REINFORCEMENT LEARNING IN MUSICAL IMPROVISATION

Authors

  • Thara P Assistant Professor, Department of Computer Science and Engineering, Aarupadai Veedu Institute of Technology, Vinayaka Mission’s Research Foundation (DU), Tamil Nadu, India
  • Tarang Bhatnagar Centre of Research Impact and Outcome, Chitkara University, Rajpura 140417, Punjab, India
  • Indira Priyadarsani Pradhan Assistant Professor, School of Business Management, Noida International University, India
  • Dr. Jairam Poudwal Assistant Professor, Department of Fine Art, Parul Institute of Fine Arts, Parul University, Vadodara, Gujarat, India
  • Dr. Dhamodaran S Associate Professor, Department of Computer Science and Engineering, Sathyabama Institute of Science and Technology, Chennai, Tamil Nadu, India
  • Shailesh Kulkarni Department of E and TC Engineering, Vishwakarma Institute of Technology, Pune 411037, Maharashtra, India

DOI:

https://doi.org/10.29121/shodhkosh.v6.i5s.2025.6911

Keywords:

Reinforcement Learning, Musical Improvisation, Generative Music, Reward Design, Sequential Decision-Making, Creative AI

Abstract [English]

As a synthesis of real-time choices, awareness of style and expressiveness, musical improvisation is a complicated creative process. Implementing a conventional generative music system that uses supervised learning will tend to favor the approach that is only adaptive and exploratory of the approach used in improvisational performance. The paper explores how reinforcement learning (RL) can be applied to musical improvisation and presents the task as a sequence decision-making problem where an intelligent agent is trained to produce musically coherent and musical sequences by being exposed to an evaluative environment. The structure of music is represented as a Markov decision process with the states representing melodic intervals, harmonic context and rhythmic patterns, and actions representing the choice of notes, continuity of phrases and strategies of ornamentation. One of the main works offered by this work is the design of multi-objective reward functions which balance tonal and temporal coherence, stylistic and creative novelty. The offered framework of RL-based improvisation is a combination of feature extraction, a learning agent, evaluative feedback modules, and a symbolic output generator. The training is performed with datasets based on professional improvisation recording, with auxiliary rule-based musical constraints, aesthetical feedback by the listener in addition to model based evaluators. Q-learning, Deep Q-Networks, Proximal Policy Optimization and hybrid RL-deep learning models are used to make comparative experiments.

References

Afchar, D., Melchiorre, A., Schedl, M., Hennequin, R., Epure, E., and Moussallam, M. (2022). Explainability in Music Recommender Systems. AI Magazine, 43(2), 190–208. https://doi.org/10.1002/aaai.12056 DOI: https://doi.org/10.1002/aaai.12056

Agostinelli, A., Denk, T. I., Borsos, Z., Engel, J., Verzetti, M., Caillon, A., Huang, Q., Jansen, A., Roberts, A., Tagliasacchi, M., et al. (2023). MusicLM: Generating Music from Text (arXiv:2301.11325). arXiv.

Begun, S., Bautista, C., Mayorga, B., and Cooke, K. (2023). “Young Women my Age Really Need Boosts Like This”: Exploring Improv as a Facilitator of Wellness Among Young Women of Color. Health Promotion Practice, 24(6), 1133–1137. https://doi.org/10.1177/15248399221130726 DOI: https://doi.org/10.1177/15248399221130726

Campbell, S., Dowlen, R., Keady, J., and Thompson, J. (2024). Care Aesthetics and “being in the Moment” Through Improvised Music-Making and Male Grooming in Dementia Care. International Journal of Education and the Arts. In press.

Chirico, I., Ottoboni, G., Valente, M., and Chattat, R. (2021). Children and Young People’s Experience of Parental Dementia: A Systematic Review. International Journal of Geriatric Psychiatry, 36(7), 975–992. https://doi.org/10.1002/gps.5542 DOI: https://doi.org/10.1002/gps.5542

Clements-Cortés, A., and Yu, M. T. (2021). The Mental Health Benefits of Improvisational Music Therapy for Young Adults. Canadian Music Educator, 62(3), 30–33.

Dower, R. C. (2022). Contact Improvisation as a Force for Expressive Reciprocity with Young Children who Don’t Speak. Learning Landscapes, 15(1), 75–87. https://doi.org/10.36510/learnland.v15i1.1065 DOI: https://doi.org/10.36510/learnland.v15i1.1065

Dowlen, R., Keady, J., Milligan, C., Swarbrick, C., Ponsillo, N., Geddes, L., and Riley, B. (2022). In the Moment with Music: An Exploration of the Embodied and Sensory Experiences of People Living with Dementia During Improvised Music-Making. Ageing and Society, 42(11), 2642–2664. https://doi.org/10.1017/S0144686X21000210 DOI: https://doi.org/10.1017/S0144686X21000210

Foubert, K., Gill, S. P., and De Backer, J. (2021). A Musical Improvisation Framework for Shaping Interpersonal Trust. Nordic Journal of Music Therapy, 30(1), 79–96. https://doi.org/10.1080/08098131.2020.1788627 DOI: https://doi.org/10.1080/08098131.2020.1788627

Jones, L., Cullum, N., Watson, R., Thompson, J., and Keady, J. (2024). “Only my Family Can Help”: The Lived Experience and Care Aesthetics of Being Resident on an NHS Psychiatric/Mental Health Inpatient Dementia Assessment Ward—A Single Case Study. Ageing and Society. Advance online publication. https://doi.org/10.1017/S0144686X24000096 DOI: https://doi.org/10.1017/S0144686X24000096

Keady, J., Campbell, S., Clark, A., Dowlen, R., Elvish, R., Jones, L., Kindell, J., Swarbrick, C., and Williams, S. (2022). Re-Thinking and Re-Positioning “Being in the Moment” within a Continuum of Moments: Introducing a new Conceptual Framework for Dementia Studies. Ageing and Society, 42(3), 681–702. https://doi.org/10.1017/S0144686X20001014 DOI: https://doi.org/10.1017/S0144686X20001014

Kilty, C., Cahill, S., Foley, T., and Fox, S. (2023). Young Onset Dementia: Implications for Employment and Finances. Dementia, 22(1), 68–84. https://doi.org/10.1177/14713012221132374 DOI: https://doi.org/10.1177/14713012221132374

Messingschlager, T. V., and Appel, M. (2023). Mind Ascribed to AI and the Appreciation of AI-Generated Art. New Media and Society, 27(6), 1673–1692. https://doi.org/10.1177/14614448231200248 DOI: https://doi.org/10.1177/14614448231200248

Reid-Wisdom, Z., and Perera-Delcourt, R. (2022). Perceived Effects of Improv on Psychological Wellbeing: A Qualitative Study. Journal of Creativity in Mental Health, 17(2), 246–263. https://doi.org/10.1080/15401383.2020.1856016 DOI: https://doi.org/10.1080/15401383.2020.1856016

Riabzev, A., Dassa, A., and Bodner, E. (2022). “My Voice is Who I am”: Vocal Improvisation Group Work with Healthy Community-Dwelling Older Adults. Voices: A World Forum for Music Therapy, 22(1), 1–15. https://doi.org/10.15845/voices.v22i1.3125 DOI: https://doi.org/10.15845/voices.v22i1.3125

Downloads

Published

2025-12-28

How to Cite

Thara P, Bhatnagar, T., Pradhan, I. P., Poudwal, J., Dhamodaran S, & Kulkarni, S. (2025). REINFORCEMENT LEARNING IN MUSICAL IMPROVISATION. ShodhKosh: Journal of Visual and Performing Arts, 6(5s), 98–108. https://doi.org/10.29121/shodhkosh.v6.i5s.2025.6911