SameSameButDifferent v.02 – Iceland
The history of computer music is to a great extent the history of algorithmic composition. Here generative approaches are seen as an artistic technique. However, the generation of algorithmic music is normally done in the studio, where the music is aesthetically valued by the composer. The public on...
| Main Authors: | , |
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| Format: | Article in Journal/Newspaper |
| Language: | English |
| Published: |
2009
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| Subjects: | |
| Online Access: | http://sro.sussex.ac.uk/id/eprint/46874/ http://sro.sussex.ac.uk/id/eprint/46874/1/SSBD_v02-Iceland.pdf |
| Summary: | The history of computer music is to a great extent the history of algorithmic composition. Here generative approaches are seen as an artistic technique. However, the generation of algorithmic music is normally done in the studio, where the music is aesthetically valued by the composer. The public only gets to know one, or perhaps few, variations of the expressive scope of the algorithmic system itself. In this paper, we describe a generative music system of infinite compositions, where the system itself is aimed for distribution and to be used on personal computers. This system has a dual structure of a compositional score and a performer that performs the score in real-time every time a piece is played. We trace the contextual background of such systems and potential future applications. |
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