Patterns of Intuition: Musical Creativity in the Light of by Gerhard Nierhaus

By Gerhard Nierhaus

The current publication is the results of a 3 12 months study undertaking which investigated the artistic act of composing by way of algorithmic composition. imperative to the research are the compositional recommendations of 12 composers, that have been documented via a dialogic and cyclic means of modelling and comparing musical fabrics. the cultured premises and compositional techniques configure a wealthy spectrum of numerous positions, that's mirrored additionally within the forms of techniques and techniques used. those ways and strategies contain the new release and evaluate of chord sequences utilizing genetic algorithms, the appliance of morphing suggestions to investigate harmonic differences, an automated class of private personal tastes through laptop studying, and an software of mathematical tune thought to the research and resynthesis of musical fabric. the second one a part of the publication gains contributions by means of Sandeep Bhagwati, William Brooks, David Cope, Darla Crispin, Nicolas Donin, and Guerino Mazzola. those authors variously contemplate the undertaking from various views, provide autonomous techniques, or supply extra common reflections from their respective study fields.

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Extra resources for Patterns of Intuition: Musical Creativity in the Light of Algorithmic Composition

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As an example, we tried to use interval steps instead of absolute pitches, and acceleration instead of velocity, but we traded one problem for another. Figure 10 illustrates the different effect achieved on the overall form level. From Fig. 10 The top shows the original recording No. 42, the middle shows a regeneration using a context snake for absolute pitches, the bottom shows a regeneration using a snake for relative pitches (interval steps) 28 E. Harnik et al. the original recording No. 42, shown at the top, two sequences were synthetically generated.

The frame interval, being the inversion of a major third, has a tonal tendency itself, especially the first inversion of a major triad, which is fully contained in all above chords with Eb. As not every chord containing a major third will necessarily sound tonal, this means an important part of the work 8 = (1 + 1 + 6) = (1 + 2 + 5) = (1 + 3 + 4) = (1 + 4 + 3) = (1 + 5 + 2) = (1 + 6 + 1) = (2 + 1 + 5) 8 = (2 + 2 + 4) = (2 + 3 + 3) = (2 + 4 + 2) = (2 + 5 + 1) = (3 + 1 + 4) = (3 + 2 + 3) = (3 + 3 + 2) 8 = (3 + 4 + 1) = (4 + 1 + 3) = (4 + 2 + 2) = (4 + 3 + 1) = (5 + 1 + 2) = (5 + 2 + 1) = (6 + 1 + 1) Fig.

That the regenerations arose only out of my well-rehearsed material, offered by evaluating the results, a musical counterpart, which allowed me, to a certain degree, to perceive my improvisational structures from an external perspective, thus to reflect in a new and unusual way. In the time of this project a greater incentive was built to deliberately break the collections of movements in my future improvisation practice. I also found with respect to reflecting on my work, the question of an adequate notational representation of the improvisation processes very stimulating.

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