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{{Short description|American composer and scientist}}
{{For|the South African rugby union player|Davey Cope}}
{{For|the South African rugby union player|Davey Cope}}
{{BLP sources|date=August 2021}}
{{Use mdy dates|date=October 2013}}
{{Use mdy dates|date=October 2013}}
{{Infobox person
| name = David Cope
| birth_date = {{birth date and age|1941|05|17}}
| birth_place = [[San Francisco]], [[California]], U.S.
| occupation = Author, composer, scientist, professor
⚫
| employer = [[University of California, Santa Cruz]]
| known_for = Research in artificial intelligence and music
| notable_works = EMI (Experiments in Musical Intelligence), Emily Howell
| title = Dickerson Emeriti Professor of Music
}}


'''David Cope''' (born May 17, 1941 in [[San Francisco, California]]) is an American author, composer, scientist, and former professor of music at the [[University of California, Santa Cruz]]. His primary area of research involves [[artificial intelligence]] and music; he writes programs and algorithms that can analyse existing music and create new compositions in the style of the original input music. He taught a summer [http://arts.ucsc.edu/programs/wacm/ Workshop in Algorithmic Computer Music] that was open to the public (but not free) as well as a general education course entitled ''Artificial Intelligence and Music'' for enrolled UCSC students. Cope is also cofounder and CTO Emeritus of Recombinant Inc, a music technology company. {{citation needed|date=April 2015}}
'''David “Dave” Cope''' (born May 17, 1941) is an American author, composer, scientist, and Dickerson Emeriti Professor of Music at [[University of California, Santa Cruz|UC Santa Cruz]]. His primary area of research involves [[artificial intelligence]] and music; he writes programs and algorithms that can analyze existing music and create new compositions in the style of the original input music. He taught the groundbreaking summer workshop in Workshop in Algorithmic [[Computer music|Computer Music]] (WACM) that was open to the public as well as a general education course entitled Artificial Intelligence and Music for enrolled UCSC students. Cope is also co-founder and CTO Emeritus of Recombinant Inc., a music technology company.<ref>{{Cite web|title=Recombinant Website|url=https://www.recombinantinc.com/#about|url-status=live|archive-url=https://web.archive.org/web/20070929165031/http://www.recombinantinc.com/ |archive-date=September 29, 2007 }}</ref>


==Inventions==
==Inventions==
Cope is the inventor of [http://www.google.com/patents/US7696426 US Patent #7696426] ''Recombinant Music Composition Algorithm and Method of Using the Same''.
Cope is the inventor of US Patent #7696426 "Recombinant music composition algorithm and method of using the same," which he filed in 2006.<ref>[https://patents.google.com/patent/US7696426 US Patent #7696426]</ref>


==Composition==
==Composition==
His EMI (Experiments in Musical Intelligence) software has produced works in the style of various composers, some of which have been commercially recorded {{harv|Cockrell|2001}}—ranging from short pieces to full length operas.{{Citation needed|date=January 2013}}
His EMI (Experiments in Musical Intelligence) software has produced works in the style of various composers,<ref name=":0">{{Cite news |last=Adams |first=Tim |date=2010-07-10 |title=David Cope: 'You pushed the button and out came hundreds and thousands of sonatas' |url=https://www.theguardian.com/technology/2010/jul/11/david-cope-computer-composer |access-date=2024-06-15 |work=The Observer |language=en-GB |issn=0029-7712}}</ref><ref>{{Cite news |last=Johnson |first=George |date=1997-11-11 |title=Undiscovered Bach? No, a Computer Wrote It |url=https://www.nytimes.com/1997/11/11/science/undiscovered-bach-no-a-computer-wrote-it.html |access-date=2024-06-15 |work=The New York Times |language=en-US |issn=0362-4331}}</ref> some of which have been commercially recorded{{sfn|Cockrell|2001}}—ranging from short pieces to full-length operas.<ref>{{Cite web |last=tluong |date=2015-04-29 |title=Algorithmic Music – David Cope and EMI |url=https://computerhistory.org/blog/algorithmic-music-david-cope-and-emi/ |access-date=2024-06-15 |website=CHM |language=en}}</ref>


His subsequent [[Emily Howell]] program models musical creativity based on the types of creativity outlined by [[Margaret Boden]] in her book ''The Creative Mind: Myths and Mechanisms''.{{Citation needed|date=January 2013}}
His subsequent [[Emily Howell]] program models musical creativity based on the types of creativity outlined by [[Margaret Boden]] in her book ''The Creative Mind: Myths and Mechanisms''.<ref>{{Cite book |last=Boden |first=Margaret A. |url=https://www.tribuneschoolchd.com/uploads/tms/files/1595167242-the-creative-mind-pdfdrive-com-.pdf |title=The Creative Mind: Myths and Mechanisms |date= |publisher=[[Routledge]] |year=2004 |isbn=0-203-50852-1 |edition=2nd |location=London |pages=311-313}}</ref>


As a composer, Cope's own work has encompassed a variety of styles—from the traditional to the avant-garde—and techniques, such as [[Extended technique|unconventional manners of playing]], [[experimental musical instrument]], and [[Microtonal music|microtonal scales]], including a 33-note system of [[just intonation]] he developed himself {{harv|Cockrell|2001}}. Most recently, all of his original compositions have been written in collaboration with the computer—based on an input of his earlier works. He seeks a synergy between composer creativity and computer algorithm as his principal creative direction.{{Citation needed|date=January 2013}}
As a composer, Cope's own work has encompassed a variety of styles—from the traditional to the avant-garde—and techniques, such as [[Extended technique|unconventional manners of playing]], [[experimental musical instrument]], and [[Microtonal music|microtonal scales]], including a 33-note system of [[just intonation]] he developed himself.{{sfn|Cockrell|2001}} Most recently, all of his original compositions have been written in collaboration with the computer—based on the input of his earlier works. He seeks synergy between composer creativity and computer algorithm as his principal creative direction.


==Bibliography==
==Bibliography==
He has published a wide range of books, which are often used as textbooks. ''New Directions in Music'' is currently in its 7th Edition and is the standard text for contemporary music. In 2009 David Cope was interviewed by the media in anticipation of the release of a CD containing music composed collaboratively by Mr. Cope and [[Emily Howell]], a computer program.
Cope has published a wide range of books, which are often used as textbooks. ''New Directions in Music,'' first published in 1971, is currently in its 7th edition and is the standard text for contemporary music.<ref>{{Cite journal|last=de la Vega|first=Aurelio|date=1984|title=Review of New Directions in Music|url=https://www.jstor.org/stable/3051670|journal=American Music|volume=2|issue=2|pages=98–100|doi=10.2307/3051670|jstor=3051670 |issn=0734-4392}}</ref> In 2009, Cope was interviewed by the media in anticipation of the release of a CD containing music composed collaboratively by Cope and [[Emily Howell]], a computer program.<ref name=":0" />


Cope has also published a series of detective novels under a pseudonym {{harv|Cope|n.d.}}.
Cope has also published a series of detective novels under a pseudonym.{{sfn|Cope|n.d.}}

In 2022, Cope published the book ''Ethics of Computer-Assisted Music''. Cope argues that just as there are differences in the application of ethics and morals among diverse cultures across society, there are similar ethical complexities that exist within the field of computer music.<ref>{{Cite book |last=Cope |first=David |title=Ethics of Computer-Assisted Music |publisher=Self-published |date=19 March 2022 |isbn=979-8-4304-3236-2 |editor-last= |editor-first= |location=Coppell, Texas |publication-date=19 March 2022 |page=9 |language=en }}</ref>


===Books===
===Books===
*Cope, David (1991). ''Computers and Musical Style''. Madison, WI: A-R Editions.
* Cope, David (1991). ''Computers and Musical Style''. Madison, Wisconsin: A-R Editions.
*Cope, David (1996). ''Experiments in Musical Intelligence''. Madison, WI: A-R Editions.
* —— (1996). ''Experiments in Musical Intelligence''. Madison, Wisconsin: A-R Editions.
*Cope, David (1997). ''Techniques of the Contemporary Composer''. New York City: Schirmer Books. {{ISBN|0-02-864737-8}}.
* —— (1997). ''Techniques of the Contemporary Composer''. New York City: Schirmer Books. {{ISBN|0-02-864737-8}}.
*Cope, David (2000). ''New Directions in Music, 7th ed.'' Prospect Heights, Illinois: Waveland Press. {{ISBN|1-57766-108-7}}.
* —— (2000). ''New Directions in Music, 7th ed.'' Prospect Heights, Illinois: Waveland Press. {{ISBN|1-57766-108-7}}.
*Cope, David (2000). ''The Algorithmic Composer''. Madison, WI: A-R Editions.
* —— (2000). ''The Algorithmic Composer''. Madison, Wisconsin: A-R Editions.
*Cope, David (2001). ''Virtual Music: Computer Synthesis of Musical Style''. Cambridge, Massachusetts: The MIT Press. {{ISBN|0-262-53261-1}}.
* —— (2001). ''Virtual Music: Computer Synthesis of Musical Style''. Cambridge, Massachusetts: The MIT Press. {{ISBN|0-262-53261-1}}.
*Cope, David (2006). ''Computer Models of Musical Creativity''. Cambridge, MA: MIT Press.
* —— (2006). ''Computer Models of Musical Creativity''. Cambridge, Massachusetts: MIT Press.
*Cope, David (2008). ''Hidden Structure: Music Analysis Using Computers''. Madison, WI: A-R Editions. {{ISBN|978-0-89579-640-0}}.
* —— (2008). ''Hidden Structure: Music Analysis Using Computers''. Madison, Wisconsin: A-R Editions. {{ISBN|978-0-89579-640-0}}.
*Cope, David (2012). ''A Musicianship Primer San Francisco''. Epoc Books. {{ISBN|978-1477687864}}.
* —— (2012). ''A Musicianship Primer San Francisco''. Epoc Books. {{ISBN|978-1-4776-8786-4}}.
* —— (2022). Cope, David (March 19, 2022). ''Ethics of Computer-Assisted Music''. Coppell, Texas: Self-published. {{ISBN|979-8-4304-3236-2}}.


===Articles and chapters===
===Chapters===


*1992. "A Computer Model of Music Composition." In Machine Models of Music, Stephan Schwanauer and David Levitt, eds.: MIT Press.
* 1992. "A Computer Model of Music Composition." In ''Machine Models of Music'', Stephan Schwanauer and David Levitt, eds.: MIT Press.
*1992. "On the Algorithmic Representation of Musical Style." In Musical Intelligence, M. Balaban, K. Ebcioglu, and O. Laske, eds. : AAAI Press.
* 1992. "On the Algorithmic Representation of Musical Style." In ''Musical Intelligence'', M. Balaban, K. Ebcioglu, and O. Laske, eds. : AAAI Press.
*1998. "Signatures and Earmarks: Computer Recognition of Patterns in Music.." In Melodic Similarity, Concepts, Procedures, and Applications. Walter B. Hewlett and Eleanor Selfridge-Field (eds.). Cambridge, MA: MIT Press.
* 1998. "Signatures and Earmarks: Computer Recognition of Patterns in Music." In ''Melodic Similarity, Concepts, Procedures, and Applications''. Walter B. Hewlett and Eleanor Selfridge-Field (eds.). Cambridge, Massachusetts: MIT Press.


====Published articles====
===Articles===
*1987. "Experiments in Music Intelligence." In Proceedings of the International Computer Music Conference, San Francisco: Computer Music Assn.
* 1987. "Experiments in Music Intelligence." In ''Proceedings of the [[International Computer Music Conference]]'', San Francisco: Computer Music Association.
*1987. "An Expert System for Computer-Assisted Music Composition." Computer Music Journal 11,4 (Winter): 30–46.
* 1987. "An Expert System for Computer-Assisted Music Composition." ''[[Computer Music Journal]]'' 11,4 (Winter): 30–46.
*1988. "Music and LISP." AI Expert 3,3 (March): 26–34.
* 1988. "Music and [[LISP]]." ''AI Expert'' 3,3 (March): 26–34.
*1988. "Music: The Universal Language." In Proceedings of the First Workshop on AI and Music. Minneapolis/St. Paul, MN: AAAI: 87–98.
* 1988. "Music: The Universal Language." In ''Proceedings of the First Workshop on AI and Music''. Minneapolis/St. Paul, Minnesota: AAAI: 87–98.
*1989. "Experiments in Musical Intelligence (EMI): Non-Linear Linguistic-based Composition." Interface Vol. 18: 117–139.
* 1989. "Experiments in Musical Intelligence (EMI): Non-Linear Linguistic-based Composition." ''Interface'', vol. 18: 117–139.
*1990. "Pattern Matching as an Engine for the Computer Simulation of Musical Style." In Proceedings of the 1990 ICMC. San Fran Computer Music Assn
* 1990. "Pattern Matching as an Engine for the Computer Simulation of Musical Style." In ''Proceedings of the 1990 [[International Computer Music Conference|ICMC]]''. San Fran Computer Music Association
*1991. "Recombinant Music." COMPUTER. (July).
* 1991. "Recombinant Music." ''COMPUTER''. (July).
*1991. "Computer Simulations of Musical Style." Computers in Music Research, The Queens University of Belfast, 7–10 (April): 15–17.
* 1991. "Computer Simulations of Musical Style." ''Computers in Music Research'', The Queens University of Belfast, 7–10 (April): 15–17.
*1992. "Computer Modeling of Musical Intelligence in Experiments in Musical Intelligence." Computer Music Journal 16,2 (Summer): 69–83.
* 1992. "Computer Modeling of Musical Intelligence in Experiments in Musical Intelligence." ''[[Computer Music Journal]]'' 16,2 (Summer): 69–83.
*1993. "Virtual Music." Electronic Musician, 9:5 (May): 80–85.
* 1993. "Virtual Music." ''[[Electronic Musician]]'', 9:5 (May): 80–85.
*1996. "Mimesis du style et de la structure musicale." Symposium on Composition, Modelisation et Ordinateur. IRCAM, Paris: 21-3.
* 1996. "Mimesis du style et de la structure musicale." Symposium on Composition, Modelisation et Ordinateur. [[IRCAM]], Paris: 21–23.
*1997. "Composer's Underscoring Environment." In Proceedings of the International Computer Music Conference. San Fran: Computer Music Assn.
* 1997. "Composer's Underscoring Environment." In ''Proceedings of the [[International Computer Music Conference]]''. San Fran: Computer Music Association.
*1997. "The Composer's Underscoring Environment: CUE." Computer Music Journal 21/3 (Fall).
* 1997. "The Composer's Underscoring Environment: CUE." ''[[Computer Music Journal]]'' 21/3 (Fall).
*1999. "One Approach to Musical Intelligence." Intelligent Systems. Los Alamitos, CA: IEEE Computer Society (14/3, May/June).
* 1999. "One Approach to Musical Intelligence." ''[[IEEE Intelligent Systems]]''. Los Alamitos, California: IEEE Computer Society (14/3, May/June).
*2000. "Facing the Music: Perspectives on Machine Composed Music." Leonardo Music Journal 9: 79–87.
* 2000. "Facing the Music: Perspectives on Machine Composed Music." ''[[Leonardo Music Journal]]'' 9: 79–87.
*2002. "Computer Analysis and Composition Using Atonal Voice-Leading Techniques." Perspectives of New Music 40/1 (Winter): 121–146.
* 2002. "Computer Analysis and Composition Using Atonal Voice-Leading Techniques." ''[[Perspectives of New Music]]'' 40/1 (Winter): 121–146.
*2003. "Computer Analysis of Musical Allusions." Computer Music Journal 27/1: 11–28.
* 2003. "Computer Analysis of Musical Allusions." [[Computer Music Journal]] 27/1: 11–28.
*2004. " A Musical Learning Algorithm." Computer Music Journal 28/3: 12–27.
* 2004. "A Musical Learning Algorithm." Computer Music Journal 28/3: 12–27.
*2006. "The Vivaldi Code" Wired, Issue 14. September 9, 2006
* 2006. "The Vivaldi Code" ''[[Wired (magazine)|Wired]]'', issue 14. September 9, 2006.


==Discography==
==Discography==
* 1982. ''The Way''. Opus One Records. Number 82.

*1993. ''Bach by Design''. Centaur Records. CRC 2184
* 1993. ''Bach by Design''. Centaur Records. CRC 2184
*1997. ''Classical Music Composed by Computer''. Centaur Records. CRC 2329
* 1997. ''Classical Music Composed by Computer''. Centaur Records. CRC 2329
*1997. ''Virtual Mozart''. Centaur Records. CRC 2452
* 1997. ''Virtual Mozart''. Centaur Records. CRC 2452
*1999. ''Towers''. Vienna Modern Masters. VMM 2024
* 1999. ''Towers''. Vienna Modern Masters. VMM 2024
*2003. ''Virtual Bach''. Centaur Records. CRC 2619
* 2003. ''Virtual Bach''. Centaur Records. CRC 2619
*2009. ''From Darkness, Light (Emily Howell)''. Centaur Records. CRC 3023
* 2009. ''From Darkness, Light (Emily Howell)''. Centaur Records. CRC 3023
*2011. ''Symphony No. 4''. Epoc. B008J5IK78
* 2011. Symphony No. 4. Epoc. B008J5IK78
*2012. ''Symphony No. 5''. Epoc. B008J5IFD2
* 2012. Symphony No. 5. Epoc. B008J5IFD2
*2012. ''Symphony No. 9 (Martin Luther King, Jr.)'' Epoc. B008J5IGCW
* 2012. Symphony No. 9 "(Martin Luther King, Jr.)" Epoc. B008J5IGCW
*2012. ''String Quartets 5 and 6''. Epoc. B008O9RZTS
* 2012. String Quartets 5 and 6. Epoc. B008O9RZTS
*2012. ''Violin Concerto/Viola Concerto''. Epoc. B008J5IGRC
* 2012. Violin Concerto/Viola Concerto. Epoc. B008J5IGRC
*2012. ''Cello Concerto/Octet for Strings''. Epoc. B008K8VJM2
* 2012. Cello Concerto/Octet for Strings. Epoc. B008K8VJM2
*2012. ''Piano Concerto/Re-Birth/Transcendence''. Epoc. B008PYPDUK
* 2012. Piano Concerto/''Re-Birth/Transcendence''. Epoc. B008PYPDUK


==See also==
==See also==
*[[Algorithmic composition]]
* [[Algorithmic composition]]
*[[Computer-generated music]]
* [[Computer-generated music]]
*[[Emily Howell]]
* [[List of music software]]
*[[List of music software]]


==References==
==References==
{{Reflist}}
⚫
*{{wikicite|ref={{harvid|Cockrell|2001}}|reference=Cockrell, Dale. 2001. "Cope, David (Howell)". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (professor of music)|John Tyrrell]]. London: Macmillan Publishers.}}
'''Sources'''
⚫
* {{wikicite|ref={{harvid|Cope|n.d.}}|reference=Cope, David. n.d. "[http://artsites.ucsc.edu/faculty/cope/bibliography.htm Bibliography: Books, Articles, and CDs]". David Cope’s USC webpage; accessed March 26, 2015}}
⚫
* {{wikicite|ref={{harvid|Cockrell|2001}}|reference=Cockrell, Dale. 2001. "Cope, David (Howell)". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.}}
⚫
* {{wikicite|ref={{harvid|Cope|n.d.}}|reference=Cope, David. n.d. "[http://artsites.ucsc.edu/faculty/cope/bibliography.htm Bibliography: Books, Articles, and CDs]". David Cope's UCSC webpage; accessed March 26, 2015}}


==Further reading==
==Further reading==
*{{wikicite|ref={{harvid|Ball|2012}}|reference=[[Philip Ball|Ball, Philip]]. 2012. [https://www.theguardian.com/music/2012/jul/01/iamus-computer-composes-classical-music "Iamus, Classical Music's Computer Composer, Live from Malaga"], ''The Guardian'' (July 1, 2014); accessed August 5, 2014.}}
* [[Philip Ball|Ball, Philip]]. 2012. [https://www.theguardian.com/music/2012/jul/01/iamus-computer-composes-classical-music "Iamus, Classical Music's Computer Composer, Live from Malaga"], ''[[The Guardian]]'' (July 1, 2014); accessed August 5, 2014.
*{{cite book|last1=Deliège|first1=Irene|title=Musical Creativity: Multidisciplinary Research in Theory and Practice|date=2006|publisher=Psychology Press|isbn=978-1841695082|ref=harv}}
* {{cite book|last1=Deliège|first1=Irene|author-link=Irène Deliège|title=Musical Creativity: Multidisciplinary Research in Theory and Practice|date=2006|publisher=Psychology Press|isbn=978-1-84169-508-2|ref=none}}


==External links==
==External links==
Line 92: Line 108:
* [https://web.archive.org/web/20060514023259/http://spectrumpress.com/newmusic/index.php?action=category&id=1 David Cope profile]
* [https://web.archive.org/web/20060514023259/http://spectrumpress.com/newmusic/index.php?action=category&id=1 David Cope profile]
* [http://www.recombinantinc.com Recombinant Inc website]
* [http://www.recombinantinc.com Recombinant Inc website]
* Ryan Blitstein. [https://psmag.com/social-justice/triumph-of-the-cyborg-composer-8507 Triumph of the Cyborg Composer], Pacific Standard
* [[Ryan Blitstein]]. [https://psmag.com/social-justice/triumph-of-the-cyborg-composer-8507 Triumph of the Cyborg Composer], ''[[Pacific Standard]]''
⚫
* [https://www.wnycstudios.org/podcasts/radiolab/segments/91515-musical-dna "Musical DNA" segment] from [[NPR]] ''[[Radiolab]]'' program, September 25, 2007

===Listening===
⚫
*[http://www.radiolab.org/story/91515-musical-dna/ "Musical DNA" segment] from NPR ''Radio Lab'' program


{{Computer music}}
{{Computer music}}
{{Portal bar|Biography|Classical music}}
⚫
{{University of California, Santa Cruz}}

{{Authority control}}
{{Authority control}}


{{DEFAULTSORT:Cope, David}}
{{DEFAULTSORT:Cope, David}}
⚫
[[Category:1941 births]]
[[Category:Living people]]
[[Category:American male classical composers]]
[[Category:American male classical composers]]
[[Category:American classical composers]]
[[Category:American artificial intelligence researchers]]
[[Category:Artificial intelligence researchers]]
[[Category:21st-century classical composers]]
[[Category:University of California, Santa Cruz faculty]]
[[Category:University of California, Santa Cruz faculty]]
[[Category:Writers from San Francisco]]
[[Category:Writers from San Francisco]]
[[Category:Living people]]
[[Category:21st-century American classical composers]]
⚫
[[Category:1941 births]]
[[Category:21st-century American composers]]
[[Category:21st-century American male musicians]]
[[Category:21st-century American male musicians]]
[[Category:Centaur Records artists]]

Latest revision as of 11:07, 10 November 2024

For the South African rugby union player, see Davey Cope.

David Cope
Born (1941-05-17) May 17, 1941 (age 83)
San Francisco, California, U.S.
Occupation(s)Author, composer, scientist, professor
EmployerUniversity of California, Santa Cruz
Known forResearch in artificial intelligence and music
Notable workEMI (Experiments in Musical Intelligence), Emily Howell
TitleDickerson Emeriti Professor of Music

David “Dave” Cope (born May 17, 1941) is an American author, composer, scientist, and Dickerson Emeriti Professor of Music at UC Santa Cruz. His primary area of research involves artificial intelligence and music; he writes programs and algorithms that can analyze existing music and create new compositions in the style of the original input music. He taught the groundbreaking summer workshop in Workshop in Algorithmic Computer Music (WACM) that was open to the public as well as a general education course entitled Artificial Intelligence and Music for enrolled UCSC students. Cope is also co-founder and CTO Emeritus of Recombinant Inc., a music technology company.[1]

Inventions

[edit]

Cope is the inventor of US Patent #7696426 "Recombinant music composition algorithm and method of using the same," which he filed in 2006.[2]

Composition

[edit]

His EMI (Experiments in Musical Intelligence) software has produced works in the style of various composers,[3][4] some of which have been commercially recorded[5]—ranging from short pieces to full-length operas.[6]

His subsequent Emily Howell program models musical creativity based on the types of creativity outlined by Margaret Boden in her book The Creative Mind: Myths and Mechanisms.[7]

As a composer, Cope's own work has encompassed a variety of styles—from the traditional to the avant-garde—and techniques, such as unconventional manners of playing, experimental musical instrument, and microtonal scales, including a 33-note system of just intonation he developed himself.[5] Most recently, all of his original compositions have been written in collaboration with the computer—based on the input of his earlier works. He seeks synergy between composer creativity and computer algorithm as his principal creative direction.

Bibliography

[edit]

Cope has published a wide range of books, which are often used as textbooks. New Directions in Music, first published in 1971, is currently in its 7th edition and is the standard text for contemporary music.[8] In 2009, Cope was interviewed by the media in anticipation of the release of a CD containing music composed collaboratively by Cope and Emily Howell, a computer program.[3]

Cope has also published a series of detective novels under a pseudonym.[9]

In 2022, Cope published the book Ethics of Computer-Assisted Music. Cope argues that just as there are differences in the application of ethics and morals among diverse cultures across society, there are similar ethical complexities that exist within the field of computer music.[10]

Books

[edit]
  • Cope, David (1991). Computers and Musical Style. Madison, Wisconsin: A-R Editions.
  • —— (1996). Experiments in Musical Intelligence. Madison, Wisconsin: A-R Editions.
  • —— (1997). Techniques of the Contemporary Composer. New York City: Schirmer Books. ISBN 0-02-864737-8.
  • —— (2000). New Directions in Music, 7th ed. Prospect Heights, Illinois: Waveland Press. ISBN 1-57766-108-7.
  • —— (2000). The Algorithmic Composer. Madison, Wisconsin: A-R Editions.
  • —— (2001). Virtual Music: Computer Synthesis of Musical Style. Cambridge, Massachusetts: The MIT Press. ISBN 0-262-53261-1.
  • —— (2006). Computer Models of Musical Creativity. Cambridge, Massachusetts: MIT Press.
  • —— (2008). Hidden Structure: Music Analysis Using Computers. Madison, Wisconsin: A-R Editions. ISBN 978-0-89579-640-0.
  • —— (2012). A Musicianship Primer San Francisco. Epoc Books. ISBN 978-1-4776-8786-4.
  • —— (2022). Cope, David (March 19, 2022). Ethics of Computer-Assisted Music. Coppell, Texas: Self-published. ISBN 979-8-4304-3236-2.

Chapters

[edit]
  • 1992. "A Computer Model of Music Composition." In Machine Models of Music, Stephan Schwanauer and David Levitt, eds.: MIT Press.
  • 1992. "On the Algorithmic Representation of Musical Style." In Musical Intelligence, M. Balaban, K. Ebcioglu, and O. Laske, eds. : AAAI Press.
  • 1998. "Signatures and Earmarks: Computer Recognition of Patterns in Music." In Melodic Similarity, Concepts, Procedures, and Applications. Walter B. Hewlett and Eleanor Selfridge-Field (eds.). Cambridge, Massachusetts: MIT Press.

Articles

[edit]
  • 1987. "Experiments in Music Intelligence." In Proceedings of the International Computer Music Conference, San Francisco: Computer Music Association.
  • 1987. "An Expert System for Computer-Assisted Music Composition." Computer Music Journal 11,4 (Winter): 30–46.
  • 1988. "Music and LISP." AI Expert 3,3 (March): 26–34.
  • 1988. "Music: The Universal Language." In Proceedings of the First Workshop on AI and Music. Minneapolis/St. Paul, Minnesota: AAAI: 87–98.
  • 1989. "Experiments in Musical Intelligence (EMI): Non-Linear Linguistic-based Composition." Interface, vol. 18: 117–139.
  • 1990. "Pattern Matching as an Engine for the Computer Simulation of Musical Style." In Proceedings of the 1990 ICMC. San Fran Computer Music Association
  • 1991. "Recombinant Music." COMPUTER. (July).
  • 1991. "Computer Simulations of Musical Style." Computers in Music Research, The Queens University of Belfast, 7–10 (April): 15–17.
  • 1992. "Computer Modeling of Musical Intelligence in Experiments in Musical Intelligence." Computer Music Journal 16,2 (Summer): 69–83.
  • 1993. "Virtual Music." Electronic Musician, 9:5 (May): 80–85.
  • 1996. "Mimesis du style et de la structure musicale." Symposium on Composition, Modelisation et Ordinateur. IRCAM, Paris: 21–23.
  • 1997. "Composer's Underscoring Environment." In Proceedings of the International Computer Music Conference. San Fran: Computer Music Association.
  • 1997. "The Composer's Underscoring Environment: CUE." Computer Music Journal 21/3 (Fall).
  • 1999. "One Approach to Musical Intelligence." IEEE Intelligent Systems. Los Alamitos, California: IEEE Computer Society (14/3, May/June).
  • 2000. "Facing the Music: Perspectives on Machine Composed Music." Leonardo Music Journal 9: 79–87.
  • 2002. "Computer Analysis and Composition Using Atonal Voice-Leading Techniques." Perspectives of New Music 40/1 (Winter): 121–146.
  • 2003. "Computer Analysis of Musical Allusions." Computer Music Journal 27/1: 11–28.
  • 2004. "A Musical Learning Algorithm." Computer Music Journal 28/3: 12–27.
  • 2006. "The Vivaldi Code" Wired, issue 14. September 9, 2006.

Discography

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  • 1982. The Way. Opus One Records. Number 82.
  • 1993. Bach by Design. Centaur Records. CRC 2184
  • 1997. Classical Music Composed by Computer. Centaur Records. CRC 2329
  • 1997. Virtual Mozart. Centaur Records. CRC 2452
  • 1999. Towers. Vienna Modern Masters. VMM 2024
  • 2003. Virtual Bach. Centaur Records. CRC 2619
  • 2009. From Darkness, Light (Emily Howell). Centaur Records. CRC 3023
  • 2011. Symphony No. 4. Epoc. B008J5IK78
  • 2012. Symphony No. 5. Epoc. B008J5IFD2
  • 2012. Symphony No. 9 "(Martin Luther King, Jr.)" Epoc. B008J5IGCW
  • 2012. String Quartets 5 and 6. Epoc. B008O9RZTS
  • 2012. Violin Concerto/Viola Concerto. Epoc. B008J5IGRC
  • 2012. Cello Concerto/Octet for Strings. Epoc. B008K8VJM2
  • 2012. Piano Concerto/Re-Birth/Transcendence. Epoc. B008PYPDUK

See also

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References

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  1. ^ "Recombinant Website". Archived from the original on September 29, 2007.
  2. ^ US Patent #7696426
  3. ^ a b Adams, Tim (July 10, 2010). "David Cope: 'You pushed the button and out came hundreds and thousands of sonatas'". The Observer. ISSN 0029-7712. Retrieved June 15, 2024.
  4. ^ Johnson, George (November 11, 1997). "Undiscovered Bach? No, a Computer Wrote It". The New York Times. ISSN 0362-4331. Retrieved June 15, 2024.
  5. ^ a b Cockrell 2001.
  6. ^ tluong (April 29, 2015). "Algorithmic Music – David Cope and EMI". CHM. Retrieved June 15, 2024.
  7. ^ Boden, Margaret A. (2004). The Creative Mind: Myths and Mechanisms (PDF) (2nd ed.). London: Routledge. pp. 311–313. ISBN 0-203-50852-1.
  8. ^ de la Vega, Aurelio (1984). "Review of New Directions in Music". American Music. 2 (2): 98–100. doi:10.2307/3051670. ISSN 0734-4392. JSTOR 3051670.
  9. ^ Cope n.d.
  10. ^ Cope, David (March 19, 2022). Ethics of Computer-Assisted Music. Coppell, Texas: Self-published. p. 9. ISBN 979-8-4304-3236-2.

Sources

Further reading

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