An organic system for tonal composition

Sarah Keith

An organic system for tonal composition

Sarah Keith

Department of Media, Music, Communication and Cultural Studies

Research output: Chapter in Book/Report/Conference proceeding › Conference proceeding contribution

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Abstract

This paper aims to discuss and question the separation between computational musicology research involving tonal musics, and the creative composition and generation of tonal musics. It considers how style modelling and synthesis relate to creative pursuits, and the problems in applying pritlciples from computational musicology to creative purposes. Potential hurdles in this relationship include a pervasive reluctance to recognise computer-created works as genuinely creative, as well as the musical specificity required by analytical stylemodelling. I argue that there is a teleological aesthetic difference between computational creativity and compositional creativity, which affects the perception of a composed work as being 'creative'. The crucial difference between these paradigms is the agency of the (hwnan) composer within the creative process. The author's own composing system, Deviate, is described briefly and evaluated in regard to these issues.

Original language	English
Title of host publication	Proceedings of Australiasian Computer Music Conference
Subtitle of host publication	Organic Sounds in Live Electroacoustic Music
Place of Publication	Auckland
Publisher	Australasian Computer Music Association
Number of pages	6
Publication status	Published - 2011
Event	Australiasian Computer Music Conference - Auckland Duration: 6 Jul 2011 → 9 Jul 2011

Conference

Conference	Australiasian Computer Music Conference
City	Auckland
Period	6/07/11 → 9/07/11

Bibliographical note

Version archived for private and non-commercial use with the permission of the author/s and according to publisher conditions. For further rights please contact the publisher.

Access to Document

Publisher Version (open access)Final published version, 620 KBLicence: Unspecified

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Cite this

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abstract = "This paper aims to discuss and question the separation between computational musicology research involving tonal musics, and the creative composition and generation of tonal musics. It considers how style modelling and synthesis relate to creative pursuits, and the problems in applying pritlciples from computational musicology to creative purposes. Potential hurdles in this relationship include a pervasive reluctance to recognise computer-created works as genuinely creative, as well as the musical specificity required by analytical stylemodelling. I argue that there is a teleological aesthetic difference between computational creativity and compositional creativity, which affects the perception of a composed work as being 'creative'. The crucial difference between these paradigms is the agency of the (hwnan) composer within the creative process. The author's own composing system, Deviate, is described briefly and evaluated in regard to these issues.",

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AB - This paper aims to discuss and question the separation between computational musicology research involving tonal musics, and the creative composition and generation of tonal musics. It considers how style modelling and synthesis relate to creative pursuits, and the problems in applying pritlciples from computational musicology to creative purposes. Potential hurdles in this relationship include a pervasive reluctance to recognise computer-created works as genuinely creative, as well as the musical specificity required by analytical stylemodelling. I argue that there is a teleological aesthetic difference between computational creativity and compositional creativity, which affects the perception of a composed work as being 'creative'. The crucial difference between these paradigms is the agency of the (hwnan) composer within the creative process. The author's own composing system, Deviate, is described briefly and evaluated in regard to these issues.

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