Computational Creativity and Music - Computational Creativity Research: Towards Creative Machines - page 315

(a)

7 5 r r

5 3 7 5

3 r 5 3

r 3

-1 1
-2 -1
1 2
1 1

d 7 m 6 d 6 m 6

5

(b)

7 5 5 3

5 3 3 r

3 r r 5

r 7
-1 -1
-2 -2
1 1
1 -1

d 7 m 6 d 4 m 6

2 4

Fig. 15.11 The same-sounding diminished seventh chord resolving to the C-minor triad or as a
modulatory diminished seventh chord of E-flat in final measures of ( a )and( b )

first measure is a simple motion typical of the diatonic data in previous examples.
The second measure represents an Italian augmented sixth chord in C-major resolv-
ing appropriately to a major triad. The third measure presents the same Italian aug-
mented sixth chord respelled as a Major-minor seventh chord of the far-related key of
C-major—C-sharp major or D-flat major. All this based on a very simple initial two
phrases in a database, neither of which modulates. Thus, new output (not shown here
due to space restrictions) will accomplish something none of the input could, but
based entirely on the rules derived from that input. And, once again, I state that I
created the output before allowing the simple computer program to accomplish the
same thing.
The program that produced the above output is so simple that I have not included
a visual schematic. It consists of just three components. The first of these is the
database itself, represented in numbers. The second component is an analysis