..or maybe just a slightly more detailed first post. This time in English.
In this blog I will try to focus on Computer Music, but what is Computer Music
Computer Music isn’t:
a musical genre (techno, electronica and so on)
DSP (Digital signal processing)
The reason I single these things out, is that these are often what others, at, repectively, the department of Computer Science and Musicology assume. So, what is it then?
For me, Computer Musicis music produced by a computer, with the computer as creator of the music. Typically those who have studied computer music have been one of two. Either Computer Science reserchers looking at implementations of DSP, how to synthesise rythmical paterns and melodic lines or composers who see the algorithms in computer music as a(nother) way of producing original music.
I would like to focus my attention somewhere between the two:
Even though the parameters of the program are set by a person, can they be said to be the creators of the music when the actual score, of not the sounds, are produced by the computer.
When a computer analyses a collection of the music of one composer, for instance through Markovian analysis, it is possible to create fair imitations of that composers music, that are derived solely from recognition of patterns in his works.
If you look at the recognised patterns, do they correspond to the traditional, scholarly recognised characteristic elements of the composers works?
Is it possible to make a computer generate commercially acceptable synthetically scored music in “stereotypical genres” like in game background music for MMORPGs. MMORPGs, and traditional computer RPGs usually use the in game music to reflect the game characters situation in respect to the game environment. For instance there is music for “walking in the forest”, “walking in town”, “combat”. These of course vary in quality from game to game, but they are always pre-scored. This leads to two problems; When the game character’s environment changes, e.g. the character is waking in the forest and is attacked, the music abruptly changes from one type to the other, and if the game is playd for a long time, the music can become repetetive.
Algorithmically composed music could assure that the music never repeats. It could be possible to create models of “forest” and “combat” music and, instead of changing from one to the other, allow the forest music to be influenced by the combat model as the game character moves into danger. This would also create a different model mixture depending on the setting.
This post has gone from trying to define my view of Computer Music to presenting a couple of examples. I’ll have to come back and explain some of the terms i used, like Markov analysis and algorithmic composition, but that’ll have to be some other time.
Feel free to comment if you’ve read this. I’m mostly writing this blog to collect my own thoughts on this, but it would be nice if anyone else finds it interesting.