Style and Supervenience :: Technology Computers Computer Essays

Style and SupervenienceABSTRACT Copes estimators and Musical Style (1991) describes a computer program that allegedly can represent and replicate musical styles solely on the basis of compositions that have been entered into it. If this claim is correct, whence it must be that an oeuvres stylistic characteristics locally happen on its textual features, which roughly style 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 olibanum that neither Copes program nor any other that essentially works like it can represent or replicate styles.Cope (1991) describes a computer 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 stylistic characteristics locally supervene on its te xtual features, which roughly actor 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 block this make him turn to computer programming in the hope to find 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 number of Mozart piano-sonatas, are (in coded form) fed into the computer, which then outputs new musical material. This new material is then hoped to be and, according t o Cope, also often is, in the style of the music that was entered. How the program works is not so easily explained, but the following simplified account will do for the purposes of this paper (cf. 152ff for details). The two most important components of EMI are a pattern-matcher and a so-called Augmented Transition Network. The first searches for harsh patterns in the works that have gone into the computer, and stores these in a style dictionary (together with a weight, indicating how common they are).