Computer music
Musical melodies were first generated by the computer originally named the CSIR Mark 1 (later renamed CSIRAC) in Australia in 1950.
[4][5] The world's first computer to play music was the CSIR Mark 1 (later named CSIRAC), which was designed and built by Trevor Pearcey and Maston Beard in the late 1940s.
Mathematician Geoff Hill programmed the CSIR Mark 1 to play popular musical melodies from the very early 1950s.
[10][11][6] Two further major 1950s developments were the origins of digital sound synthesis by computer, and of algorithmic composition programs beyond rote playback.
Amongst other pioneers, the musical chemists Lejaren Hiller and Leonard Isaacson worked on a series of algorithmic composition experiments from 1956 to 1959, manifested in the 1957 premiere of the Illiac Suite for string quartet.
Until now partial use has been exploited for musical research into the substance and form of sound (convincing examples are those of Hiller and Isaacson in Urbana, Illinois, US; Iannis Xenakis in Paris and Pietro Grossi in Florence, Italy).
The programmes were written by Ferruccio Zulian [21] and used by Pietro Grossi for playing Bach, Paganini, and Webern works and for studying new sound structures.
[26] In addition to the Yamaha DX7, the advent of inexpensive digital chips and microcomputers opened the door to real-time generation of computer music.
[28] There is considerable activity in the field of computer music as researchers continue to pursue new and interesting computer-based synthesis, composition, and performance approaches.
Later, composers such as Gottfried Michael Koenig and Iannis Xenakis had computers generate the sounds of the composition as well as the score.
[29] In the 2000s, Andranik Tangian developed a computer algorithm to determine the time event structures for rhythmic canons and rhythmic fugues, which were then "manually" worked out into harmonic compositions Eine kleine Mathmusik I and Eine kleine Mathmusik II performed by computer;[30][31] for scores and recordings see.
[33][34][35] Melomics, a research project from the University of Málaga (Spain), developed a computer composition cluster named Iamus, which composes complex, multi-instrument pieces for editing and performance.
The resulting patterns are then used to create new variations "in the style" of the original music, developing a notion of stylistic re-injection.
[38] Style modeling implies building a computational representation of the musical surface that captures important stylistic features from data.
Statistical approaches are used to capture the redundancies in terms of pattern dictionaries or repetitions, which are later recombined to generate new musical data.
Machine Improvisation builds upon a long musical tradition of statistical modeling that began with Hiller and Isaacson's Illiac Suite for String Quartet (1957) and Xenakis' uses of Markov chains and stochastic processes.
Modern methods include the use of lossless data compression for incremental parsing, prediction suffix tree, string searching and more.
[49] One of the problems in modeling audio signals with factor oracle is the symbolization of features from continuous values to a discrete alphabet.
