Eno used SSEYO's Koan generative music system (created by Pete Cole and Tim Cole of Intermorphic), to create his hybrid album Generative Music 1 (published by SSEYO and Opal Arts in April 1996), which is probably his first public use of the term generative music. His works, lectures, and interviews on the subject have done much to promote generative music in the avant-garde music community. Brian Eno, who coined the term generative music, has used generative techniques on many of his works, starting with Discreet Music (1975) up to and including (according to Sound on Sound Oct 2005) Another Day on Earth.
#Wotja music software
An example of this technique is Joseph Nechvatal's Viral symphOny: a collaborative electronic noise music symphony created between the years 20 using custom artificial life software based on a viral model. This revolves around the idea that music, or sounds may be "generated" by a musician "farming" parameters within an ecology, such that the ecology will perpetually produce different variation based on the parameters and algorithms used. This perspective comes from the broader generative art movement. Non-deterministic music (Biles 2002), or music that cannot be repeated, for example, ordinary wind chimes (Dorin 2001). Steve Reich's It's Gonna Rain and Terry Riley's In C are examples of this (Eno 1996). Music generated by processes that are designed and/or initiated by the composer. The Wotja software by Intermorphic, and the Koan software by SSEYO used by Brian Eno to create Generative Music 1, are both examples of this approach. That is, "not transformational" (Rowe 1991 Lippe 1997:34 Winkler 1998). Music generated by a system component that has no discernible musical inputs. This perspective has its roots in the generative grammars of language ( Chomsky 1956) and music ( Lerdahl and Jackendoff 1983), which generate material with a recursive tree structure. Music composed from analytic theories that are so explicit as to be able to generate structurally coherent material (Loy and Abbott 1985 Cope 1991). et al., 2005) (reproduced with permission): There are four primary perspectives on generative music (Wooller, R.
#Wotja music pro
In 1995 Brian Eno started working with SSEYO's Koan Pro software, work which led to the 1996 publication of his title 'Generative Music 1 with SSEYO Koan Software'.Įno's early relationship with SSEYO Koan and Intermorphic co-founder Tim Cole was captured and published in his 1995 diary A Year with Swollen Appendices. Work on Koan was started in 1990, and the software was first released to the public in 1994.
#Wotja music windows
Koan was SSEYO's first real-time music generation system, developed for the Windows platform. The term has since gone on to be used to refer to a wide range of music, from entirely random music mixes created by multiple simultaneous CD playback, through to live rule-based computer composition. In 1995 whilst working with SSEYO's Koan software (built by Tim Cole and Pete Cole who later evolved it to Noatikl then Wotja), Brian Eno used the term "generative music" to describe any music that is ever-different and changing, created by a system.
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