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Intermezzo, After Brahms, by David Cope & Experiments in Musical Intelligence

Intermezzo, After Brahms, by David Cope & Experiments in Musical Intelligence

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Published by Spectrum Press
David Cope & Experiments in Musical Intelligence: Intermezzo, After Brahms. Spectrum Press.

The work published here has been composed by a computer program: Experiments in Musical Intelligence.
I began Experiments in Musical Intelligence in 1981 as an attempt to create new instances of music in my style. With a lack of quantifiable definitions of style, I concentrated on the commonalties in the works of certain composers, commonalties I call signatures. By 1987 Experiments in Musical Intelligence had produced works arguably in the styles of Bach and Mozart, among others. Further experimentation with pattern matching, certain natural language processes, and object orientation allowed for more extensive output both in terms of work length and complexity as well as stylistic diversity. Experiments in Musical Intelligence subsequently produced new works in the styles of composers as contrasting as Stravinsky, Palestrina and Joplin. These works have been discussed and, in part, reproduced in my books Computers and Musical Style (1991) and Experiments in Musical Intelligence (1996) published by A-R Editions, Madison, Wisconsin.

David Cope
David Cope & Experiments in Musical Intelligence: Intermezzo, After Brahms. Spectrum Press.

The work published here has been composed by a computer program: Experiments in Musical Intelligence.
I began Experiments in Musical Intelligence in 1981 as an attempt to create new instances of music in my style. With a lack of quantifiable definitions of style, I concentrated on the commonalties in the works of certain composers, commonalties I call signatures. By 1987 Experiments in Musical Intelligence had produced works arguably in the styles of Bach and Mozart, among others. Further experimentation with pattern matching, certain natural language processes, and object orientation allowed for more extensive output both in terms of work length and complexity as well as stylistic diversity. Experiments in Musical Intelligence subsequently produced new works in the styles of composers as contrasting as Stravinsky, Palestrina and Joplin. These works have been discussed and, in part, reproduced in my books Computers and Musical Style (1991) and Experiments in Musical Intelligence (1996) published by A-R Editions, Madison, Wisconsin.

David Cope

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Published by: Spectrum Press on May 29, 2011
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