This text is a practical guide to the compositional techniques, resources, and technologies available to composers today. Each chapter traces the development of traditional and modern elements that form the foundation of music in the late twentieth century. Among the subjects discussed are interval exploration, serialism, pitch-class sets, twelve-tone music, electronic music, algorithmic composition, and indeterminacy.

Techniques of the Contemporary Composer

Arts & Photography

COPE, DAVID

Music

Cengage Learning'

New Music Composition

Schirmer Books

Computer Analysis of Musical Style

Oxford University Press

Virtual Music: Computer Synthesis of Musical Style

Virtual Music is about artificial creativity. Focusing on the author's Experiments in Musical Intelligence computer music composing program, the author and a distinguished group of experts discuss many of the issues surrounding the program, including artificial intelligence, music cognition, and aesthetics. The book is divided into four parts. The first part provides a historical background to Experiments in Musical Intelligence, including examples of historical antecedents, followed by an overview of the program by Douglas Hofstadter. The second part follows the composition of an Experiments in Musical Intelligence work, from the creation of a database to the completion of a new work in the style of Mozart. It includes, in sophisticated lay terms, relatively detailed explanations of how each step in the process contributes to the final composition. The third part consists of perspectives and analyses by Jonathan Berger, Daniel Dennett, Bernard Greenberg, Douglas R. Hofstadter, Steve Larson, and Eleanor Selfridge-Field. The fourth part presents the author's responses to these commentaries, as well as his thoughts on the implications of artificial creativity. The book (and corresponding Web site) includes an appendix providing extended musical examples referred to and discussed in the book, including composers such as Scarlatti, Bach, Mozart, Beethoven, Schubert, Chopin, Puccini, Rachmaninoff, Prokofiev, Debussy, BartÃ³k, and others. It is also accompanied by a CD containing performances of the music in the text.

Computers & Technology

Hofstadter, Douglas R.

Computer Science

Mit Pr

An examination of computational creativity in music offers a series of models that illustrate selected aspects of musical creativity and then presents a process that integrates these aspects and produces music creatively.
In this original and provocative study of computational creativity in music, David Cope asks whether computer programs can effectively model creativity -- and whether computer programs themselves can create. Defining musical creativity, and distinguishing it from creativity in other arts, Cope presents a series of experimental models that illustrate salient features of musical creativity. He makes the case that musical creativity results from a process that he calls inductive association, and he contends that such a computational process can in fact produce music creatively. Drawing on the work of many other scholars and musicians -- including Douglas Hofstadter, Margaret Boden, Selmer Bringsjord, and Kathleen Lennon -- Cope departs from the views expressed by most with his contentions that computer programs can create and that those who do not believe this have probably defined creativity so narrowly that even humans could not be said to create.
After examining the foundations of creativity and musical creativity, Cope describes a number of possible models for computationally imitating human creativity in music. He discusses such issues as recombinance and pattern matching, allusions, learning, inference, analogy, musical hierarchy, and influence, and finds that these experimental models solve only selected aspects of creativity. He then describes a model that integrates these different aspects -- an inductive-association computational process that can create music. Cope's writing style is lively and nontechnical; the reader needs neither knowledge of computer programming nor specialized computer hardware or software to follow the text.
The computer programs discussed in the text, along with MP3 versions of all the musical examples, are available at the author's website, http://arts.ucsc.edu/faculty/cope.

Computer Models of Musical Creativity

Virtual Music is about artificial creativity.                 Focusing on the author's Experiments in Musical Intelligence computer music                 composing program, the author and a distinguished group of experts discuss many of                 the issues surrounding the program, including artificial intelligence, music                 cognition, and aesthetics.The book is divided into four parts.                 The first part provides a historical background to Experiments in Musical                 Intelligence, including examples of historical antecedents, followed by an overview                 of the program by Douglas Hofstadter. The second part follows the composition of an                 Experiments in Musical Intelligence work, from the creation of a database to the                 completion of a new work in the style of Mozart. It includes, in sophisticated lay                 terms, relatively detailed explanations of how each step in the process contributes                 to the final composition. The third part consists of perspectives and analyses by                 Jonathan Berger, Daniel Dennett, Bernard Greenberg, Douglas R. Hofstadter, Steve                 Larson, and Eleanor Selfridge-Field. The fourth part presents the author's responses                 to these commentaries, as well as his thoughts on the implications of artificial                 creativity.The book (and corresponding Web site) includes an                 appendix providing extended musical examples referred to and discussed in the book,                 including composers such as Scarlatti, Bach, Mozart, Beethoven, Schubert, Chopin,                 Puccini, Rachmaninoff, Prokofiev, Debussy, Bartok, and others. It is also                 accompanied by a CD containing performances of the music in the text.

The MIT Press

Virtual Music is about artificial creativity. Focusing on the author's Experiments in Musical Intelligence computer music composing program, the author and a distinguished group of experts discuss many of the issues surrounding the program, including artificial intelligence, music cognition, and aesthetics.
The book is divided into four parts. The first part provides a historical background to Experiments in Musical Intelligence, including examples of historical antecedents, followed by an overview of the program by Douglas Hofstadter. The second part follows the composition of an Experiments in Musical Intelligence work, from the creation of a database to the completion of a new work in the style of Mozart. It includes, in sophisticated lay terms, relatively detailed explanations of how each step in the process contributes to the final composition. The third part consists of perspectives and analyses by Jonathan Berger, Daniel Dennett, Bernard Greenberg, Douglas R. Hofstadter, Steve Larson, and Eleanor Selfridge-Field. The fourth part presents the author's responses to these commentaries, as well as his thoughts on the implications of artificial creativity.
The book (and corresponding Web site) includes an appendix providing extended musical examples referred to and discussed in the book, including composers such as Scarlatti, Bach, Mozart, Beethoven, Schubert, Chopin, Puccini, Rachmaninoff, Prokofiev, Debussy, Bartok, and others. It is also accompanied by a CD containing performances of the music in the text.

Virtual Music: Computer Synthesis of Musical Style (Mit Press)

MIT Press]

An examination of computational creativity in music offers a series of models that illustrate selected aspects of musical creativity and then presents a process that integrates these aspects and produces music creatively. In this original and provocative study of computational creativity in music, David Cope asks whether computer programs can effectively model creativity -- and whether computer programs themselves can create. Defining musical creativity, and distinguishing it from creativity in other arts, Cope presents a series of experimental models that illustrate salient features of musical creativity. He makes the case that musical creativity results from a process that he calls inductive association, and he contends that such a computational process can in fact produce music creatively. Drawing on the work of many other scholars and musicians -- including Douglas Hofstadter, Margaret Boden, Selmer Bringsjord, and Kathleen Lennon -- Cope departs from the views expressed by most with his contentions that computer programs can create and that those who do not believe this have probably defined creativity so narrowly that even humans could not be said to create. After examining the foundations of creativity and musical creativity, Cope describes a number of possible models for computationally imitating human creativity in music. He discusses such issues as recombinance and pattern matching, allusions, learning, inference, analogy, musical hierarchy, and influence, and finds that these experimental models solve only selected aspects of creativity. He then describes a model that integrates these different aspects -- an inductive-association computational process that can create music. Cope's writing style is lively and nontechnical; the reader needs neither knowledge of computer programming nor specialized computer hardware or software to follow the text. The computer programs discussed in the text, along with MP3 versions of all the musical examples, are available at the author's website, http://arts.ucsc.edu/faculty/cope.

Tinman: A Life Explored

Offering insight into the creative processes of a contemporary composer, Tinman presents 150 vignettes from author David Cope's life. Some of the notable individuals discussed in this innovative biography are John Cage, Karlheinz Stockhausen, Pierre Boulez, Aaron Copland, Warren Zevon, Carl Sagan, Frank Drake, Douglas Hofstadter, Arthur Knight, Danny Glover, Steven Spielberg, George Lucas, Dorothy Freeman, Arthur C. Clarke, Isaac Asimov, and Philip José Farmer. Tinman offers a fond music journey including two encounters with Bach, Rachmaninoff's classic "Prelude in C-sharp minor," Beethoven's Fifth Symphony, Pierre Boulez, and the sadness of Igor Stravinsky's death.The title, borrowed from L. Frank Baum's book The Wizard of Oz, is an aphorism affectionately attached to Cope in the late 1990s. The reference reflects the many attitudes about his work with his computer music program, Experiments in Musical Intelligence; critics felt the results of this program lack heart. Though Tinman covers many other aspects of Cope's life-from his love of the cello, to his days as a graduate student at the University of Southern California, and to his work as a composer, author, and teacher-the main theme centers on his search for self-identity.

Humor & Entertainment

iUniverse

See the best price to sell, buy, or rent books by COPE, DAVID. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by COPE, DAVID

See the best price to sell, buy, or rent books by COPE, DAVID. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Techniques of the Contemporary Composer

New Music Composition

Computer Analysis of Musical Style

Virtual Music: Computer Synthesis of Musical Style

Computer Models of Musical Creativity

Virtual Music: Computer Synthesis of Musical Style

Virtual Music: Computer Synthesis of Musical Style (Mit Press)

Computer Models of Musical Creativity

Tinman: A Life Explored

Tinman: A Life Explored