Automatic Composition: Experiments with Self-Similar Music
Tommaso Bolognesi · Computer Music Journal · 1983
Can we use random-number generators in a musically meaningful way, producing something better than white melodies, in which pitches are mutually independent and uniformly distributed? Does the large variety of different variables and stochastic processes studied mathematically correspond to a large variety of perceptual experiences? Can we tune the parameters of a stochastic process to generate musical macrostructures in the same way we tune, at the microstructural level (timbre), the parameters of the various sound-synthesis models? How far can we go using exclusively stochastic processes, without embedding in our compositional algorithms any kind of formalized musical grammar?