Computer Music Journal
Fluid Concepts and Creative Analogies: Computer Models of the Fundamental Mechanisms of Thought
Fluid Concepts and Creative Analogies: Computer Models of the Fundamental Mechanisms of Thought
A conversation-based framework for musical improvisation
A conversation-based framework for musical improvisation
On the development of critics in evolutionary computation artists
EvoWorkshops'03 Proceedings of the 2003 international conference on Applications of evolutionary computing
A genetic algorithm for generating improvised music
EA'07 Proceedings of the Evolution artificielle, 8th international conference on Artificial evolution
Multimedia Tools and Applications
Originality and diversity in the artificial evolution of melodies
Proceedings of the 13th annual conference on Genetic and evolutionary computation
Fugue composition with counterpoint melody generation using genetic algorithms
CMMR'04 Proceedings of the Second international conference on Computer Music Modeling and Retrieval
An optimization algorithm inspired by musical composition
Artificial Intelligence Review
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There are two distinct types of creativity: the flash out of the blue (inspiration? genius?), and the process of incremental revisions (hard work). Not only are we years away from modelling the former, we do not even begin to understand it. The latter is algorithmic in nature and has been modelled in many systems both musical and non‐musical. Algorithmic composition is as old as music composition. It is often considered a cheat, a way out when the composer needs material and/or inspiration. It can also be thought of as a compositional tool that simply makes the composer’s work go faster. This article makes a case for algorithmic composition as such a tool. The ‘hard work’ type of creativity often involves trying many different combinations and choosing one over the others. It seems natural to express this iterative task as a computer algorithm. The implementation issues can be reduced to two components: how to understand one’s own creative process well enough to reproduce it as an algorithm, and how to program a computer to differentiate between ‘good’ and ‘bad’ music. The philosophical issues reduce to the question who or what is responsible for the music produced?