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I.4 Openmusic Software and Literature City Research Online City, University of London Institutional Repository Citation: Gato, Gonçalo (2016). Algorithm and Decision in Musical Composition. (Unpublished Doctoral thesis, Guildhall School of Music and Drama) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17292/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Algorithm and Decision in Musical Composition Gonçalo Alves Gato Lopes DMus Guildhall School of Music & Drama Composition Department July 2016 Table of Contents List of Illustrations ................................................................................................................................. 9 List of Tables ........................................................................................................................................... 17 Attached CD-ROM Contents ............................................................................................................. 19 Acknowledgments ................................................................................................................................ 21 Author’s Declaration ........................................................................................................................... 23 Parts Published or Submitted for Publication ......................................................................... 23 Abstract ..................................................................................................................................................... 25 I Introduction ......................................................................................................................................... 27 I.1 Research Question .................................................................................................................... 27 I.2 Algorithms and Computer-Assisted Composition ....................................................... 27 I.3 Decision in Composition ......................................................................................................... 33 I.4 OpenMusic Software and Literature ................................................................................. 35 I.5 Definitions and Terminology ............................................................................................... 39 I.5.1 Terms as Used in this Research .................................................................................. 39 I.5.2 Interval Notation ............................................................................................................... 40 II Analytical Commentary on Folio Pieces ................................................................................. 43 II.1 Scope, Overview and Methodology .................................................................................. 43 II.2 Algorithm Design ..................................................................................................................... 45 Completeness of Results ................................................................................................ 45 Music Cognition Concerns ............................................................................................. 45 II.2.1 Determinism and Control ............................................................................................ 47 II.2.1.1 Vectorial Harmony ................................................................................................. 47 II.2.1.2 Melodic Colouring: Testing and Assessing a Compositional Technique .................................................................................................................................. 49 II.2.1.3 Gradual Processes .................................................................................................. 51 Pulse Unfocusing ............................................................................................................... 51 The Harmony/Melody Interface ................................................................................. 53 Rhythm-focusing Heterophony ................................................................................... 55 II.2.1.4 Microtonality ............................................................................................................ 56 Bell-like Sonority and Variation ................................................................................. 56 Consonance and FM Synthesis .................................................................................... 59 Virtual Fundamentals ...................................................................................................... 61 5 Circular and Helicoidal Harmony ............................................................................... 64 II.2.1.5 Fractal Research ...................................................................................................... 67 II.2.2 Indeterminism, Chance and Automatism ............................................................. 69 Constraints and Rules ..................................................................................................... 71 II.2.2.1 Complexity and Randomness ............................................................................ 72 A Sense of Failure .............................................................................................................. 74 II.2.2.2 Simulated Creativity: Novelty ........................................................................... 77 Juxtaposing Melodic Figurations ................................................................................ 77 Musical Object Generators ............................................................................................ 80 Folk Analysis and Resynthesis .................................................................................... 85 Percussive Ostinati ........................................................................................................... 87 II.2.2.3 Counteracting Mechanicalness ......................................................................... 89 Gradual Stream Segregation and Distortion ......................................................... 89 A Critical Reflection on Duet ......................................................................................... 92 II.2.2.4 Processing Found Material and Preparing Manual Composition ...... 92 II.2.2.5 Discovery .................................................................................................................... 96 Creative Accidents ............................................................................................................ 96 Sonority/Mode Relationships and Microtonality ............................................... 99 II.3 Score Implementation ........................................................................................................ 106 II.3.1 Manual Implementation ............................................................................................ 106 II.3.1.1 Harmonic Progressions ..................................................................................... 107 Cognitive Principles and Spontaneity ................................................................... 107 Intuition and Aesthetic Choice ................................................................................. 108 Chord Articulation and Musical Complementation ......................................... 109 II.3.1.2 Mixed Complementation and Elaboration ................................................ 110 II.3.1.3 Modes and Gestural Spontaneity .................................................................. 112 II.3.1.4 Discovery and Human Creativity .................................................................. 114 II.3.2 Automatic Implementation ...................................................................................... 117 II.3.2.1 Manual Intervention ........................................................................................... 118 Instrument Range, Articulation, Dynamics, Rhythm ...................................... 118 Metre ................................................................................................................................... 119 Percussion Notation ...................................................................................................... 121 MIDI Limitations ............................................................................................................. 122 Reshaping and Character ............................................................................................ 124 6 Creative Reshaping: Stream Segregation ............................................................. 125 Unwelcome Aspects .....................................................................................................
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