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Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0021
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0022
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0023
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0024
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0025
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0026
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0027
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0028
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0029
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0030
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0031
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.001.0001
EISBN: 9780262255943
Virtual Music is about artificial creativity. Focusing on the author's Experiments in Musical Intelligence computer music composing program, the author and a distinguished group of experts discuss many of the issues surrounding the program, including artificial intelligence, music cognition, and aesthetics. The book is divided into four parts. The first part provides a historical background to Experiments in Musical Intelligence, including examples of historical antecedents, followed by an overview of the program by Douglas Hofstadter. The second part follows the composition of an Experiments in Musical Intelligence work, from the creation of a database to the completion of a new work in the style of Mozart. It includes, in sophisticated lay terms, relatively detailed explanations of how each step in the process contributes to the final composition. The third part consists of perspectives and analyses by Jonathan Berger, Daniel Dennett, Bernard Greenberg, Douglas R. Hofstadter, Steve Larson, and Eleanor Selfridge-Field. The fourth part presents the author's responses to these commentaries, as well as his thoughts on the implications of artificial creativity. The book (and corresponding Web site) includes an appendix providing extended musical examples referred to and discussed in the book, including composers such as Scarlatti, Bach, Mozart, Beethoven, Schubert, Chopin, Puccini, Rachmaninoff, Prokofiev, Debussy, Bartok, and others. It is also accompanied by a CD containing performances of the music in the text.
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0001
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0002
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0003
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0004
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0005
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0006
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0007
EISBN: 9780262255943
Publisher: The MIT Press
Published: 30 January 2004
DOI: 10.7551/mitpress/7106.003.0008
EISBN: 9780262255943