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243
1
 
This study was made possible thanks to a scholarship for PhD studies granted by CAPES, Brazil, to which I amgrateful.
2
Shannon (1948).
3
Wiener (1948).
 
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4
 
See, for example, Youngblood (1958), Hiller et al. (1966), and Zanette (2007).
5
See, for example, Meyer (1957) and Moles (1966).
6
Exception is made to authors who have been using specific Markovian processes for generating music material.The use of Markov chains, which is a particular case of application of information theory, is one of the mostpopular methods for algorithmic music composition and computer models for speculative analysis of style, and hasbeen broadly documented; for this reason, it will not be discussed here. For further information, see Xenakis(1992).
 
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7
In this article,
 we will be referring to pitch classes only for practicality’s sake; o
f course, the alphabet can containsymbols whose nature is as varied as durations, dynamics, tone colours, articulations, etc. but also specificbehaviours, motifs, scenic gestures, instruments, and so forth. Two or more different categories of symbols can bepaired, establishing direct relationships between specific notes and instruments, for example; this possibility isgenerally well addressed by matrices of transitional probabilities in stochastic music. See note6above.
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