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Algorithm and Decision in Musical Composition

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Algorithm and Decision in Musical Composition 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 ...................................................................................................... 126 Cadences ............................................................................................................................ 126 Microtonality and Instrumentation ....................................................................... 127 II.3.2.2 Manual Elaboration ............................................................................................ 128 Remote Manual Elaboration ...................................................................................... 133 II.3.2.3 Manual Complementation ................................................................................ 135 II.4 Manual Composition ............................................................................................................ 139 II.4.1 To the Muses .................................................................................................................. 139 II.4.1.1 The Composition Project .................................................................................. 139 II.4.1.2 Manual Procedures
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