Activities per year
Abstract
The use of computers to model the compositional process, applied recursively and with a composer's active input, is akin to the reflective process that takes place in composition as taught through personal supervision. Furthermore, both partake of some aspects of "experimental" music as grounded in the work of composers like Lejaren Hiller and Iannis Xenakis. These propositions are explored with particular reference to the composition-modeling project initiated by Gerhard Nierhaus. The discussion is informed by 2012 Stanford symposium on teaching composition and by an extended account of pragmatist aesthetics, especially as articulated by John Dewey.
Original language | English |
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Title of host publication | Patterns of Intuition |
Subtitle of host publication | Musical Creativity in the Light of Algorithmic Composition |
Editors | Gerhard Nierhaus |
Place of Publication | Dordrecht |
Publisher | Springer |
Pages | 329-347 |
Number of pages | 19 |
ISBN (Electronic) | 978-94-017-9561-6 |
ISBN (Print) | 978-94-017-9560-9 |
DOIs | |
Publication status | Published - 2015 |
Keywords
- experimental music
- education
- composition
- pragmatism
- aesthetics
- Stanford
- John Dewey
- William James
- algorithmic composition
Profiles
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In re: Experimental Machines
William Brooks (Chair)
22 Feb 2020Activity: Talk or presentation › Invited talk
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Society for American Music
William Brooks (Speaker)
25 Mar 2017Activity: Participating in or organising an event › Conference participation
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