Reflection and practice on generative music structuring: the formal problem of ergodicity
Resumo
This article approaches the subject of musical form from the standpoint of an algorithmic composition practice. It introduces the problem of ergodicity in music, a formal situation at which music development is perceived as static. The concepts of General Periodicity by Henri Pousseur and Temporal Gestalt by James Tenney gave support to a reflection on the nature of the problem, as well as to formulate a twofold structuring procedure based on ideas of continuity and segmentation of the musical course. The devised method was implemented as a computer program to produce entire pieces of music.
Palavras-chave:
Artificial Intelligence, A-Life and Evolutionary Music Systems, Computer Music and Creative process, Music Analysis and Synthesis
Referências
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DODGE, C.; JERSE, T. A.Computer Music: synthesis, composition and performance. 2a ed. Estados Unidos: Schirmer, 1997.
MIRANDA, Eduardo Reck.Composing Music with Computers. Burlington: Focal Press, 2002.
NIERHAUS, Gerard.Algorithmic Composition. Alemanha: Springer-Verlag, 2009.
PAPADOPOULOS, G.; WIGGINS, G.AI Methods for Algorithmic Composition: A Survey, a Critical View and a Future Prospects. School of Artificial Intelligence, Division of Informatics. Edimburgo: Universidade de Edimburgo, 2000.
ROADS, Curtis.Composing Electronic Music. Nova Iorque: Oxford Press, 2015.
MEYER, L. B.Emotion and Meaning in Music. Chicago: Chicago Univ. Press, 1956.
COELHO DE SOUZA, R.; FARIA, R.A Criatividade como Propriedade Emergente na Composição Algorítmica .SONIC IDEAS. 10. 21-34, 2013.
FERRAZ, Sílvio.Música e Repetição :a diferença na composição contemporânea. São Paulo: Educ/FAPESP, 1998.
XENAKIS, Iannis.Formalized Music. Revised Edition. Stuyvesant, NY: Pendragon Press, 1992.
POUSSEUR, Henri.Apoteose de Rameau. Trad. Flo Menezes e Mauricio Oliveira Santos. Seleção de textos, prefácio e notas críticas de Flo Menezes. São Paulo: Ed. UNESP, 2009.
TENNEY, J.; POLANSKY, L. Temporal Gestalt Perception in Music. Journal of Music Theory, vol. 24, no 2, pp. 205-241, 1980.
_________.Meta+Hodus. Ed. 2. Oakland: Frog Peak Music 1988.
BOULEZ, Pierre.A música hoje .Ed. 3. São Paulo: Perspectiva, 2016.
DODGE, C.; JERSE, T. A.Computer Music: synthesis, composition and performance. 2a ed. Estados Unidos: Schirmer, 1997.
MIRANDA, Eduardo Reck.Composing Music with Computers. Burlington: Focal Press, 2002.
NIERHAUS, Gerard.Algorithmic Composition. Alemanha: Springer-Verlag, 2009.
PAPADOPOULOS, G.; WIGGINS, G.AI Methods for Algorithmic Composition: A Survey, a Critical View and a Future Prospects. School of Artificial Intelligence, Division of Informatics. Edimburgo: Universidade de Edimburgo, 2000.
ROADS, Curtis.Composing Electronic Music. Nova Iorque: Oxford Press, 2015.
MEYER, L. B.Emotion and Meaning in Music. Chicago: Chicago Univ. Press, 1956.
COELHO DE SOUZA, R.; FARIA, R.A Criatividade como Propriedade Emergente na Composição Algorítmica .SONIC IDEAS. 10. 21-34, 2013.
FERRAZ, Sílvio.Música e Repetição :a diferença na composição contemporânea. São Paulo: Educ/FAPESP, 1998.
XENAKIS, Iannis.Formalized Music. Revised Edition. Stuyvesant, NY: Pendragon Press, 1992.
POUSSEUR, Henri.Apoteose de Rameau. Trad. Flo Menezes e Mauricio Oliveira Santos. Seleção de textos, prefácio e notas críticas de Flo Menezes. São Paulo: Ed. UNESP, 2009.
TENNEY, J.; POLANSKY, L. Temporal Gestalt Perception in Music. Journal of Music Theory, vol. 24, no 2, pp. 205-241, 1980.
_________.Meta+Hodus. Ed. 2. Oakland: Frog Peak Music 1988.
BOULEZ, Pierre.A música hoje .Ed. 3. São Paulo: Perspectiva, 2016.
Publicado
25/09/2019
Como Citar
E SILVA, Gabriel; MAMEDES, Clayton.
Reflection and practice on generative music structuring: the formal problem of ergodicity. In: SIMPÓSIO BRASILEIRO DE COMPUTAÇÃO MUSICAL (SBCM), 17. , 2019, São João del-Rei.
Anais [...].
Porto Alegre: Sociedade Brasileira de Computação,
2019
.
p. 92-98.
DOI: https://doi.org/10.5753/sbcm.2019.10428.
