Related Research Articles
Noise music is a genre of music that is characterised by the expressive use of noise. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound. Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect.
Generative art is post-conceptual art that has been created with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In some cases the human creator may claim that the generative system represents their own artistic idea, and in others that the system takes on the role of the creator.
Generative grammar is a research tradition in linguistics that aims to explain the cognitive basis of language by formulating and testing explicit models of humans' subconscious grammatical knowledge. Generative linguists, or generativists, tend to share certain working assumptions such as the competence–performance distinction and the notion that some domain-specific aspects of grammar are partly innate in humans. These assumptions are rejected in non-generative approaches such as usage-based models of language. Generative linguistics includes work in core areas such as syntax, semantics, phonology, psycholinguistics, and language acquisition, with additional extensions to topics including biolinguistics and music cognition.
Algorithmic composition is the technique of using algorithms to create music.
Alfred Whitford (Fred) Lerdahl is an American music theorist and composer. Best known for his work on musical grammar, cognition, rhythmic theory and pitch space, he and the linguist Ray Jackendoff developed the Chomsky-inspired generative theory of tonal music.
Karlheinz Essl is an Austrian composer, performer, sound artist, improviser, and composition teacher.
"Cognitive Constraints on Compositional Systems" is an essay by Fred Lerdahl that cites Pierre Boulez's Le Marteau sans maître (1955) as an example of "a huge gap between compositional system and cognized result," though he "could have illustrated just as well with works by Milton Babbitt, Elliott Carter, Luigi Nono, Karlheinz Stockhausen, or Iannis Xenakis". To explain this gap, and in hopes of bridging it, Lerdahl proposes the concept of a musical grammar, "a limited set of rules that can generate indefinitely large sets of musical events and/or their structural descriptions". He divides this further into compositional grammar and listening grammar, the latter being one "more or less unconsciously employed by auditors, that generates mental representations of the music". He divides the former into natural and artificial compositional grammars. While the two have historically been fruitfully mixed, a natural grammar arises spontaneously in a culture while an artificial one is a conscious invention of an individual or group in a culture; the gap can arise only between listening grammar and artificial grammars. To begin to understand the listening grammar, Lerdahl and Ray Jackendoff created a theory of musical cognition, A Generative Theory of Tonal Music. That theory is outlined in the essay.
Algorithmic art or algorithm art is art, mostly visual art, in which the design is generated by an algorithm. Algorithmic artists are sometimes called algorists.
Nodal is a generative software application for composing music. The software was produced at the Centre for Electronic Media Art (CEMA), Monash University, Australia. It uses a novel method for the notation and playing of MIDI based music. This method is based around the concept of a user-defined graph. The graph consists of nodes and edges. The composer interactively defines the graph, which is then traversed by any number of virtual players that play the musical events as they encounter them on the graph. The time taken by a player to travel from one node to another is based on the length of the edges that connect the nodes.
Joseph Nechvatal is an American post-conceptual digital artist and art theoretician who creates computer-assisted paintings and computer animations, often using custom computer viruses.
Tao Group was a software company with headquarters in Reading, Berkshire, UK. It developed the Intent software platform, which enabled content portability by delivering services in a platform-independent format called Virtual Processor (VP). The business's IP portfolio was sold in May 2007 to Cross Atlantic Capital Partners.
A Year with Swollen Appendices is a book by Brian Eno. The paperback book was published by Faber and Faber in 1996 and is divided into two sections. The first part is a diary covering the year 1995, the second part, the 'swollen appendices' of the title is a collection of essays, short stories and correspondence. It was re-released with a new introduction by the author in 2021.
77 Million Paintings is a digital art software/DVD combination by British musician Brian Eno, released in 2006.
Koan is a generative music engine created by SSEYO, a company founded by Pete Cole and Tim Cole. The Koan technology is now owned by Intermorphic Limited, co-founded by the Cole brothers in 2007.
Peter Chilvers is a Cambridgeshire-based British musician and software designer.
Brian Peter George Eno, also mononymously known as Eno, is an English musician, songwriter, record producer and visual artist. He is best known for his pioneering contributions to ambient music and electronica, and for producing, recording, and writing works in rock and pop music. A self-described "non-musician", Eno has helped introduce unconventional concepts and approaches to contemporary music. He has been described as one of popular music's most influential and innovative figures. In 2019, he was inducted into the Rock and Roll Hall of Fame as a member of Roxy Music.
Music and artificial intelligence is the development of music software programs which use AI to generate music. As with applications in other fields, AI in music also simulates mental tasks. A prominent feature is the capability of an AI algorithm to learn based on past data, such as in computer accompaniment technology, wherein the AI is capable of listening to a human performer and performing accompaniment. Artificial intelligence also drives interactive composition technology, wherein a computer composes music in response to a live performance. There are other AI applications in music that cover not only music composition, production, and performance but also how music is marketed and consumed. Several music player programs have also been developed to use voice recognition and natural language processing technology for music voice control. Current research includes the application of AI in music composition, performance, theory and digital sound processing.
viral symphOny is a collaborative electronic noise music symphony created by the postconceptual artist Joseph Nechvatal. It was created between the years 2006 and 2008 using custom artificial life C++ software based on the viral phenomenon model. It is 1 hour and 40 minutes in length. The first movement of viral symphOny - and raw viral field material - was released in 2006 as a CD by The Institute for Electronic Arts in Alfred, New York. A low resolution extract from the pOstmOrtem section of viral symphOny was published in NME magazine.
The generative theory of tonal music (GTTM) is a system of music analysis developed by music theorist Fred Lerdahl and linguist Ray Jackendoff. First presented in their 1983 book of the same title, it constitutes a "formal description of the musical intuitions of a listener who is experienced in a musical idiom" with the aim of illuminating the unique human capacity for musical understanding.
Timothy Didymus is a British artist and musician based in Brighton. He is considered a pioneer in the field of generative music. Didymus has collaborated with artists such as Brian Eno, Cornelia Sollfrank, Emilia Telese and presented at institutions and festivals such as ZKM, Ars Electronica, International Symposium on Electronic Art (ISEA), Werkleitz Biennale of Multimedia Arts, Liverpool Biennial, De La Warr Pavilion, Fort Process.
References
- Artística de Valencia, After The Net, 5 – 29 June 2008, Valencia, Spain: catalogue: Observatori 2008: After The Future, p. 80
- Biles, A. 2002a. GenJam in Transition: from Genetic Jammer to Generative Jammer. In International Conference on Generative Art, Milan, Italy.
- Chomsky, N. 1956. Three models for the description of language. IRE Transcripts on Information Theory, 2: 113-124.
- Collins, N. 2008. The analysis of generative music programs. Organised Sound, 13(3): 237–248.
- Cope, D. 1991. Computers and musical style. Madison, Wis.: A-R Editions.
- Dorin, A. 2001. Generative processes and the electronic arts. Organised Sound, 6 (1): 47-53.
- Eno, B. 1996. Generative Music. http://www.inmotionmagazine.com/eno1.html (accessed 26 February 2009).
- Essl, K. 2002. Generative Music. http://www.essl.at/bibliogr/generative-music.html (accessed 22 Mar 2010).
- García, A. et al. 2010. Music Composition Based on Linguistic Approach. 9th Mexican International Conference on Artificial Intelligence, MICAI 2010, Pachuca, Mexico. pp. 117–128.
- Intermorphic Limited History of Noatikl, Koan and SSEYO (accessed 26 February 2009).
- Lerdahl, F. and R. Jackendoff. 1982. A generative theory of tonal music. Cambridge, Mass: MIT Press.
- Lippe, C. 1997. Music for piano and computer: A description. Information Processing Society of Japa SIG Notes, 97 (122): 33-38.
- Loy, G. and C. Abbott. 1985. Programming languages for computer music synthesis, performance and composition. ACM Computing Surveys, 17 (2): 235-265.
- Nierhaus, G. Algorithmic Composition - Paradigms of Automated Music Generation. Springer 2009.
- Rowe, R. 1991. Machine Learning and Composing: Making Sense of Music with Cooperating Real-Time Agents. Thesis from Media Lab. Mass.: MIT.
- Winkler, T. 1998. Composing Interactive Music. Cambridge, Massachusetts: MIT Press.
- Wooller, R., Brown, A. R, et al. A framework for comparing algorithmic music systems. In: Symposium on Generative Arts Practice (GAP). 2005. University of Technology Sydney.