Generative music is a term popularized by Brian Eno to describe music that is ever-different and changing, and that is created by a system.
In 1995 whilst working with SSEYO's Koan software (built by Tim Cole and Pete Cole who later evolved it to Noatikl then Wotja), Brian Eno used the term "generative music" to describe any music that is ever-different and changing, created by a system. The term has since gone on to be used to refer to a wide range of music, from entirely random music mixes created by multiple simultaneous CD playback, through to live rule-based computer composition.
Koan was SSEYO's first real-time music generation system, developed for the Windows platform. Work on Koan was started in 1990, and the software was first released to the public in 1994. In 1995 Brian Eno started working with SSEYO's Koan Pro software, work which led to the 1996 publication of his title 'Generative Music 1 with SSEYO Koan Software'.
Eno's early relationship with SSEYO Koan and Intermorphic co-founder Tim Cole was captured and published in his 1995 diary A Year with Swollen Appendices.
There are four primary perspectives on generative music (Wooller, R. et al., 2005) (reproduced with permission):
Music composed from analytic theories that are so explicit as to be able to generate structurally coherent material (Loy and Abbott 1985; Cope 1991). This perspective has its roots in the generative grammars of language (Chomsky 1956) and music (Lerdahl and Jackendoff 1983), which generate material with a recursive tree structure.
Music generated by a system component that has no discernible musical inputs. That is, "not transformational" (Rowe 1991; Lippe 1997:34; Winkler 1998). The Wotja software by Intermorphic, and the Koan software by SSEYO used by Brian Eno to create Generative Music 1, are both examples of this approach.
Music generated by processes that are designed and/or initiated by the composer. Steve Reich's It's Gonna Rain and Terry Riley's In C are examples of this (Eno 1996).
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Algorithmic composition is the technique of using algorithms to create music. Algorithms (or, at the very least, formal sets of rules) have been used to compose music for centuries; the procedures used to plot voice-leading in Western counterpoint, for example, can often be reduced to algorithmic determinacy. The term can be used to describe music-generating techniques that run without ongoing human intervention, for example through the introduction of chance procedures.
This thesis proposes to analyse symbolic musical data under a statistical viewpoint, using state-of-the-art machine learning techniques. Our main argument is to show that it is possible to design generative models that are able to predict and to generate m ...
École Polytechnique Fédérale de Lausanne2008
This thesis proposes to analyse symbolic musical data under a statistical viewpoint, using state-of-the-art machine learning techniques. Our main argument is to show that it is possible to design generative models that are able to predict and to generate m ...
Throughout this thesis, we are interested in modeling music composition. To do so, we study the association of music theory concepts with the learning capabilities of recurrent neural networks. Especially, we explore numerical formalizations of music so th ...