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Creativity: Technology and Music

In collaboration with Susan Schmidt Horning


Hans-Joachim Braun

Creativity, by which something new, original, and valuable is formed, has positive connotations. This volume features essays on creative processes in technological invention, engineering design, architecture, music composition, improvisation, sound recording, authenticity in music, and computer music. They deal with significant present-day as well as with historical issues of creativity. They explore what creative processes in different domains have in common, to what extent cognitive science can shed light on them and how they can be modelled. Contrary to some approaches in creativity studies, the authors, if ever possible, try to avoid speculation and come to empirically valid conclusions.
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Automatic Music Composition versus Creativity


Abstract Dealing with the issue of modelling musical structures, Detlev Buchholz introduces COPPELIA, a tool designed by him for automated intention based musical composition. Buchholz argues that no act can be called creative that is not based on intentions. For computer music, this means that anything left to residual decision is not creative. For him and COPPELIA, structured refinement, using constraint-driven grammar, plays a crucial role in the composition process. He recognizes some shortcomings of the system, for example that COPPELIA does not take the interaction of musical aspects and the expressive potential into account. But its assets are of a kind to make it a useful addition to the tools of computer music.


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