Computational Creativity and Music - Computational Creativity Research: Towards Creative Machines - page 318

discover more about the processes involved in creating both. For those that wish this,
I suggest treading several dozens of topics on Bach, or the topics on Emmy listed on
my website where the MIDI files reside. I have also identified the two sources of the
fugue expositions so as to not encourage gamesmanship as to which is which when
none is intended. For those believing that the Bach here is far more creative and
intelligent music, I have no disagreement. I do believe, however, that to not consider
the Emmy example as creative, at least to a small degree would be foolish.
15.4 Conclusions
This brings me to my final thought; how do we recognize one thing as creative and
another not? The answer for me is twofold. First, creativitymust be surprising. By this
I mean it must be unusual, unique, unexpected, or previously considered unrelated.
Second, these surprising results must reveal something heretofore hidden, produce
an insight not yet considered, and most importantly associate two or more ideas not
previously seeming related. In short, it must associate two ideas not considered logical
but now revealed as imaginatively connected. And the examples in this chapter, I
believe, do just that.
From this point of view, the magic elixir of creativity is a split infinitive that
'boldly goes where no one has gone before,' a gambit least expected that wins a
game, or a sudden chromatic modulation that only makes sense when contextually
understood. All of these made possible by the intricate interrelationships between
what has and what will occur; surprise followed by revelation. And, lest I forget, all
of these being choices from already extant possibilities that generate the rules used.
References
1. Boden, M.A.: Computer models of creativity. AI Mag. 30 (3), (2014)
2. Colton, S.: The painting fool: stories from building an automated painter. In: McCormack, J.,
d'Inverno, M. (eds.) In: Computers and Creativity, p. 3. Springer, Berlin (1998)
3. Cook, Nicholas: Beethoven's unfinished piano concerto: a case of double vision? J. Am.
Musicol. Soc. 42 (2), 338-373 (1989)
4. Cope, David: Computer Models of Musical Creativity. MIT Press, Cambridge (2005)
5. Merker, B.H.: Layered constraints on the multiple creativities of music. In: Irène, Wiggins,
G.A. (eds.) Musical Creativity: Multidisciplinary Research in Theory and Practice, p. 25.
Psychology Press, New York (2006)