Musicking with Music-Generation Software in Virtutes Occultae.
This article explores concepts of compositional meaning that arise from cocreative composing with music-generation software. Drawing from an analysis of the 2017 electroacoustic composition Virtutes Occultae, the composer discusses the implications of computer-generated music for the role of the com...
| Publicado en: | Leonardo Music Journal Vol. 30; pp. 3 - 8 |
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| Formato: | Artículo |
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MIT Press
Dec2020
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=152248404&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 152248404 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09611215 1F1 jtl: Leonardo Music Journal issn: 09611215 maglogo: N pubinfo: dt: Dec2020 vid: 30 pid: 776 pub: MIT Press artinfo: ui: 152248404 10.1162/lmj_a_01086 ppf: 3 ppct: 5 formats: fmt: @attributes: type: P size: 6.2MB tig: atl: Musicking with Music-Generation Software in Virtutes Occultae. aug: au: Brook, Taylor affil: Taylor Brook (artist), Columbia University, 505 West 148th Street 4A, New York, NY 10031, U.S.A. TAYLOR BROOK is a Canadian composer who has been based in New York since 2011. His music explores microtonality, imaginary tradition, technology and the interaction between electronic sound and live performers. su: Computer music Musical style Computer software Composers Music software sug: subj: Computer music Musical style Computer software Composers Music software ab: This article explores concepts of compositional meaning that arise from cocreative composing with music-generation software. Drawing from an analysis of the 2017 electroacoustic composition Virtutes Occultae, the composer discusses the implications of computer-generated music for the role of the composer. After an overview of how the music-generation software he developed contributed to the creation of Virtutes Occultae, the composer makes comparisons between his process and the use of generative commercial music software to create music, in order to draw distinctions between creating computer-generated music to extend aesthetic sensibilities and creating computer-generated music that iterates based on established commercial styles. Finally, the composer proposes future paths for further investigation involving the development of new musical styles through computer-generated music and reactive computer improvisation. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Leonardo Music Journal is the property of MIT Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Leonardo Music Journal holder: MIT Press dt: @attributes: year: 2020 holdings: @attributes: islocal: N |
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