Algorithmic Composition: Paradigms of Automated Music Generation [Gerhard Nierhaus] on *FREE* shipping on qualifying offers. Algorithmic. Author: Gerhard Nierhaus Algorithmic composition composing by means of formalizable methods has a century old View colleagues of Gerhard Nierhaus . Gerhard Nierhaus: Algorithmic Composition: Paradigms of Automated Music Generation. Posted Online September 07,
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Algorithmic Composition: Paradigms of Automated Music Generation – Gerhard Nierhaus – Google Books
My library Help Advanced Book Search. Although I find it short on real examples of interesting music, and perhaps long on superficial examples, the book does manage a broad overview of musical style imitation techniques and brings together a large range of disparate literature that has a bearing on the compositiln.
Paradigms of Automated Music Generation. Each chapter outlines the strengths, weaknesses and possible aesthetical implications resulting from the application of the treated approaches.
Don’t do business with these sorts. One of the limitations it takes on, and one that disappointed me, is that the works of individual composers, or individual works, are not dealt with.
User Review – Flag as inappropriate This book necessarily has a mixed content of music and mathematics, but the audience appears to be firmly students of algorithmic composition, and that includes beginning students.
Other editions – View all Algorithmic Composition: The comprehensive bibliography makes this work ideal for the musician and the researcher alike. You do not need them. Nerhaus is the first book to provide a detailed overview of prominent procedures of algorithmic composition in a pragmatic way rather than by treating formalizable aspects in single works. Historical Development of Algorithmic Procedures.
Selected pages Title Page. In addition to an historic overview, each chapter presents a specific class of algorithm in a compositional context by providing a general introduction to its development and theoretical basis and describes different musical applications.
I approached this book with a large degree of enthusiasm and optimism, unfortunately I left it feeling very disappointed. There was nierhau important opportunity here to go beyond style imitation—to me, as a composer, it is the least interesting or useful nierhwus of algorithmic composition—and delve into the more difficult realm of creative composition of compelling musical works.
The introduction goes through the chapter layout of the book and discusses its intent. Furthermore, the book does not examine in detail how some composers have used algorithmic principles to create great works, let alone attack the core issue itself.
This has been a problem with some other books on comppsition style imitation, but to my mind, musical composition is something other than the application of a set of rules particularly music theory rulesand it goes beyond this. I would like this prose a lot more if I could share it freely with people of like mind. Style imitation already has a large body of literature; I feel this book does a good job of pulling much of it together, but it has missed an opportunity to go further and add to the literature on algorithmic approaches to genuine composition.
Algorithmic composition — composing by means of formalizable methods — has a century old tradition not only in occidental music history. User Review – Flag as inappropriate I would like nierhasu prose a lot more if I could share it freely with people of like mind. Rights management is modern slavery. Despite its worrying compoeition with details more laterstudents have a good basic text that will explain the fundamental ideas of style imitation in algorithmic composition.
This is the first book to provide a detailed overview of prominent procedures of algorithmic composition in a pragmatic way rather than by treating formalizable This book necessarily has a mixed content of music and mathematics, but the audience appears to be firmly students of algorithmic composition, and that gerhaard beginning students.
While the systems outlined in the book may be applied in a range of ways from the superficial and trivial to the very sophisticated, nowhere is the problem addressed of what musical composition really is.