Dr. Burman-Hall said that EMI did its best renditions of composers like Bach or Mozart, whose style is ”more Apollonian, restrained, logical and equation-like.
” The program is not so successful, she said, with less predictable composers like Beethoven or Bach’s son Carl Philipp Emanuel Bach.
As a test of EMI’s abilities, Dr. Cope likes to play its compositions to people who do not know they are hearing music written by a computer.
In 1988 EMI produced its first decent Bach invention.
”There is a big jump between what Cope calls signatures and what I call style, ” said Jonathan Berger, a composer and researcher at the Center for Computer Research in Music and Acoustics at Stanford.
Dr. Dennett said EMI’s Bach reminded him of the pseudo-French spoken in Garrison Keillor’s parody about the restaurant called Cafe Boeuf.
Ultimately EMI’s success relies on humans – not just the composers who wrote the music it imitates but also the programmer-composer who wrote the ingenious computer code.
This article was summarized automatically with AI / Article-Σ ™/ BuildR BOT™.