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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
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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
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movement. This revolves around the idea that music, or sounds may be "generated" by a musician "farming" parameters within an ecology, such that the ecology will perpetually produce different variation based on the parameters and algorithms used. An example of this technique is
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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
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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
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Wooller, R., Brown, A. R, et al. A framework for comparing algorithmic music systems. In: Symposium on
Generative Arts Practice (GAP). 2005. University of Technology Sydney.
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model. While originally intended for analysis, significant research into automation of this process in software is being carried out by Keiji Hirata and others.
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Non-deterministic music (Biles 2002), or music that cannot be repeated, for example, ordinary wind chimes (Dorin 2001). This perspective comes from the broader
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Eno's early relationship with SSEYO Koan and
Intermorphic co-founder Tim Cole was captured and published in his 1995 diary
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210:(published by SSEYO and Opal Arts in April 1996), which is probably his first public use of the term generative music.
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Lerdahl and
Jackendoff's publication described a generative grammar for homophonic tonal music, based partially on a
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There are four primary perspectives on generative music (Wooller, R. et al., 2005) (reproduced with permission):
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Loy, G. and C. Abbott. 1985. Programming languages for computer music synthesis, performance and composition.
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398:: from Genetic Jammer to Generative Jammer. In International Conference on Generative Art, Milan, Italy.
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A limited form of generative music was attempted successfully by members of the UK electronic music act
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generative music system (created by Pete Cole and Tim Cole of
Intermorphic), to create his hybrid album
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Lerdahl, F. and R. Jackendoff. 1982. A generative theory of tonal music. Cambridge, Mass: MIT Press.
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Nierhaus, G. Algorithmic
Composition - Paradigms of Automated Music Generation. Springer 2009.
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random music mixes created by multiple simultaneous CD playback, through to live rule-based
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to describe music that is ever-different and changing, and that is created by a system.
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Machine
Learning and Composing: Making Sense of Music with Cooperating Real-Time Agents
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Music generated by processes that are designed and/or initiated by the composer.
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9th
Mexican International Conference on Artificial Intelligence, MICAI 2010
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Music that is ever-different and changing, and that is created by a system
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García, A. et al. 2010. Music Composition Based on Linguistic Approach.
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192:(1975) up to and including (according to Sound on Sound Oct 2005)
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symphony created between the years 2006 and 2008 using custom
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Pages displaying short descriptions of redirect targets
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Pages displaying short descriptions of redirect targets
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title 'Generative Music 1 with SSEYO Koan Software'.
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355:Joseph Nechvatal Interview: see end for mention of
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438:http://www.essl.at/bibliogr/generative-music.html
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109:software by SSEYO used by Brian Eno to create
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424:Generative processes and the electronic arts
403:Three models for the description of language
462:Music for piano and computer: A description
431:http://www.inmotionmagazine.com/eno1.html
410:The analysis of generative music programs
369:Artscape - Brian Eno In Conversation 2009
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488:. Cambridge, Massachusetts: MIT Press.
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90:1983), which generate material with a
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481:. Thesis from Media Lab. Mass.: MIT.
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385:Artística de Valencia, After The Net
34:In 1995 whilst working with SSEYO's
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412:. Organised Sound, 13(3): 237–248.
389:Observatori 2008: After The Future
343:Observatori 2008: After The Future
202:music community. Eno used SSEYO's
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436:Essl, K. 2002. Generative Music.
170:software based on a viral model.
141:are examples of this (Eno 1996).
429:Eno, B. 1996. Generative Music.
426:. Organised Sound, 6 (1): 47-53.
419:. Madison, Wis.: A-R Editions.
52:A Year with Swollen Appendices
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162:: a collaborative electronic
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433:(accessed 26 February 2009).
486:Composing Interactive Music
417:Computers and musical style
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322:Musikalisches Würfelspiel
22:is a term popularized by
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505:Computer music software
440:(accessed 22 Mar 2010).
268:Algorithmic composition
101:Interactive/behavioural
310:List of music software
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469:ACM Computing Surveys
450:Intermorphic Limited
66:Linguistic/structural
30:Historical background
396:GenJam in Transition
195:Another Day on Earth
41:computer composition
145:Biological/emergent
117:Creative/procedural
72:generative grammars
484:Winkler, T. 1998.
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408:Collins, N. 2008.
401:Chomsky, N. 1956.
274:Cellular automaton
208:Generative Music 1
111:Generative Music 1
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301:Interactive music
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315:Live coding
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379:References
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78:1956) and
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256:See also
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84:Lerdahl
76:Chomsky
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138:In C
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