings computed from listening patterns), there are as many settings that require specific adjustments to make explanations relevant. A topic like this one can never be exhaustively addressed. This study was guided along some of the mentioned modalities of musical objects: interpreting implicit user logs, item features, audio signals and similarity embeddings. Our contribution includes several novel methods for eXplainable Artificial Intelligence (XAI) and several theoretical results, shedding new light on our understanding of past methods. Nevertheless, similar to how recommendations may not be interpretable, explanations about them may themselves lack interpretability and justifications. Therefore, in the second half of this thesis, we found it essential to take a step back from the rationale of ML and try to address a (perhaps surprisingly) understudied question in XAI: ‘‘What is interpretability?’’ Introducing concepts from philosophy and social sciences, we stress that there is a misalignment in the way explanations from XAI are generated and unfold versus how humans actually explain. We highlight that current research tends to rely too much on intuitions or hasty reduction of complex realities into convenient mathematical terms, which leads to the canonisation of assumptions into questionable standards (e.g., sparsity entails interpretability). We have treated this part as a comprehensive tutorial addressed to ML researchers to better ground their knowledge of explanations with a precise vocabulary and a broader perspective. We provide practical advice and highlight less popular branches of XAI better aligned with human cognition. Of course, we also reflect back and recontextualise our methods proposed in the previous part. Overall, this enables us to formulate some perspective for our field of XAI as a whole, including its more critical and promising next steps as well as its shortcomings to overcome
Olivieri, Catanzaro Tatiana. "La musique spectrale face aux apports technoscientifiques." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040118.
The rise of spectral music and of the compositional model that lies at its base has been conditioned by a specific technoscientific context, at a crossroads between disciplines as diverse as physics, psychoacoustics, electronics, computer sciences and philosophy. The present thesis retraces some of its stages. While going back to the advent of modern science in the 17th century, it leads to a characterization of this aesthetic movement as an example of a non- Cartesian revolution in the sense that Bachelard gave the term in The New Scientific Spirit. At the same time, it considers previous musical advances and shows how spectral music has formed itself by ‘thematizing’ attempts from throughout the 20th century to systematize complex sounds as form-bearing elements
Lisena, Pasquale. "Knowledge-based music recommendation : models, algorithms and exploratory search." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUS614.
Representing the information about music is a complex activity that involves different sub-tasks. This thesis manuscript mostly focuses on classical music, researching how to represent and exploit its information. The main goal is the investigation of strategies of knowledge representation and discovery applied to classical music, involving subjects such as Knowledge-Base population, metadata prediction, and recommender systems. We propose a complete workflow for the management of music metadata using Semantic Web technologies. We introduce a specialised ontology and a set of controlled vocabularies for the different concepts specific to music. Then, we present an approach for converting data, in order to go beyond the librarian practice currently in use, relying on mapping rules and interlinking with controlled vocabularies. Finally, we show how these data can be exploited. In particular, we study approaches based on embeddings computed on structured metadata, titles, and symbolic music for ranking and recommending music. Several demo applications have been realised for testing the previous approaches and resources
Déguernel, Ken. "Apprentissage de structures musicales en contexte d'improvisation." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0011/document.
Current musical improvisation systems are able to generate unidimensional musical sequences by recombining their musical contents. However, considering several dimensions (melody, harmony...) and several temporal levels are difficult issues. In this thesis, we propose to combine probabilistic approaches with formal language theory in order to better assess the complexity of a musical discourse, both from a multidimensional and multi-level point of view in the context of improvisation where the amount of data is limited. First, we present a system able to follow the contextual logic of an improvisation modelled by a factor oracle whilst enriching its musical discourse with multidimensional knowledge represented by interpolated probabilistic models. Then, this work is extended to create another system using a belief propagation algorithm representing the interaction between several musicians, or between several dimensions, in order to generate multidimensional improvisations. Finally, we propose a system able to improvise on a temporal scenario with multi-level information modelled with a hierarchical grammar. We also propose a learning method for the automatic analysis of hierarchical temporal structures. Every system is evaluated by professional musicians and improvisers during listening sessions
Daouda, Tariq. "Génération et reconnaissance de rythmes au moyen de réseaux de neurones à réservoir." Thèse, 2010. http://hdl.handle.net/1866/4931.
Reservoir computing, the combination of a recurrent neural network and one or more memoryless readout units, has seen recent growth in popularity in and machine learning, signal processing and computational neurosciences. Reservoir-based methods have been successfully applied to a wide range of time series problems [11][64][49][45][38] including music [30], and usually can be found in two flavours: Echo States Networks(ESN)[29], where the reservoir is composed of mean rates neurons, and Liquid Sates Machines (LSM),[43] where the reservoir is composed of spiking neurons. In this work, we propose two new models based upon the ESN architecture. The first one is a model for rhythm recognition that uses two levels of learning and with which we have been able to get satisfying results on both recognition and noise resistance. The second one is a model for learning and generating periodic sequences, with this model we introduced a new architecture for generative models based upon ESNs where the reservoir receives inputs from a clock, as well as a new learning algorithm that we called "Orbite". By combining these two elements within our model, we were able to get good results on generation, over-fitting and data extraction. We also believe that a combination of several instances of our model can serve as a basis for the elaboration of an entirely virtual orchestra, and we propose two architectures that this orchestra may have. In the last part of this work, we briefly present the tools that we have developed during our research.
Les fichiers sons qui accompagne mon document sont au format midi. Le programme que nous avons développés pour ce travail est en language Python.
Lauly, Stanislas. "Modélisation de l'interprétation des pianistes & applications d'auto-encodeurs sur des modèles temporels." Thèse, 2010. http://hdl.handle.net/1866/4426.
This thesis addresses the problem of modeling pianists' interpretations using machine learning, and presents new models that use temporal auto-encoders to improve their learning for sequences. We present previous work in the field of modeling musical expression, including Professor Widmer's statistical models. We then discuss our unique dataset created specifically for our task. This dataset is composed of 13 different pianists recorded on the famous Bösendorfer 290SE piano. Finally, we present the learning results of neural networks and recurrent neural networks in detail. These algorithms are applied to the dataset to learn expressive variations specific to a style of music. We also present novel statistical models involving the use of auto-encoders in recurrent neural networks. To test the limits of these algorithms' ability to learn, we use two artificial datasets developed at the University of Toronto.
Книги з теми "Intelligence artificielle – Musique":
1963-, Miranda Eduardo Reck, ed. Readings in music and artificial intelligence. Amsterdam: Harwood Academic, 2000.