Patterns of Intuition: Musical Creativity in the Light of by Gerhard Nierhaus
By Gerhard Nierhaus
The current ebook is the results of a 3 12 months study undertaking which investigated the inventive act of composing through algorithmic composition. significant to the research are the compositional innovations of 12 composers, that have been documented via a dialogic and cyclic strategy of modelling and comparing musical fabrics. the classy premises and compositional techniques configure a wealthy spectrum of various positions, that is mirrored additionally within the sorts of methods and strategies used. those techniques and strategies contain the iteration and review of chord sequences utilizing genetic algorithms, the appliance of morphing options to analyze harmonic differences, an automated category of non-public personal tastes through computer studying, and an software of mathematical song idea to the research and resynthesis of musical fabric. the second one a part of the ebook beneficial properties contributions by means of Sandeep Bhagwati, William Brooks, David Cope, Darla Crispin, Nicolas Donin, and Guerino Mazzola. those authors variously give some thought to the undertaking from various views, supply self sustaining ways, or offer extra basic reflections from their respective examine fields.
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Additional resources for Patterns of Intuition: Musical Creativity in the Light of Algorithmic Composition
Due to irritation on the plane of movement possibilities, I am challenged as a performer to improvise a new solution. A variety of pianistic gestures—historic to contemporary—are available to draw from. Here I would emphasise again the cultural conditioning. Since my classical piano lessons, I have expanded my repertoire of gestures—partly from other genres but also by experimental development of my own movement patterns. It is interesting to me that I often assign gestures and playing techniques that come to me from other instruments.
With the notation it is similar as with the connecting ideas: the abstract is at the same time that, which is tangible. e. to write them down because the writing itself catalyses again new ideas—and then to reorganise them once more on paper, such that maybe already the first references become visible and that out of it the first developments, progressions, etc. become deducible. Always then, when I want to open up a piece, it is about spanning a coordinate network from the initial ideas, which is formed from the central elements and processes of the piece.
In the same manner, what is interesting to me, first-hand, could be seen from a purely egotistical viewpoint: it is my drive to express things, which I haven’t yet heard or heard in a particular way. To repeat or reproduce what already is there, I find utterly boring, and I would gladly leave it to those conformists in the cultural industry in the various genres, but to which unfortunately also belongs some parts of the new music establishment. What also interests me, is to create with every piece, taking into account the risk of failure, something new, something even for me never fully predictable and to invite others to share this adventure, which is formed from all of that, by listening and reading.