ABSTRACT

The authors investigate works by four composers who employed technology in the creation of music employing audification, sonification and algorithmic composition techniques. These compositions involve interdisciplinary collaborations either with scientific researchers, in the case of Annea Lockwood's Dusk and Carla Scaletti's hàgg, or artificial intelligence, in George Lewis's Voyager, and Bob Sturm's The Waters of Heanny. Each composer's choice of input data, custom-designed tools and personal compositional processes result in unique, expressive works that challenge the listener to expand their view of music and reality.

摘要

作者调查了四位作曲家的作品，他们在音乐创作中采用了可听、可听和算法作曲技术。这些作品涉及与科学研究人员的跨学科合作，例如 Annea Lockwood 的Dusk和 Carla Scaletti 的hàgg，或人工智能，George Lewis 的航海者和 Bob Sturm 的The Waters of Heanny。每位作曲家对输入数据的选择、定制设计的工具和个人作曲过程都会产生独特的、富有表现力的作品，挑战听众扩展他们对音乐和现实的看法。