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Evolutionary Computer Music

:	Eduardo Reck Miranda, John A. Biles
:	Eduardo Reck Miranda, John Al Biles
:	Evolutionary Computer Music
:	Springer-Verlag
:	9781846286001
:	1
:	CHF 131.00
:

:	Anwendungs-Software
:	English

:	259
:	DRM
:	PC/MAC/eReader/Tablet
:	PDF

This book discusses the applications of evolutionary computation to music and the tools needed to create and study such systems. These tools can be combined to create surrogate artificial worlds populated by interacting simulated organisms in which complex musical experiments can be performed. The book demonstrates that evolutionary systems can be used to create and to study musical compositions and cultures in ways that have never before been achieved.

Eduardo Reck Miranda is a Professor in Computer Music at the University of Plymouth, UK, where he heads the Interdisciplinary Centre for Computer Music Research (ICCMR). He has recently been appointed the Edgard Varèse Guest Professor of Computer Music at the Technical University of Berlin.

Al Biles has been applying evolutionary computation to music since 1993, when he built the first of many versions of GenJam, the Genetic Jammer. Since that time he and GenJam have performed around the world together, and Al has watched the field of evolutionary computer music emerge as a fascinating creative enterprise. Al is Professor and Undergraduate Program Coordinator in the Department of Information Technology at the Rochester Institute of Technology.

	Foreword	4
	Preface	6
	Contents	9
	List of Contributors	11
	An Introduction to Evolutionary Computing for Musicians	13
	1.1. Introduction	13
	1.2. Evolutionary Search Algorithms	15
	1.3. Evolutionary Computing in Musical Composition	22
	1.4. Evolutionary Computing in Sound Design	28
	1.5. New Musical Possibilities Through Adaptive Systems	31
	1.6. Concluding Remarks	34
	References	35
	Evolutionary Computation for Musical Tasks	40
	2.1. Introduction	40
	2.2. What Is Music?	40
	2.3. Musical Tasks	45
	2.4. Evolutionary Tools and Techniques	51
	2.5. Final Thoughts	60
	References	60
	Evolution in Digital Audio Technology	64
	3.1. Introduction	64
	3.2. Music Synthesis and Processing	65
	3.3. Other Digital Audio Applications	81
	3.4. Conclusions	83
	Acknowledgements	84
	References	84
	Evolution in Creative Sound Design	91
	4.1. Introduction	91
	4.2. Interactive Evolution	92
	4.3. Genetic Representation	97
	4.4. Genetic Representation for Sound	99
	4.5. MutaSynth	101
	4.6. Patch Mutator	103
	4.7. Concluding Discussion and Further Work	108
	References	111
	Experiments in Generative Musical Performance with a Genetic Algorithm	112
	5.1. Introduction	112
	5.2. Musical Performance with Hierarchical Pulse Set	113
	5.3. Fitness Function Based on Musical Structure	117
	5.4. Evolution Procedure	119
	5.5. Demonstration	122
	5.6. Concluding Discussion	127
	References	127
	Composing with Genetic Algorithms: GenDash	129
	6.1. Introduction	129
	6.2. Background	130
	6.3. First Thoughts	130
	6.4. First Attempts	132
	6.5. Cage, Bambi and Vonnegut	133
	6.6. GenDash	134
	6.7. Empty Frames and Beethoven	135
	6.8. Other Attributes: Johnny Carson, Late Bloomers and Elizabeth Taylor	136
	6.9. A Brief Example	139
	6.10. Individual Pieces	140
	6.11. Conclusion and Future Work	144
	Appendix: Compositions Created by the Author Using Evolutionary Computation	146
	References	147
	Improvizing with Genetic Algorithms: GenJam	149
	7.1. Introduction	149
	7.2. Improvization	150
	7.3. GenJam Overview	152
	7.4. Representation - Genotype to Phenotype Mapping with GJNF	154
	7.5. Evolving a Soloist	157
	7.6. Genetic Operators	159
	7.7. Interactivity	167
	7.8. Making GenJam Autonomous	171
	7.9. Technology Versus Domains	174
	7.10. GenJam as a Musician	176
	7.11. Conclusions	179
	References	180
	Cellular Automata Music: From Sound Synthesis to Musical Forms	182
	8.1. Introduction	182
	8.2. The Basics of Cellular Automata	183
	8.3. Cellular Automata Sound Synthesis	189
	8.4. Cellular Automata Music: CAMUS	196
	8.5. Concluding Discussion	202
	References	204
	Swarming and Music	206
	9.1. Introduction	206
	9.2. Swarm Organization	207
	9.3. Swarming and Descriptions of Music	211
	9.4. Performing Swarms	213
	9.5. Swarm Music	218
	9.6. Experience	222
	9.7. Autonomy	224
	9.8. Outlook	226
	References	227
	Computational Evolutionary Musicology	230
	10.1. Introduction	230
	10.2. Mating Selective Pressure and Surprise	233
	10.3. Social Bonding and Imitation: Evolution of Intonation	235
	10.4. Toward a Connectionist Memory for Evolving Sequencing Rules	247
	10.5. Concluding Remarks	258
	References	259
	Appendix: The Accompanying Music CD	262
	Index	265