Title: The language of the assistant and the language of the creator : selected aspects of computer assisted composition
Source document: Musicologica Brunensia. 2017, vol. 52, iss. 2, pp. 121-139
Extent
121-139
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2017-2-12
Stable URL (handle): https://hdl.handle.net/11222.digilib/137654
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
This paper is concerned with the creative process involved in making a "computer assisted composition". It follows the relationship to the technologies used, from the point of view of the communication between composer and electronic machine. It offers a perspective on the relation between the act of "programming" and the act of "composing". From this point of view, it compares the current state of the creative process with the situation at the time of the first computer-assisted realizations.
References
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[14] DAUBRESSE, Eric – ASSAYAG, Gérard. Technology and creation – The creative evolution. Contemporary Music Review, 2000, vol. 19, Part 2, p. 61–80. | DOI 10.1080/07494460000640261
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[22] KRETZ, Johannes. Navigation of Structured Material in Second Horizon for Piano and Orchestra. In The OM composer's book Vol. 1. Agon, Carlos – Assayag, Gérard – Bresson, Jean (eds.). Paris: Editions Delatour France & Ircam, 2006, p. 97–113.
[23] LASKE, Otto E. Compositional theory in Koenig's Project one and Project two. Computer Music Journal, 1981, vol. 5, no. 4, p. 54–65. | DOI 10.2307/3679506
[24] LAURSON, Mikael – KUUSKANKARE, Mika – NORILO, Vesa. An Overview of PWGL, a Visual Programming Environment for Music. Computer Music Journal, 2009, vol. 33, no. 1, p. 19–31.
[25] LOY, Gareth. Musicians Make a Standard: The MIDI Phenomenon. Computer Music Journal, 1985, vol 9, no. 4, p. 8–26. | DOI 10.2307/3679619
[26] MALT, Mikhail. Some Considerations on Brian Ferneyhough's Musical Language – Part I. In The OM composer's book Vol. 2. Jean Bresson – Carlos, Agon – Gérard, Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008, p. 7–19.
[27] POPE, Stephen Travis. A Smalltalk-80-based Music Toolkit. In ICMC Proceedings 1987. San Francisco: International Computer Music Association, 1987, p. 166–173.
[28] PUCKETTE, Miller. Preface. In The OM composer's book Vol. 1. Carlos Agon – Gérard Assayag – Jean Bresson (eds.). Paris: Editions Delatour France & Ircam, 2008, p. ix–iix.
[29] ROADS, Curtis (et alii). The Computer Music Tutorial. Cambridge: MIT Press, 1995.
[30] ROTHSTEIN, Joseph. MIDI: A Comprehensive Introduction. Madison: A-R Edtion, 1985.
[31] SANDRED, Örjan. Approaches to Using Rules as a Composition Method. Contemporary Music Review, 2009, vol. 28, no. 2, p. 149–165. | DOI 10.1080/07494460903322430
[32] SANDRED, Örjan. PWMC, a Constraint-Solving System for Generating Music Scores. Computer Music Journal, 2010, vol. 34, no. 2, p. 8–24. | DOI 10.1162/comj.2010.34.2.8
[33] TAUBE, Heinrich. Common Music: A music composition language in Common LISP and CLOS. Computer Music Journal, 1991, vol 15, no. 2, p. 21–32. | DOI 10.2307/3680913
[34] TAUBE, Heinrich. Notes from the metalevel – Introduction to algorithmic music composition. London: Taylor & Francis, 2004.
[35] TRUCHET, Charlotte (Ed. and Intro.) – ASSAYAG, Gérard (Ed. and Intro.). Constraint Programming in Music. London: ISTE, 2011.
[36] TÜZÜN, Tolga. Maquette As Data Structure and Synthesis Agent in Metathesis. In The OM composer's book Vol. 2. Jean Bresson – Carlos, Agon – Gérard, Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008, p. 263–277.
[37] XENAKIS, Iannis. Formalized Music, thought and mathematic in composition. Rev. ed. Stuyvesant, NY: Pendragon Press, 1992.
[38] XENAKIS, Iannis. Grundlagen einer stochastischen Musik/Elements of Stochastic Music. In Gravesaner Blätter / Gravesano Review, 1960, no. 18, p. 61–84. 1960, no. 19–20, p. 128–140. 1961, no. 21, p. 102–113. 1961, no. 22, p. 131–44.
[39] YAVELOW, Christopher. MacWorld music and sound bible. San Mateo: IDG Books Worldwide, 1992.
[40] Bach Project [online]. [cit. 2016-12-20]. URL: http://www.bachproject.net/.
[41] Common Music [online]. [cit. 2016-12-20]. URL: http://commonmusic.sourceforge.net/.
[42] Music Representations Team [online]. [cit. 2016-12-20]. URL: http://repmus.ircam.fr/cao.
[43] OpenMusic [online]. [cit. 2016-12-20]. URL: http://forumnet.ircam.fr/fr/produit/openmusic/?lang=en.
[44] PureData [online]. [cit. 2016-12-20]. URL: https://puredata.info/.
[45] PWGL [online]. [cit. 2016-12-20]. URL: http://www2.siba.fi/PWGL/index.html.
[46] Rhyth tree [online]. [cit. 2016-12-20]. URL: http://support.ircam.fr/docs/om/om6-manual/co/RT1.html.
[47] The OM composer's book Vol. 1. Agon, Carlos – Assayag, Gérard – Bresson, Jean (eds.). Paris: Editions Delatour France & Ircam, 2006.
[48] The OM composer's book Vol. 2. Jean Bresson – Carlos, Agon – Gérard, Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008.
[49] The OM composer's book Vol. 2. Jean Bresson – Carlos, Agon – Gérard, Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008.
[50] The well-tempered object – Musical applications of object-oriented software technologies. Pope, Stephen Travis (ed.). Cambridge: MIT Press, 1991.
[2] AGON, Carlos – HADDAD, Karim – ASSAYAG, Gérard. Representation and Rendering of Rhythmic Structures. International Conference of Web Delivering of Music – WedelMusic, Darmstadt: Computer Press, 2002, p. 109–116.
[3] AGOSTINI, Andrea – GHISI, Daniele. A Max Library for Musical Notation and Computer-Aided Composition. Computer Music Journal, 2015, vol. 39, no. 2, p. 11–27. | DOI 10.1162/COMJ_a_00296
[4] ANDERS, Torsten. Composing music by composing rules: Design and usage of a generic music constraint system. PhD thesis. Queen's University, School of Music & Sonic Arts, Faculty of Arts, Humanities and Social Sciences, 2007.
[5] ANDERS, Torsten – MIRANDA, Eduardo R. Interfacing Manual and Machine Composition. Contemporary Music Review, 2009, vol. 28, no. 2, p. 133–147. | DOI 10.1080/07494460903322422
[6] ASSAYAG, Gérard. Computer Assisted Composition today. 1st Symposium on Music and Computers. "Applications on Contemporary Music Creation: Esthetic and Technical Aspects" [online]. 1998. [cit. 2016-12-20]. URL: http://www.ircam.fr/equipes/repmus/RMPapers/Corfou98/.
[7] ASSAYAG, Gérard – RUEDA, Camilo (et.alii). Computer – Assisted Composition at IRCAM: from PatchWork to OpenMusic. Computer Music Journal, 1999, vol. 23, no. 3, p. 57–72.
[8] BABONI-SCHILINGI, Jacopo. Les trois niveaux d'interaction de la Composition par Modèles Interactifs vers une musique hypersistémique. In PRISMA 01. Milano: Euresis Edizioni, 2003, p. 129–145. The individual papers are available upon request. A list of papers and members of the group is published on the personal web page of one of the members, see [online]. [cit. 2016-12-20]. URL: http://johanneskretz.bplaced.net/www-jk-neu/prisma.html.)
[9] BABONI-SCHILINGI, Jacopo (et alii). PRISMA 01. Milano: Euresis Edizioni, 2003. (The anthology PRISMA 01 is currently unavailable. The individual papers are available upon request. A list of papers and members of the group is published on the personal web page of one of the members, see [online]. [cit. 2016-12-20]. URL: http://johanneskretz.bplaced.net/www-jk-neu/prisma.html.)
[10] BRESSON, Jean. Introduction. The OM composer's book Vol. 2. Jean Bresson – Carlos, Agon – Gérard, Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008, p. 1–6.
[11] BRESSON, Jean – AGON, Carlos – ASSAYAG, Gérard. OpenMusic – Visual Programming Environment for Music Composition, Analysis and Research. Proceedings of the 19th ACM international conference on Multimedia. Scottsdale: ACM MultiMedia, 2011 [online]. [cit. 2016-12-20]. URL: < https://hal.archives-ouvertes.fr/hal-01182394/document>.
[12] CAMPBELL-KELLY, Martin. Not Only Microsoft: The Maturing of the Personal Computer Software Industry, 1982–1995. The Business History Review, 2001, vol. 75, no. 1, p. 103–145. | DOI 10.2307/3116558
[13] COPE, David. Preface. In The OM composer's book Vol. 2. Jean Bresson – Carlos Agon – Gérard Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008, p. ix–xv.
[14] DAUBRESSE, Eric – ASSAYAG, Gérard. Technology and creation – The creative evolution. Contemporary Music Review, 2000, vol. 19, Part 2, p. 61–80. | DOI 10.1080/07494460000640261
[15] DAUBRESSE, Eric – HUREL, Philippe. Creating Polyphonic Sequences in the Form of Rhythmic and Melodic Canons. In The OM composer's book Vol. 2. Jean Bresson – Carlos, Agon – Gérard, Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008, p. 55–64.
[16] GERZSO, Andrew. Paradigms and Computer Music. Leonardo Music Journal, 1992, vol. 2, no. 1, p. 73–79.
[17] HILLER, Lejaren. Music composed with computers: A historical survey. In The computer and music. Lincoln, Harry B. (ed.). Ithaca, NY: Cornell University Press, 1970, p. 42–96.
[18] HILLER, Lejaren – ISAACSON, Leonard. Experimental music – Composition with an electronic computer. New York: McGraw-Hill, 1959.
[19] HILLER, Lejaren A. – BAKER, Robert A. Computer Cantata: A Study in Compositional Method. Perspectives of New Music, 1964, vol. 3, no. 1, p. 62–90.
[20] KOENIG, Gottfried Michael. Composition Processes [online]. 1978. [cit. 2016-12-20]. URL: http://www.koenigproject.nl/indexe.htm.
[21] KOENIG, Gottfried Michael. Working with "Project 1". My Experiences with Computer Composition [online]. 1990. [cit. 2016-12-20]. URL: http://www.koenigproject.nl/indexe.htm.
[22] KRETZ, Johannes. Navigation of Structured Material in Second Horizon for Piano and Orchestra. In The OM composer's book Vol. 1. Agon, Carlos – Assayag, Gérard – Bresson, Jean (eds.). Paris: Editions Delatour France & Ircam, 2006, p. 97–113.
[23] LASKE, Otto E. Compositional theory in Koenig's Project one and Project two. Computer Music Journal, 1981, vol. 5, no. 4, p. 54–65. | DOI 10.2307/3679506
[24] LAURSON, Mikael – KUUSKANKARE, Mika – NORILO, Vesa. An Overview of PWGL, a Visual Programming Environment for Music. Computer Music Journal, 2009, vol. 33, no. 1, p. 19–31.
[25] LOY, Gareth. Musicians Make a Standard: The MIDI Phenomenon. Computer Music Journal, 1985, vol 9, no. 4, p. 8–26. | DOI 10.2307/3679619
[26] MALT, Mikhail. Some Considerations on Brian Ferneyhough's Musical Language – Part I. In The OM composer's book Vol. 2. Jean Bresson – Carlos, Agon – Gérard, Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008, p. 7–19.
[27] POPE, Stephen Travis. A Smalltalk-80-based Music Toolkit. In ICMC Proceedings 1987. San Francisco: International Computer Music Association, 1987, p. 166–173.
[28] PUCKETTE, Miller. Preface. In The OM composer's book Vol. 1. Carlos Agon – Gérard Assayag – Jean Bresson (eds.). Paris: Editions Delatour France & Ircam, 2008, p. ix–iix.
[29] ROADS, Curtis (et alii). The Computer Music Tutorial. Cambridge: MIT Press, 1995.
[30] ROTHSTEIN, Joseph. MIDI: A Comprehensive Introduction. Madison: A-R Edtion, 1985.
[31] SANDRED, Örjan. Approaches to Using Rules as a Composition Method. Contemporary Music Review, 2009, vol. 28, no. 2, p. 149–165. | DOI 10.1080/07494460903322430
[32] SANDRED, Örjan. PWMC, a Constraint-Solving System for Generating Music Scores. Computer Music Journal, 2010, vol. 34, no. 2, p. 8–24. | DOI 10.1162/comj.2010.34.2.8
[33] TAUBE, Heinrich. Common Music: A music composition language in Common LISP and CLOS. Computer Music Journal, 1991, vol 15, no. 2, p. 21–32. | DOI 10.2307/3680913
[34] TAUBE, Heinrich. Notes from the metalevel – Introduction to algorithmic music composition. London: Taylor & Francis, 2004.
[35] TRUCHET, Charlotte (Ed. and Intro.) – ASSAYAG, Gérard (Ed. and Intro.). Constraint Programming in Music. London: ISTE, 2011.
[36] TÜZÜN, Tolga. Maquette As Data Structure and Synthesis Agent in Metathesis. In The OM composer's book Vol. 2. Jean Bresson – Carlos, Agon – Gérard, Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008, p. 263–277.
[37] XENAKIS, Iannis. Formalized Music, thought and mathematic in composition. Rev. ed. Stuyvesant, NY: Pendragon Press, 1992.
[38] XENAKIS, Iannis. Grundlagen einer stochastischen Musik/Elements of Stochastic Music. In Gravesaner Blätter / Gravesano Review, 1960, no. 18, p. 61–84. 1960, no. 19–20, p. 128–140. 1961, no. 21, p. 102–113. 1961, no. 22, p. 131–44.
[39] YAVELOW, Christopher. MacWorld music and sound bible. San Mateo: IDG Books Worldwide, 1992.
[40] Bach Project [online]. [cit. 2016-12-20]. URL: http://www.bachproject.net/.
[41] Common Music [online]. [cit. 2016-12-20]. URL: http://commonmusic.sourceforge.net/.
[42] Music Representations Team [online]. [cit. 2016-12-20]. URL: http://repmus.ircam.fr/cao.
[43] OpenMusic [online]. [cit. 2016-12-20]. URL: http://forumnet.ircam.fr/fr/produit/openmusic/?lang=en.
[44] PureData [online]. [cit. 2016-12-20]. URL: https://puredata.info/.
[45] PWGL [online]. [cit. 2016-12-20]. URL: http://www2.siba.fi/PWGL/index.html.
[46] Rhyth tree [online]. [cit. 2016-12-20]. URL: http://support.ircam.fr/docs/om/om6-manual/co/RT1.html.
[47] The OM composer's book Vol. 1. Agon, Carlos – Assayag, Gérard – Bresson, Jean (eds.). Paris: Editions Delatour France & Ircam, 2006.
[48] The OM composer's book Vol. 2. Jean Bresson – Carlos, Agon – Gérard, Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008.
[49] The OM composer's book Vol. 2. Jean Bresson – Carlos, Agon – Gérard, Assayag (eds.). Paris: Editions Delatour France & Ircam, 2008.
[50] The well-tempered object – Musical applications of object-oriented software technologies. Pope, Stephen Travis (ed.). Cambridge: MIT Press, 1991.