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From Experiments in Musical Intelligence to Emily Howell

From Experiments in Musical Intelligence to Emily Howell. The Work of David Cope. Career context. The composer Professor at UC Santa Cruz Author of books on Musical intelligence (6) Twentieth-century music (2) Teacher Algorithmic composition 20 th -century analytical methods Composer

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From Experiments in Musical Intelligence to Emily Howell

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  1. From Experiments in Musical Intelligence to Emily Howell The Work of David Cope

  2. Career context • The composer • Professor at UC Santa Cruz • Author of books on • Musical intelligence (6) • Twentieth-century music (2) • Teacher • Algorithmic composition • 20th-century analytical methods • Composer • Uses several mediums • Writes works in groups, cycles • Recent works are assisted by Emily Howell • The programs • EMI (Exp MusInt) 2010 Eleanor Selfridge-Field

  3. Experiments in Musical Intelligence 1990-2006 2010 Eleanor Selfridge-Field

  4. Data analysis phase • Select a repertory (one composer, one genre) • Encode several pieces • Parse them into five elements of musical grammar • Statements • Preparations • Extensions • Antecedents • Consequents • Discover and store “signatures” (identify “earmarks”) 2010 Eleanor Selfridge-Field

  5. Signatures in the SPEAC Grammar • Are relatively short (2-5 events) • Are shorter than themes • Are stored with approach and departure info • Are described by intervallic relationships • Are not described by key or mode 2010 Eleanor Selfridge-Field

  6. Listening to SPEAC EXamples • Bach invention • Joplin rag • Mozart Violin Concerto, movement 3 • Gershwin 2010 Eleanor Selfridge-Field

  7. Composing new works • User selects a composer • User selects a genre • User selects a key and mode • User selects a meter • Emmy generates one (or many) new work(s) • User discards what he does not want 2010 Eleanor Selfridge-Field

  8. Ways of experiencing Emmy • Listening to MIDI performances • Listening to live performances • Viewing the notated music • Performing the music http://artsites.ucsc.edu/faculty/cope/mp3page.htm 2010 Eleanor Selfridge-Field

  9. Reactions to EMI From MIDI files From live concerts That’s by a computer? • “mechanical” • Too fast • Too slow • Too soft • Too loud • Not human 2010 Eleanor Selfridge-Field

  10. Emmy-Beethoven Symphony 2010 Eleanor Selfridge-Field

  11. Computer Models and Hidden structure 2005-2009 2010 Eleanor Selfridge-Field

  12. Computer Models of Musical Creativity • Initiates process of signature capture from interactive user responses • Evolves its own lexicons • Models broader processes of grammatically-founded processes including • Speech • Poetry • Lyrics 2010 Eleanor Selfridge-Field

  13. Hidden Structure • Takes comprehensive view of 20th-century analytical concepts • Makes them available for compositional algorithms • Post-tonal music • Generative algorithms 2010 Eleanor Selfridge-Field

  14. Emily Howell 2010— 2010 Eleanor Selfridge-Field

  15. Emily HoweLL • Debuted in March 2010 • Represents the second incarnation of Emmy • Composes modern, original music http://www.miller-mccune.com/culture-society/triumph-of-the-cyborg-composer-8507/ 2010 Eleanor Selfridge-Field

  16. Pieces by Emily Howell • From Darkness, Light • Land of Stone • Shadow Worlds http://www.centaurrecords.com/ 2010 Eleanor Selfridge-Field

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