<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>5</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Kocsis, Zoltan A.</style></author><author><style face="normal" font="default" size="100%">Neumann, Geoff</style></author><author><style face="normal" font="default" size="100%">Swan, Jerry</style></author><author><style face="normal" font="default" size="100%">Epitropakis, Michael G.</style></author><author><style face="normal" font="default" size="100%">Brownlee, Alexander E. I.</style></author><author><style face="normal" font="default" size="100%">Haraldsson, Sami O.</style></author><author><style face="normal" font="default" size="100%">Bowles, Edward</style></author></authors><secondary-authors><author><style face="normal" font="default" size="100%">Le Goues, Claire</style></author><author><style face="normal" font="default" size="100%">Yoo, Shin</style></author></secondary-authors></contributors><titles><title><style face="normal" font="default" size="100%">Repairing and Optimizing Hadoop hashCode Implementations</style></title><secondary-title><style face="normal" font="default" size="100%">Search-Based Software Engineering: 6th International Symposium, SSBSE 2014, Fortaleza, Brazil, August 26-29, 2014. Proceedings</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2014</style></year></dates><urls><web-urls><url><style face="normal" font="default" size="100%">http://dx.doi.org/10.1007/978-3-319-09940-8_22</style></url></web-urls></urls><publisher><style face="normal" font="default" size="100%">Springer International Publishing</style></publisher><pub-location><style face="normal" font="default" size="100%">Cham</style></pub-location><pages><style face="normal" font="default" size="100%">259–264</style></pages><isbn><style face="normal" font="default" size="100%">978-3-319-09940-8</style></isbn><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">We describe how contract violations in Java TM hashCode methods can be repaired using novel combination of semantics-preserving and generative methods, the latter being achieved via Automatic Improvement Programming. The method described is universally applicable. When applied to the Hadoop platform, it was established that it produces hashCode functions that are at least as good as the original, broken method as well as those produced by a widely-used alternative method from the ‘Apache Commons’ library.</style></abstract></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">M. A. Kaliakatsos-Papakostas</style></author><author><style face="normal" font="default" size="100%">M. G. Epitropakis</style></author><author><style face="normal" font="default" size="100%">A. Floros</style></author><author><style face="normal" font="default" size="100%">M. N. Vrahatis</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">Chaos and Music: From time series analysis to evolutionary composition</style></title><secondary-title><style face="normal" font="default" size="100%">International Journal of Bifurcation and Chaos (IJBC)</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2013</style></year></dates><urls><web-urls><url><style face="normal" font="default" size="100%">http://www.worldscientific.com/doi/abs/10.1142/S0218127413501812</style></url></web-urls></urls><volume><style face="normal" font="default" size="100%">23</style></volume><pages><style face="normal" font="default" size="100%">1350181</style></pages><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">Music is an amalgam of logic and emotion, order and dissonance, along with many combinations of contradicting notions which allude to deterministic chaos. Therefore, it comes as no surprise that several research works have examined the utilization of dynamical systems for symbolic music composition. The main motivation of the paper at hand is the analysis of the tonal composition potentialities of several discrete dynamical systems, in comparison to genuine human compositions. Therefore, a set of human musical compositions is utilized to provide ``compositional guidelines'' to several dynamical systems, the parameters of which are properly adjusted through evolutionary computation. This procedure exposes the extent to which a system is capable of composing tonal sequences that resemble human composition. In parallel, a time series analysis on the genuine compositions is performed, which firstly provides an overview of their dynamical characteristics and secondly, allows a comparative analysis with the dynamics of the artificial compositions. The results expose the tonal composition capabilities of the examined iterative maps, providing specific references to the tonal characteristics that they can capture.</style></abstract><issue><style face="normal" font="default" size="100%">11</style></issue></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">M. A. Kaliakatsos–Papakostas</style></author><author><style face="normal" font="default" size="100%">M. G. Epitropakis</style></author><author><style face="normal" font="default" size="100%">A. Floros</style></author><author><style face="normal" font="default" size="100%">M. N. Vrahatis</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">Controlling interactive evolution of 8-bit melodies with genetic programming</style></title><secondary-title><style face="normal" font="default" size="100%">Soft Computing - A Fusion of Foundations, Methodologies and Applications</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2012</style></year></dates><volume><style face="normal" font="default" size="100%">16</style></volume><pages><style face="normal" font="default" size="100%">1997-2008</style></pages><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">Automatic music composition and sound synthesis is a field of study that gains continuously increasing attention. The introduction of evolutionary computation has further boosted the research towards exploring ways to incorporate human supervision and guidance in the automatic evolution of melodies and sounds. This kind of human–machine interaction belongs to a larger methodological context called interactive evolution (IE). For the automatic creation of art and especially for music synthesis, user fatigue requires that the evolutionary process produces interesting content that evolves fast. This paper addresses this issue by presenting an IE system that evolves melodies using genetic programming (GP). A modification of the GP operators is proposed that allows the user to have control on the randomness of the evolutionary process. The results obtained by subjective tests indicate that the utilization of the proposed genetic operators drives the evolution to more user-preferable sounds.
</style></abstract></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>5</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">M. A. Kaliakatsos–Papakostas</style></author><author><style face="normal" font="default" size="100%">M. G. Epitropakis</style></author><author><style face="normal" font="default" size="100%">A. Floros</style></author><author><style face="normal" font="default" size="100%">M. N. Vrahatis</style></author></authors><secondary-authors><author><style face="normal" font="default" size="100%">Penousal Machado</style></author><author><style face="normal" font="default" size="100%">Juan Romero</style></author><author><style face="normal" font="default" size="100%">Adrian Carballal</style></author></secondary-authors></contributors><titles><title><style face="normal" font="default" size="100%">Interactive Evolution of 8–Bit Melodies with Genetic Programming towards Finding Aesthetic Measures for Sound</style></title><secondary-title><style face="normal" font="default" size="100%">Evolutionary and Biologically Inspired Music, Sound, Art and Design</style></secondary-title><tertiary-title><style face="normal" font="default" size="100%">Lecture Notes in Computer Science</style></tertiary-title></titles><dates><year><style  face="normal" font="default" size="100%">2012</style></year></dates><publisher><style face="normal" font="default" size="100%">Springer Berlin / Heidelberg</style></publisher><volume><style face="normal" font="default" size="100%">7247</style></volume><pages><style face="normal" font="default" size="100%">141-152</style></pages><isbn><style face="normal" font="default" size="100%">978-3-642-29141-8</style></isbn><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">The efficient specification of aesthetic measures for music as a part of modelling human conception of sound is a challenging task and has motivated several research works. It is not only targeted to the creation of automatic music composers and raters, but also reinforces the research for a deeper understanding of human noesis. The aim of this work is twofold: first, it proposes an Interactive Evolution system that uses Genetic Programming to evolve simple 8–bit melodies. The results obtained by subjective tests indicate that evolution is driven towards more user–preferable sounds. In turn, by monitoring features of the melodies in different evolution stages, indications are provided that some sound features may subsume information about aesthetic criteria. The results are promising and signify that further study of aesthetic preference through Interactive Evolution may accelerate the progress towards defining aesthetic measures for sound and music.</style></abstract></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>5</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">M. A. Kaliakatsos-Papakostas</style></author><author><style face="normal" font="default" size="100%">M. G. Epitropakis</style></author><author><style face="normal" font="default" size="100%">M. N. Vrahatis</style></author></authors><secondary-authors><author><style face="normal" font="default" size="100%">Agon, Carlos</style></author><author><style face="normal" font="default" size="100%">Andreatta, Moreno</style></author><author><style face="normal" font="default" size="100%">Assayag, Gérard</style></author><author><style face="normal" font="default" size="100%">Amiot, Emmanuel</style></author><author><style face="normal" font="default" size="100%">Bresson, Jean</style></author><author><style face="normal" font="default" size="100%">Mandereau, John</style></author></secondary-authors></contributors><titles><title><style face="normal" font="default" size="100%">Feature Extraction Using Pitch Class Profile Information Entropy</style></title><secondary-title><style face="normal" font="default" size="100%">Mathematics and Computation in Music</style></secondary-title><tertiary-title><style face="normal" font="default" size="100%">Lecture Notes in Computer Science</style></tertiary-title></titles><dates><year><style  face="normal" font="default" size="100%">2011</style></year></dates><urls><web-urls><url><style face="normal" font="default" size="100%">http://dx.doi.org/10.1007/978-3-642-21590-2_32</style></url></web-urls></urls><publisher><style face="normal" font="default" size="100%">Springer Berlin / Heidelberg</style></publisher><volume><style face="normal" font="default" size="100%">6726</style></volume><pages><style face="normal" font="default" size="100%">354-357</style></pages><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">Computer aided musical analysis has led a research stream to explore the description of an entire musical piece by a single value. Combinations of such values, often called global features, have been used for several identification tasks on pieces with symbolic music representation. In this work we extend some ideas that estimate information entropy of sections of musical pieces, to utilize the Pitch Class Profile information entropy for global feature extraction. Two approaches are proposed and tested, the first approach considers musical sections as overlapping sliding onset windows, while the second one as non-overlapping fixed-length time windows.</style></abstract></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>47</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">M. A. Kaliakatsos-Papakostas</style></author><author><style face="normal" font="default" size="100%">M. G. Epitropakis</style></author><author><style face="normal" font="default" size="100%">M. N. Vrahatis</style></author></authors><secondary-authors><author><style face="normal" font="default" size="100%">Di Chio, Cecilia</style></author><author><style face="normal" font="default" size="100%">Brabazon, Anthony</style></author><author><style face="normal" font="default" size="100%">Di Caro, Gianni</style></author><author><style face="normal" font="default" size="100%">Drechsler, Rolf</style></author><author><style face="normal" font="default" size="100%">Farooq, Muddassar</style></author><author><style face="normal" font="default" size="100%">Grahl, Jörn</style></author><author><style face="normal" font="default" size="100%">Greenfield, Gary</style></author><author><style face="normal" font="default" size="100%">Prins, Christian</style></author><author><style face="normal" font="default" size="100%">Romero, Juan</style></author><author><style face="normal" font="default" size="100%">Squillero, Giovanni</style></author><author><style face="normal" font="default" size="100%">Tarantino, Ernesto</style></author><author><style face="normal" font="default" size="100%">Tettamanzi, Andrea</style></author><author><style face="normal" font="default" size="100%">Urquhart, Neil</style></author><author><style face="normal" font="default" size="100%">Uyar, A.</style></author></secondary-authors></contributors><titles><title><style face="normal" font="default" size="100%">Weighted Markov Chain Model for Musical Composer Identification</style></title><secondary-title><style face="normal" font="default" size="100%">Applications of Evolutionary Computation</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2011</style></year></dates><publisher><style face="normal" font="default" size="100%">Springer Berlin / Heidelberg</style></publisher><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">Several approaches based on the ‘Markov chain model’ have been proposed to tackle the composer identification task. In the paper at hand, we propose to capture phrasing structural information from inter onset and pitch intervals of pairs of consecutive notes in a musical piece, by incorporating this information into a weighted variation of a first order Markov chain model. Additionally, we propose an evolutionary procedure that automatically tunes the introduced weights and exploits the full potential of the proposed model for tackling the composer identification task between two composers. Initial experimental results on string quartets of Haydn, Mozart and Beethoven suggest that the proposed model performs well and can provide insights on the inter onset and pitch intervals on the considered musical collection.</style></abstract></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>47</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">M. A. Kaliakatsos-Papakostas</style></author><author><style face="normal" font="default" size="100%">M. G. Epitropakis</style></author><author><style face="normal" font="default" size="100%">M. N. Vrahatis</style></author></authors><secondary-authors><author><style face="normal" font="default" size="100%">Di Chio, Cecilia</style></author><author><style face="normal" font="default" size="100%">Brabazon, Anthony</style></author><author><style face="normal" font="default" size="100%">Di Caro, Gianni</style></author><author><style face="normal" font="default" size="100%">Ebner, Marc</style></author><author><style face="normal" font="default" size="100%">Farooq, Muddassar</style></author><author><style face="normal" font="default" size="100%">Fink, Andreas</style></author><author><style face="normal" font="default" size="100%">Grahl, Jörn</style></author><author><style face="normal" font="default" size="100%">Greenfield, Gary</style></author><author><style face="normal" font="default" size="100%">Machado, Penousal</style></author><author><style face="normal" font="default" size="100%">O’Neill, Michael</style></author><author><style face="normal" font="default" size="100%">Tarantino, Ernesto</style></author><author><style face="normal" font="default" size="100%">Urquhart, Neil</style></author></secondary-authors></contributors><titles><title><style face="normal" font="default" size="100%">Musical Composer Identification through Probabilistic and Feedforward Neural Networks</style></title><secondary-title><style face="normal" font="default" size="100%">Applications of Evolutionary Computation</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2010</style></year></dates><publisher><style face="normal" font="default" size="100%">Springer Berlin / Heidelberg</style></publisher><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">During the last decade many efforts for music information retrieval have been made utilizing Computational Intelligence methods. Here, we examine the information capacity of the Dodecaphonic Trace Vector for composer classification and identification. To this end, we utilize Probabilistic Neural Networks for the construction of a similarity matrix of different composers and analyze the Dodecaphonic Trace Vector’s ability to identify a composer through trained Feedforward Neural Networks. The training procedure is based on classical gradient-based methods as well as on the Differential Evolution algorithm. An experimental analysis on the pieces of seven classical composers is presented to gain insight about the most important strengths and weaknesses of the aforementioned approach.</style></abstract></record></records></xml>