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content/topic/improvisation-and-control.md
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| @@ -25,7 +25,7 @@ One of the first students to join this group was another musician-engineer named | |||
| The following year the "Music and Cognition" group rebranded. | |||
| >"I have been unhappy with 'music (and) cognition' for some time. It's not even supposed to describe our group; it was the name of a larger entity including Barry, Tod, Marvin, Ken and Pattie that was dissolved almost two years ago. But I've shied away from the issue for fear of something worse. I like Machine Listening a lot. I've also thought about Auditory Processing, and I try to get the second floor to describe my demos as Machine Audition. I'm not sure of the precise shades of connotation of the different words, except I'm pretty confident that having 'music' in the title has a big impact on people's preconceptions, one I'd rather overcome."[Ellis] | |||
| >"I have been unhappy with 'music (and) cognition' for some time. It's not even supposed to describe our group; it was the name of a larger entity including Barry, Tod, Marvin, Ken and Pattie that was dissolved almost two years ago. But I've shied away from the issue for fear of something worse. I like Machine Listening a lot. I've also thought about Auditory Processing, and I try to get the second floor to describe my demos as Machine Audition. I'm not sure of the precise shades of connotation of the different words, except I'm pretty confident that having 'music' in the title has a big impact on people's preconceptions, one I'd rather overcome."[^Ellis] | |||
| So what began, for Rowe, as a term to describe the so-called 'analytic layer' of an 'interactive music system'[^Rowe] became the name of a [new research group at MIT](https://web.archive.org/web/19961130111950/http://sound.media.mit.edu/) and something of a catchall to describe diverse forms of emerging computational auditory analysis, increasingly involving big data and machine learning techniques. As the term wound its way through the computer music literature, it also followed researchers at MIT as they left, finding its way into funding applications and the vocabularies of new centers at new institutions. | |||
| @@ -95,7 +95,7 @@ But one thing DARPA's Improv program manager says reminds us that their improvis | |||
| [^Negroponte]:  | |||
| [^Rowephd]: Robert Rowe, [_Machine Listening and Composing: Making Sense of Music with Cooperating Real-Time Agents_](https://dspace.mit.edu/handle/1721.1/13835), doctoral thesis (MIT Press, 1991) | |||
| [^Rowe]: Robert Rowe, [_Interactive Music Systems: Machine Listening and Composing_](https://wp.nyu.edu/robert_rowe/text/interactive-music-systems-1993/) (MIT Press, 1993) | |||
| [Ellis]: Archived email exchange between Dan Ellis and [Michael Casey](https://music.dartmouth.edu/people/michael-casey), 28 March 1994. According to Casey, "Dan suggested "Machine Audition", to which I responded that term "audition" was not widely used outside of hearing sciences and medicine, and that it could be a confusing name for a group that was known for working on music--think "music audition". I believe we discussed the word hearing, but I--we?--thought it implied passivity as in "hearing aid", and instead I suggested the name "machine listening" because it had connotations of attention and intelligence, concepts that were of interest to us all at that time. That is what I remember." | |||
| [^Ellis]: Archived email exchange between Dan Ellis and [Michael Casey](https://music.dartmouth.edu/people/michael-casey), 28 March 1994. According to Casey, "Dan suggested "Machine Audition", to which I responded that term "audition" was not widely used outside of hearing sciences and medicine, and that it could be a confusing name for a group that was known for working on music--think "music audition". I believe we discussed the word hearing, but I--we?--thought it implied passivity as in "hearing aid", and instead I suggested the name "machine listening" because it had connotations of attention and intelligence, concepts that were of interest to us all at that time. That is what I remember." | |||
| [^Brand]:  | |||
| [^Audioset]: Gemmeke et al. [_Audioset: An Ontology and Human-Labelled Dataset for Audio Events_](https://static.googleusercontent.com/media/research.google.com/en//pubs/archive/45857.pdf) | |||
| [^Feldman]:  | |||
| [^Feldman]:  | |||