Style and Supervenience :: Technology Computers Computer Essays

Style and SupervenienceABSTRACT escapes information processing systems and Musical Style (1991) describes a estimator schedule that allegedly can represent and replicate musical musical modes only when on the basis of compositions that have been entered into it. If this charter is correct, then it must be that an works stylistic characteristics locally supervene on its textual features, which nigh means that its stylistic properties are entirely determined by its textual properties. In my paper I argue that stylistic properties do non locally supervene on textual properties, and thus that uncomplete Copes program nor any other that essentially plant want it can represent or replicate styles.Cope (1991) describes a data processor program that allegedly can represent and replicate musical styles solely on the basis of compositions that have been entered into it (ix, xiXall page-references are to Cope 1991). If this claim is correct, then it must be that an oeuvres styli stic characteristics locally supervene on its textual features, which roughly means that its stylistic properties are entirely determined by its textual properties. This paper argues that stylistic properties do not locally supervene on textual properties, and thus that neither Copes program nor any other that essentially works like it can represent or replicate styles.1. Copes Composing ComputerDavid Cope is a composer and music theorist who got interested in the applications of computer science to music. The direct cause of his interest was a composers hold on this made him turn to computer programming in the hope to set a composing partner (18). Eventually his search resulted in a program he termed Experiments in Musical Intelligence (EMI). Let me briefly sketch what EMI does and how it works.What EMI does is easily explained musical data, like for instance a amount of Mozart piano-sonatas, are (in coded form) fed into the computer, which then outputs new musical substantial . This new material is then hoped to be and, according to Cope, also often is, in the style of the music that was entered. How the program works is not so easily explained, that the following simplified account will do for the purposes of this paper (cf. 152ff for details). The cardinal most important components of EMI are a pattern-matcher and a so-called increase Transition Network. The first searches for common patterns in the works that have departed into the computer, and stores these in a style dictionary (together with a weight, indicating how common they are).