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Computer composition, Computer music--Instruction and study, BASIC (Computer program language)
publication date
:
1989
lcc
:
MT56.W53 1989eb
ddc
:
781.3/4
subject
:
Computer composition, Computer music--Instruction and study, BASIC (Computer program language)
Page iii
Automated Music Composition
Phil Winsor
Page iv
For Michele-Louise and Bethany
1989 Phil Winsor International Copyright First Printed in the United States 1992 All rights reserved
Written 2/1/897/30/89 under a Research Grant from the National Science Council of the Republic of China
Library of Congress Cataloging-in-Publication Data
Winsor, Phil, 1938 Automated music composition / by Phil Winsor. p. cm. ISBN 0-929398-38-6. 1. Computer composition. 2. computer musicInstruction and study. 3. BASIC (Computer program language) I. Title. MT56.W53 1992 781.3'4dc20 92-7263 CIP MN
Page v
ACKNOWLEDGEMENTS
The author would like to thank: Dr. Daniel Yuan, President of National Chiao Tung University, for inviting him to be Visiting Computer Music Research Professor during the writing of this book (January through August, 1989);
Dr. Ting-Lien Wu, Director of the Computer Music Studio at National Chiao Tung University, who encouraged this project as a learning resource for composers on Taiwan;
Garland Andrews, of ProGenitor Software, for typesetting the musical examples, editing the English version of the book, and guiding the manuscript to completion; and
Frances Vick and Kate Lynass, of the University of North Texas Press, for their support and diligence in making this book a reality.
PHIL WINSOR 2/10/92
Page vii
CONTENTS
I: Fundamentals
1 Overview of Computer Music Applications
3
2 The MIDI Communications Interface; Music Representation within the Computer
13
3 Algorithm Implementation; BASIC Programming Language
10 Uniform and Non-uniform Probability Distributions
239
11 Defined Probability Distributions
273
Appendix
301
References
305
Index
307
Page 1
PART I FUNDAMENTALS
Page 3
1 Overview of Computer Music Applications
Music Intelligence
What is Music Intelligence, and how can it benefit the musician? This question is the first to arise from musicians and nonmusicians alike when they are told that the computer has assumed as important a role in the art of music as it has in other intellectual disciplines. The answer is that the computer is suited to the performance of a wide range of tasks, and that it will perform those tasks just as readily for musicians as it will for scientists. In the process, it can exhibit characteristics of (human) intelligence to the extent it is programmed to do so.
To precisely denote Music Intelligence is as difficult as to exactly say what Artificial Intelligence is, because the complex mixture of skills and talents which comprise human intelligence is little understood. Through introspection and careful observation, we can identify superficial logical and cognitive functions such as the ability to store, recall, compare, model, extrapolate, and parse various data structures; but the workings of the most powerful wellspring of creative activity, the subconscious intelligence, remains elusive and largely uncharted. Until a deeper comprehension of the breadth of human intellectual activity and the dynamics of its component processes is achieved, we must settle for a temporary definition:
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