The Analysis of Generative Music Programs.
AbstractComposers have spent more than fifty years devising computer programs for the semi-automated production of music. This article shall focus in particular on the case of minimal run-time human intervention, where a program allows the creation of a musical variation, typically unravelling in re...
| Publicado en: | Organised Sound Vol. 13; no. 3; pp. 237 - 249 |
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| Formato: | Artículo |
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Cambridge University Press
Dec2008
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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=35054005&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 35054005 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 13557718 G0N jtl: Organised Sound issn: 13557718 maglogo: N pubinfo: dt: Dec2008 vid: 13 iid: 3 pid: 15979 pub: Cambridge University Press artinfo: ui: 35054005 10.1017/S1355771808000332 ppf: 237 ppct: 12 formats: tig: atl: The Analysis of Generative Music Programs. aug: su: Computer music Computer software Composers Electronic composition Computer composition McCartney, James sug: subj: Computer music Computer software Composers Electronic composition Computer composition McCartney, James ab: AbstractComposers have spent more than fifty years devising computer programs for the semi-automated production of music. This article shall focus in particular on the case of minimal run-time human intervention, where a program allows the creation of a musical variation, typically unravelling in realtime, on demand. These systems have the capacity to vary their output with each run, often from no more input information than the seeding of a random number generator with the start time. Such artworks are accumulating, released online as downloads, or exhibited through streaming radio sites such as rand()%. Listener/users and composer/designers may wish for deeper insight into these programs' ontological status, mechanisms and creative potential. These works are challenging to dissect; this article makes a tentative start at confronting the unique problems and rich behaviours of computer-program-based generative music, from the social and historical context to the backwards engineering of programs in relation to their sound world. After a discussion of exemplars and definitions of generative art, strategies for analysis are outlined. To provide practical examples, analyses are provided of two small scale works by James McCartney. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y dt: @attributes: year: 2008 holdings: @attributes: islocal: N |
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