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 |
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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 |
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City | Auckland |
Period | 6/07/11 → 9/07/11 |