@article {2017,
	title = {Information-Theoretic Properties of Auditory Sequences Dynamically Influence Expectation and Memory},
	journal = {Cognitive Science},
	volume = {42},
	year = {2018},
	month = {01/2018},
	pages = {43-76},
	abstract = {A basic function of cognition is to detect regularities in sensory input to facilitate the prediction and recognition of future events. It has been proposed that these implicit expectations arise from an internal predictive coding model, based on knowledge acquired through processes such as statistical learning, but it is unclear how different types of statistical information affect listeners{\textquoteright} memory for auditory stimuli. We used a combination of behavioral and computational methods to investigate memory for non-linguistic auditory sequences. Participants repeatedly heard tone sequences varying systematically in their information-theoretic properties. Expectedness ratings of tones were collected during three listening sessions, and a recognition memory test was given after each session. Information-theoretic measures of sequential predictability significantly influenced listeners{\textquoteright} expectedness ratings, and variations in these properties had a significant impact on memory performance. Predictable sequences yielded increasingly better memory performance with increasing exposure. Computational simulations using a probabilistic model of auditory expectation suggest that listeners dynamically formed a new, and increasingly accurate, implicit cognitive model of the information-theoretic structure of the sequences throughout the experimental session.},
	keywords = {Auditory perception, computational modeling, Expectation, Information theory, music cognition, Predictive coding, Recognition memory},
	issn = {1551-6709},
	doi = {10.1111/cogs.12477},
	url = {http://dx.doi.org/10.1111/cogs.12477},
	author = {Agres, Kat and Abdallah, Samer and Pearce, Marcus}
}
@article {2017,
	title = {Harmonic Structure Predicts the Enjoyment of Uplifting Trance Music},
	journal = {Frontiers in Psychology},
	volume = {7},
	year = {2017},
	pages = {1999},
	abstract = {An empirical investigation of how local harmonic structures (e.g., chord progressions) contribute to the experience and enjoyment of uplifting trance (UT) music is presented. The connection between rhythmic and percussive elements and resulting trance-like states has been highlighted by musicologists, but no research, to our knowledge, has explored whether repeated harmonic elements influence affective responses in listeners of trance music. Two alternative hypotheses are discussed, the first highlighting the direct relationship between repetition/complexity and enjoyment, and the second based on the theoretical inverted-U relationship described by the Wundt curve. We investigate the connection between harmonic structure and subjective enjoyment through interdisciplinary behavioral and computational methods: First we discuss an experiment in which listeners provided enjoyment ratings for computer-generated UT anthems with varying levels of harmonic repetition and complexity. The anthems were generated using a statistical model trained on a corpus of 100 uplifting trance anthems created for this purpose, and harmonic structure was constrained by imposing particular repetition structures (semiotic patterns defining the order of chords in the sequence) on a professional UT music production template. Second, the relationship between harmonic structure and enjoyment is further explored using two computational approaches, one based on average Information Content, and another that measures average tonal tension between chords. The results of the listening experiment indicate that harmonic repetition does in fact contribute to the enjoyment of uplifting trance music. More compelling evidence was found for the second hypothesis discussed above, however some maximally repetitive structures were also preferred. Both computational models provide evidence for a Wundt-type relationship between complexity and enjoyment. By systematically manipulating the structure of chord progressions, we have discovered specific harmonic contexts in which repetitive or complex structure contribute to the enjoyment of uplifting trance music.},
	issn = {1664-1078},
	doi = {10.3389/fpsyg.2016.01999},
	url = {http://journal.frontiersin.org/article/10.3389/fpsyg.2016.01999},
	author = {Agres, Kat and Herremans, Dorien and Bigo, Louis and Conklin, Darrell}
}
@proceedings {2017,
	title = {Music and Motion-Detection: A Game Prototype for Rehabilitation and Strengthening in the Elderly},
	year = {2017},
	month = {12/2017},
	publisher = {IEEE},
	abstract = {Traditional physical therapy methods require significant time from trained medical staff, which is costly for clinics and hospitals, and often leave patients bored and unmotivated to complete their exercises. We offer a prototype for a motion- detection and music game to inspire greater engagement and adherence from patients undergoing physical therapy exercises for rehabilitation or strengthening. The game is customizable based on the patient{\textquoteright}s needs, dynamically reacts to the patient{\textquoteright}s performance in real-time, and may be used with or without the guidance of a medical professional.},
	keywords = {gaming, motion detection, motion-capture, music, physical therapy, preventive medicine, rehabilitation},
	author = {Agres, Kat and Herremans, Dorien}
}
@article {2017,
	title = {Evaluation of Musical Creativity and Musical Metacreation Systems},
	journal = {ACM Comput. Entertain.},
	volume = {14},
	year = {2016},
	month = {12/2016},
	pages = {3:1{\textendash}3:33},
	abstract = {The field of computational creativity, including musical metacreation, strives to develop artificial systems that are capable of demonstrating creative behavior or producing creative artefacts. But the claim of creativity is often assessed, subjectively only on the part of the researcher and not objectively at all. This article provides theoretical motivation for more systematic evaluation of musical metacreation and computationally creative systems and presents an overview of current methods used to assess human and machine creativity that may be adapted for this purpose. In order to highlight the need for a varied set of evaluation tools, a distinction is drawn among three types of creative systems: those that are purely generative, those that contain internal or external feedback, and those that are capable of reflection and self-reflection. To address the evaluation of each of these aspects, concrete examples of methods and techniques are suggested to help researchers (1) evaluate their systems{\textquoteright} creative process and generated artefacts, and test their impact on the perceptual, cognitive, and affective states of the audience, and (2) build mechanisms for reflection into the creative system, including models of human perception and cognition, to endow creative systems with internal evaluative mechanisms to drive self-reflective processes. The first type of evaluation can be considered external to the creative system and may be employed by the researcher to both better understand the efficacy of their system and its impact and to incorporate feedback into the system. Here we take the stance that understanding human creativity can lend insight to computational approaches, and knowledge of how humans perceive creative systems and their output can be incorporated into artificial agents as feedback to provide a sense of how a creation will impact the audience. The second type centers around internal evaluation, in which the system is able to reason about its own behavior and generated output. We argue that creative behavior cannot occur without feedback and reflection by the creative/metacreative system itself. More rigorous empirical testing will allow computational and metacreative systems to become more creative by definition and can be used to demonstrate the impact and novelty of particular approaches.},
	keywords = {artificial intelligence, Music perception and cognition},
	issn = {1544-3574},
	doi = {10.1145/2967506},
	url = {http://doi.acm.org/10.1145/2967506},
	author = {Agres, Kat and Forth, Jamie and Wiggins, Geraint A.}
}
@proceedings {2016,
	title = {The Information Dynamics of Thinking: a cognitive architecture for human creative cognition},
	year = {2016},
	month = {2016},
	abstract = {We present IDyOT (Wiggins, 2012b), the Information Dynamics of Thinking, a novel cognitive architecture that instantiates
the (much more abstract) Global Workspace Theory of Baars (1988), in a way motivated by a principle of
efficiency in information processing. IDyOT simulates a hypothetical fundamental perceptual/cognitive loop, explicating
bottom-up learning of concepts, the hierarchical structure in them, and the correlations between them from
percepts. Even though the proposal is basically cognitive, embodiment is not ruled out, and the tight connection between
perception and cognition potentially affords a future extension of the account to an embodied view.},
	author = {Wiggins, Geraint A and Agres, Kat and Forth, Jamie and Purver, Matt}
}
@conference {27,
	title = {Conceptualizing Creativity: From Distributional Semantics to Conceptual Spaces},
	booktitle = {Proceedings of the Sixth International Conference on Computational Creativity},
	year = {2015},
	author = {Agres, Kat and McGregor, Stephen and Purver, Matthew and Wiggins, Geraint}
}
@inbook {30,
	title = {Probabilistic Segmentation of Musical Sequences using Restricted Boltzmann Machines},
	booktitle = {Mathematics and Computation in Music},
	volume = {9110},
	number = {Lecture Notes in Computer Science},
	year = {2015},
	pages = {323-334},
	publisher = {Springer},
	organization = {Springer},
	issn = {978-3-319-20602-8},
	author = {Lattner, Stefan and Grachten, Maarten and Agres, Kat and Chac{\'o}n, Carlos}
}
@proceedings {34,
	title = {Schematic processing as a framework for learning and creativity in CBR and CC},
	year = {2015},
	pages = {151-155},
	publisher = {ICCBR-15},
	author = {Agres, Kat and Wiggins, Geraint A.}
}
@conference {29,
	title = {An information-theoretic account of musical expectation and memory},
	booktitle = {Proceedings of the 35th Annual Conference of the Cognitive Science Society},
	year = {2013},
	author = {Agres, Kat and Abdallah, Samer and Pearce, Marcus}
}
@conference {32,
	title = {An auditory twist on visual search using head movement controlled ambisonics},
	booktitle = {International Computer Music Conference},
	year = {2010},
	publisher = {Ann Arbor, MI: MPublishing, University of Michigan Library},
	organization = {Ann Arbor, MI: MPublishing, University of Michigan Library},
	author = {Agres, Kat and Spencer Topel and Michael Spivey and Stephen Moseson}
}
