Miranda / Biles Evolutionary Computer Music

1. Auflage 2007
ISBN: 978-1-84628-600-1
Verlag: Springer
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 259 Seiten

This book discusses the applications of evolutionary computation to music and the tools needed to create and study such systems. These tools can be combined to create surrogate artificial worlds populated by interacting simulated organisms in which complex musical experiments can be performed. The book demonstrates that evolutionary systems can be used to create and to study musical compositions and cultures in ways that have never before been achieved.

Eduardo Reck Miranda is a Professor in Computer Music at the University of Plymouth, UK, where he heads the Interdisciplinary Centre for Computer Music Research (ICCMR). He has recently been appointed the Edgard Varèse Guest Professor of Computer Music at the Technical University of Berlin.   Al Biles has been applying evolutionary computation to music since 1993, when he built the first of many versions of GenJam, the Genetic Jammer. Since that time he and GenJam have performed around the world together, and Al has watched the field of evolutionary computer music emerge as a fascinating creative enterprise. Al is Professor and Undergraduate Program Coordinator in the Department of Information Technology at the Rochester Institute of Technology.

Autoren/Hrsg.

Miranda, Eduardo R.

Biles, John Al

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