Evolutionary Computer Music

1. Auflage 2007
ISBN: 978-1-84628-600-1
Verlag: Springer-Verlag
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch, 259 Seiten

Musicians, perhaps more than any other class of artists, have always been acutely aware of the scientific developments of their time. From the discovery almost three thousand years ago of the direct relationship between the pitch of a note and the length of a string or pipe, to the latest computer models of human musical cognition and intelligence, musicians have always looked to science to provide new and challenging ways to study and compose music. With the great scientific advances being made in the field of evolutionary biology, from new insights into the origins of humans and other species to complete mappings of the genes that control our growth and development, a new approach to the study of music is emerging: the evolutionary computation approach. This book features chapters on the interplay between Evolutionary Computation and Music by leading pioneers in the field.

Autoren/Hrsg.

Inhaltsverzeichnis

1;Foreword;4
2;Preface;6
3;Contents;9
4;List of Contributors;11
5;An Introduction to Evolutionary Computing for Musicians;13
5.1;1.1. Introduction;13
5.2;1.2. Evolutionary Search Algorithms ;15
5.3;1.3. Evolutionary Computing in Musical Composition ;22
5.4;1.4. Evolutionary Computing in Sound Design;28
5.5;1.5. New Musical Possibilities Through Adaptive Systems;31
5.6;1.6. Concluding Remarks;34
5.7;References;35
6;Evolutionary Computation for Musical Tasks;40
6.1;2.1. Introduction;40
6.2;2.2. What Is Music?;40
6.3;2.3. Musical Tasks;45
6.4;2.4. Evolutionary Tools and Techniques;51
6.5;2.5. Final Thoughts;60
6.6;References;60
7;Evolution in Digital Audio Technology;64
7.1;3.1. Introduction;64
7.2;3.2. Music Synthesis and Processing;65
7.3;3.3. Other Digital Audio Applications;81
7.4;3.4. Conclusions;83
7.5;Acknowledgements;84
7.6;References;84
8;Evolution in Creative Sound Design;91
8.1;4.1. Introduction;91
8.2;4.2. Interactive Evolution;92
8.3;4.3. Genetic Representation;97
8.4;4.4. Genetic Representation for Sound;99
8.5;4.5. MutaSynth;101
8.6;4.6. Patch Mutator;103
8.7;4.7. Concluding Discussion and Further Work;108
8.8;References;111
9;Experiments in Generative Musical Performance with a Genetic Algorithm;112
9.1;5.1. Introduction;112
9.2;5.2. Musical Performance with Hierarchical Pulse Set;113
9.3;5.3. Fitness Function Based on Musical Structure;117
9.4;5.4. Evolution Procedure;119
9.5;5.5. Demonstration;122
9.6;5.6. Concluding Discussion;127
9.7;References;127
10;Composing with Genetic Algorithms: GenDash;129
10.1;6.1. Introduction;129
10.2;6.2. Background;130
10.3;6.3. First Thoughts;130
10.4;6.4. First Attempts;132
10.5;6.5. Cage, Bambi and Vonnegut;133
10.6;6.6. GenDash;134
10.7;6.7. Empty Frames and Beethoven;135
10.8;6.8. Other Attributes: Johnny Carson, Late Bloomers and Elizabeth Taylor;136
10.9;6.9. A Brief Example;139
10.10;6.10. Individual Pieces;140
10.11;6.11. Conclusion and Future Work;144
10.12;Appendix: Compositions Created by the Author Using Evolutionary Computation;146
10.13;References;147
11;Improvizing with Genetic Algorithms: GenJam;149
11.1;7.1. Introduction;149
11.2;7.2. Improvization;150
11.3;7.3. GenJam Overview;152
11.4;7.4. Representation - Genotype to Phenotype Mapping with GJNF;154
11.5;7.5. Evolving a Soloist;157
11.6;7.6. Genetic Operators;159
11.7;7.7. Interactivity;167
11.8;7.8. Making GenJam Autonomous;171
11.9;7.9. Technology Versus Domains;174
11.10;7.10. GenJam as a Musician;176
11.11;7.11. Conclusions;179
11.12;References;180
12;Cellular Automata Music: From Sound Synthesis to Musical Forms;182
12.1;8.1. Introduction;182
12.2;8.2. The Basics of Cellular Automata;183
12.3;8.3. Cellular Automata Sound Synthesis;189
12.4;8.4. Cellular Automata Music: CAMUS ;196
12.5;8.5. Concluding Discussion;202
12.6;References;204
13;Swarming and Music;206
13.1;9.1. Introduction;206
13.2;9.2. Swarm Organization;207
13.3;9.3. Swarming and Descriptions of Music;211
13.4;9.4. Performing Swarms;213
13.5;9.5. Swarm Music ;218
13.6;9.6. Experience ;222
13.7;9.7. Autonomy;224
13.8;9.8. Outlook;226
13.9;References;227
14;Computational Evolutionary Musicology;230
14.1;10.1. Introduction;230
14.2;10.2. Mating Selective Pressure and Surprise;233
14.3;10.3. Social Bonding and Imitation: Evolution of Intonation;235
14.4;10.4. Toward a Connectionist Memory for Evolving Sequencing Rules;247
14.5;10.5. Concluding Remarks;258
14.6;References;259
15;Appendix: The Accompanying Music CD;262
16;Index;265