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Section 10: from measure 213 to measure 224
￿
Section 11: from measure 225 to measure 247
￿
Section 12: from measure 248 to measure 253
￿
Section 13: from measure 254 to measure 278
￿
The 13 sections informed the overarching form of the 3 movements of the new
symphony. This provided a template for the new piece, which preserved the overall
form of the original Beethoven movement. Indeed, MusEng did not learn the whole
Beethoven piece at once. Rather, it was trained on a section-by-section basis and the
musical sequences for the respective new sections of the new movements were
generated independently from each other. For instance, Section 1 of the movement
Ballerina has 26 measures and was composed based on materials from the
rst 26
measures of Beethoven
s music. Next, Section 2 has 24 measures and was com-
posed based on materials from the next 24 measures (26 - 50) of Beethoven ' s music,
and so on.
A block diagram portraying the compositional procedures is shown in Fig. 12.5 .
The blocks with thicker lines represent procedures that can be in
'
uenced and/or
controlled by the fMRI. After the segmentation of the music into 13 sections, the
flow of action bifurcates into two possibilities: manual handling of the segments
(left-hand side of Fig. 12.5 ) and computerised handling with MusEng (right-hand
side of Fig. 12.5 ). A discussion of manual handling is beyond the scope of this
chapter, but as an example we can show the transformation of Section 1 of Bee-
thoven
'
s original into the opening section of Ballerina . Figure 12.6 shows the
rst
10 measures of Beethoven
s music focusing on the parts of the violas, violoncellos
and double basses. Figure 12.7 shows how those measures were recomposed to
'
Fig. 12.5 Block diagram of
the overall compositional
process
Segment original
music into 13 sections
Train MusEng
with Section n
Segment Section n
into measures
MusEng generates
new Section n
Manipulate
measures
Produce
new Section n
MusEng transforms
new Section n
Orchestrate
new Section n
Write new Section n
 
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