<p dir="ltr">Cope wrote several books about his programs without conveying enough information to make any real use of his ideas. He failed to advance the state of knowledge in the field of computational music generation. A review can be found in Tom Collins' PhD thesis. (<a href="http://www.tomcollinsresearch.net/publications.html">http://www.tomcollinsresearch.net/publications.html</a>) This includes an analysis of a Cope (EMI) piece revealed to be a Chopin piece with some notes erased and new notes filled in. </p>
<p dir="ltr">Studying Cope's algorithms, which unfortunately are not available for study, would be (at best) a study of how to chop up pieces and put parts together in a different order. I would rather a deeper study of invention and thinking with basic musical materials.</p>
<p dir="ltr">I think there are fundamental problems that haven't been solved nearly as much as some people think. The field of computational music generation is still very young, and evaluation methodologies for *systems* aren't in place -- essentially: evaluating just the *output* of systems without a real understanding of the system is inadequate (e.g. for some of the reasons described in this and my earlier post).</p>
<p dir="ltr">Andie Sigler<br>
McGill University<br>
Montreal</p>
<div class="gmail_quote">On Apr 29, 2013 1:02 PM, "Ciro Scotto" <<a href="mailto:ciro.scotto7@gmail.com">ciro.scotto7@gmail.com</a>> wrote:<br type="attribution"><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
<div style="word-wrap:break-word">Hi,<div><br></div><div>David Cope has programs/algorithms that write inventions and fugues. Even better than studying the algorithms, would be creating them. Even Sibelius notation software has some rudimentary composition algorithms. We are almost at the point where a modern version of the John Henry folktale will be needed. Here is a link to some material:</div>
<div><br></div><div><a href="http://www.computermusicjournal.org/reviews/29-1/handelman-cope.html" target="_blank">http://www.computermusicjournal.org/reviews/29-1/handelman-cope.html</a></div><div><br></div><div>All the best, </div>
<div><br></div><div>Ciro</div><div><br><div>
<div style="word-wrap:break-word">Dr. Ciro G. Scotto <br>Assistant Professor of Music Theory <br>University of South Florida <br>home: <a href="tel:%28813%29%20443-6801" value="+18134436801" target="_blank">(813) 443-6801</a><br>
e-mail: <br><a href="mailto:cscotto1@usf.edu" target="_blank">cscotto1@usf.edu</a><br><a href="mailto:cscotto@tampabay.rr.com" target="_blank">cscotto@tampabay.rr.com</a><br><br><br><br><br><br></div>
</div>
<br><div><div>On Apr 29, 2013, at 1:48 AM, Isaac Malitz wrote:</div><br><blockquote type="cite"><div>Aren't there computer programs that can write conventional fugues?<br>If so, then what is the point of a student writing a conventional fugue as an excercise?<br>
Wouldn't it be more useful for a student to study the algorithms that can generate a conventional fugue?<br><br>(I think the above are very interesting questions)<br><br>Isaac Malitz, Ph.D.<br><a href="mailto:imalitz@omsmodel.com" target="_blank">imalitz@omsmodel.com</a><br>
<a href="http://www.OMSModel.com" target="_blank">www.OMSModel.com</a><br><a href="tel:818-231-3965" value="+18182313965" target="_blank">818-231-3965</a><br><br><br><blockquote type="cite">This notice on Craig's List was brought to my attention:<br>
</blockquote><blockquote type="cite"><br></blockquote><blockquote type="cite">"I am willing to pay $50 on paypal for a someone who has advanced classical composition skills to write my final project for my Counterpoint II class. It is two sections of an invention including the exposition and episodes and modulation. It would need to be done on finale or cyballius.<br>
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