David Cope

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David Cope
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San Francisco, California, U.S.
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Santa Cruz, California, U.S.
OccupationTemplate:Pluralize from textAuthor, composer, scientist, professor
EmployerTemplate:Pluralize from textUniversity of California, Santa CruzTemplate:Pluralize from text
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Known forResearch in artificial intelligence and music
Notable creditTemplate:Pluralize from textTemplate:Pluralize from text
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Notable workEMI (Experiments in Musical Intelligence), Emily Howell
TitleDickerson Emeriti Professor of Music
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David Howell Cope (May 17, 1941 – May 4, 2025) was an American author, composer, scientist and Dickerson Professor of Music at UC Santa Cruz. His primary area of research involved artificial intelligence and music; he wrote programs and algorithms that can analyze existing music and create new compositions in the style of the original input music. He taught the groundbreaking summer workshop in Workshop in Algorithmic Computer Music (WACM) that was open to the public as well as a general education course entitled Artificial Intelligence and Music for enrolled UCSC students. Cope was also co-founder and CTO Emeritus of Recombinant Inc., a music technology company.[1] He died of congestive heart failure on May 4, 2025, at the age of 83.[2][3]

Composition

EMI

His EMI (Experiments in Musical Intelligence, pronounced "Emmy"[4]) software has produced works in the style of various composers,[5][6] some of which have been commercially recordedLua error in package.lua at line 80: module 'Module:Footnotes/anchor_id_list' not found.—ranging from short pieces to full-length operas.[7]

In 1981, he received a commission to compose an opera, but had a "composer's block", so he began writing EMI (on an Apple desktop computer) to understand and modify his own style, and 8 years after receiving the commission, managed to write the opera in 2 days with the help of EMI. Once it was done, he applied the same method to other composers like Bartok, Brahms, Chopin, Gershwin, Joplin, Mozart, and Prokoviev, resulting in a program that could compose in their styles as well. He then got an album published Bach By Design which was played by a Disklavier. The next album, Classical Music Composed by Computer, was played by humans.[8][9]

Douglas Hofstadter developed a touring lecture about EMI, during the middle of which he would play two pieces, one a genuine Chopin piece, and one Chopin-style piece by EMI. The audience would then guess which is which, like in a Turing test. The audience could guess not better than random chance. In 2001, EMI consisted of 20,000 lines of Lisp code.[10] In 2005, Cope deleted EMI’s music database, arguing that because EMI's compositions were "infinitely reproducible", they were devalued by critics.[11][4]

Emily Howell

His subsequent "Emily Howell" program models musical creativity based on the types of creativity outlined by Margaret Boden in her book The Creative Mind: Myths and Mechanisms.[12]

Emily Howell is a computer program[13] featuring an interactive interface that "hears" feedback from listeners, and builds its own musical compositions from a source database, derived from Experiments in Musical Intelligence (EMI).[14] Cope attempts to “teach” the program by providing feedback so that it can cultivate its own "personal" style.[15] The software appears to be based on latent semantic analysis.[16]

Emily Howell's first album[17] was released in February 2009 by Centaur Records (CRC 3023). Titled From Darkness, Light, this album contains its Opus 1, Opus 2, and Opus 3 compositions for chamber orchestra and multiple pianos. Its second album Breathless was released in December 2012, also by Centaur Records (CRC 3255).[18][19]

Personal compositions

In 1975, Cope composed a short piece on an IBM machine, using punched cards.[8]

As a composer, Cope's own work encompassed a variety of styles—from the traditional to the avant-garde—and techniques, such as unconventional manners of playing, experimental musical instrument, and microtonal scales, including a 33-note system of just intonation he developed himself.Lua error in package.lua at line 80: module 'Module:Footnotes/anchor_id_list' not found. Most recently, all of his original compositions have been written in collaboration with the computer—based on the input of his earlier works. He seeks synergy between composer creativity and computer algorithm as his principal creative direction.

Bibliography

Cope published a wide range of books, which are often used as textbooks. New Directions in Music, first published in 1971, is currently in its 7th edition and is the standard text for contemporary music.[20] In 2009, Cope was interviewed by the media in anticipation of the release of a CD containing music composed collaboratively by Cope and Emily Howell, a computer program.[5]

Cope also published a series of detective novels under a pseudonym.Lua error in package.lua at line 80: module 'Module:Footnotes/anchor_id_list' not found.

In 2022, Cope published the book Ethics of Computer-Assisted Music. Cope argues that just as there are differences in the application of ethics and morals among diverse cultures across society, there are similar ethical complexities that exist within the field of computer music.[21]

Books

  • Cope, David (1991). Computers and Musical Style. Madison, Wisconsin: A-R Editions.
  • —— (1996). Experiments in Musical Intelligence. Madison, Wisconsin: A-R Editions.
  • —— (1997). Techniques of the Contemporary Composer. New York City: Schirmer Books. Template:ISBN.
  • —— (2000). New Directions in Music, 7th ed. Prospect Heights, Illinois: Waveland Press. Template:ISBN.
  • —— (2000). The Algorithmic Composer. Madison, Wisconsin: A-R Editions.
  • —— (2001). Virtual Music: Computer Synthesis of Musical Style. Cambridge, Massachusetts: The MIT Press. Template:ISBN.
  • —— (2006). Computer Models of Musical Creativity. Cambridge, Massachusetts: MIT Press.
  • —— (2008). Hidden Structure: Music Analysis Using Computers. Madison, Wisconsin: A-R Editions. Template:ISBN.
  • —— (2012). A Musicianship Primer San Francisco. Epoc Books. Template:ISBN.
  • —— (2022). Cope, David (March 19, 2022). Ethics of Computer-Assisted Music. Coppell, Texas: Self-published. Template:ISBN.

Chapters

  • 1992. "A Computer Model of Music Composition." In Machine Models of Music, Stephan Schwanauer and David Levitt, eds.: MIT Press.
  • 1992. "On the Algorithmic Representation of Musical Style." In Musical Intelligence, M. Balaban, K. Ebcioglu, and O. Laske, eds. : AAAI Press.
  • 1998. "Signatures and Earmarks: Computer Recognition of Patterns in Music." In Melodic Similarity, Concepts, Procedures, and Applications. Walter B. Hewlett and Eleanor Selfridge-Field (eds.). Cambridge, Massachusetts: MIT Press.

Articles

  • 1987. "Experiments in Music Intelligence." In Proceedings of the International Computer Music Conference, San Francisco: Computer Music Association.
  • 1987. "An Expert System for Computer-Assisted Music Composition." Computer Music Journal 11,4 (Winter): 30–46.
  • 1988. "Music and LISP." AI Expert 3,3 (March): 26–34.
  • 1988. "Music: The Universal Language." In Proceedings of the First Workshop on AI and Music. Minneapolis/St. Paul, Minnesota: AAAI: 87–98.
  • 1989. "Experiments in Musical Intelligence (EMI): Non-Linear Linguistic-based Composition." Interface, vol. 18: 117–139.
  • 1990. "Pattern Matching as an Engine for the Computer Simulation of Musical Style." In Proceedings of the 1990 ICMC. San Fran Computer Music Association
  • 1991. "Recombinant Music." COMPUTER. (July).
  • 1991. "Computer Simulations of Musical Style." Computers in Music Research, The Queens University of Belfast, 7–10 (April): 15–17.
  • 1992. "Computer Modeling of Musical Intelligence in Experiments in Musical Intelligence." Computer Music Journal 16,2 (Summer): 69–83.
  • 1993. "Virtual Music." Electronic Musician, 9:5 (May): 80–85.
  • 1996. "Mimesis du style et de la structure musicale." Symposium on Composition, Modelisation et Ordinateur. IRCAM, Paris: 21–23.
  • 1997. "Composer's Underscoring Environment." In Proceedings of the International Computer Music Conference. San Fran: Computer Music Association.
  • 1997. "The Composer's Underscoring Environment: CUE." Computer Music Journal 21/3 (Fall).
  • 1999. "One Approach to Musical Intelligence." IEEE Intelligent Systems. Los Alamitos, California: IEEE Computer Society (14/3, May/June).
  • 2000. "Facing the Music: Perspectives on Machine Composed Music." Leonardo Music Journal 9: 79–87.
  • 2002. "Computer Analysis and Composition Using Atonal Voice-Leading Techniques." Perspectives of New Music 40/1 (Winter): 121–146.
  • 2003. "Computer Analysis of Musical Allusions." Computer Music Journal 27/1: 11–28.
  • 2004. "A Musical Learning Algorithm." Computer Music Journal 28/3: 12–27.
  • 2006. "The Vivaldi Code" Wired, issue 14. September 9, 2006.

Discography

  • 1982. The Way. Opus One Records. Number 82.
  • 1993. Bach by Design. Centaur Records. CRC 2184
  • 1997. Classical Music Composed by Computer. Centaur Records. CRC 2329
  • 1997. Virtual Mozart. Centaur Records. CRC 2452
  • 1999. Towers. Vienna Modern Masters. VMM 2024
  • 2003. Virtual Bach. Centaur Records. CRC 2619
  • 2009. From Darkness, Light (Emily Howell). Centaur Records. CRC 3023
  • 2011. Symphony No. 4. Epoc. B008J5IK78
  • 2012. Symphony No. 5. Epoc. B008J5IFD2
  • 2012. Symphony No. 9 "(Martin Luther King, Jr.)" Epoc. B008J5IGCW
  • 2012. String Quartets 5 and 6. Epoc. B008O9RZTS
  • 2012. Violin Concerto/Viola Concerto. Epoc. B008J5IGRC
  • 2012. Cello Concerto/Octet for Strings. Epoc. B008K8VJM2
  • 2012. Piano Concerto/Re-Birth/Transcendence. Epoc. B008PYPDUK

See also

References

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  1. ^ Page Module:Citation/CS1/styles.css has no content."Recombinant Website". Archived from the original on September 29, 2007.
  2. ^ Page Module:Citation/CS1/styles.css has no content.Salazar, Miguel (June 2, 2025). "David Cope, Godfather of A.I. Music, Is Dead at 83". The New York Times. Retrieved June 2, 2025.
  3. ^ Page Module:Citation/CS1/styles.css has no content.Mitchell, Melanie (May 8, 2025). "David Cope: Composer, computer scientist, and pioneer of computer generated music". AIGuide.com. Retrieved May 9, 2025.
  4. ^ a b Page Module:Citation/CS1/styles.css has no content.Mitchell, Melanie (2020). Artificial Intelligence: A Guide for Thinking Humans. Macmillan Publishers. ISBN 9781250758040.
  5. ^ a b Page Module:Citation/CS1/styles.css has no content.Adams, Tim (July 10, 2010). "David Cope: 'You pushed the button and out came hundreds and thousands of sonatas'". The Observer. ISSN 0029-7712. Retrieved June 15, 2024.
  6. ^ Page Module:Citation/CS1/styles.css has no content.Johnson, George (November 11, 1997). "Undiscovered Bach? No, a Computer Wrote It". The New York Times. ISSN 0362-4331. Retrieved June 15, 2024.
  7. ^ Page Module:Citation/CS1/styles.css has no content.tluong (April 29, 2015). "Algorithmic Music – David Cope and EMI". CHM. Retrieved June 15, 2024.
  8. ^ a b Page Module:Citation/CS1/styles.css has no content.tluong (April 29, 2015). "Algorithmic Music – David Cope and EMI". CHM. Retrieved January 17, 2025.
  9. ^ Page Module:Citation/CS1/styles.css has no content."Switched on Bach: David Cope's computer compositions". Engadget. May 28, 2013. Retrieved January 17, 2025.
  10. ^ Hofstadter, Douglas R. "Staring Emmy straight in the eye–and doing my best not to flinch." Virtual music: Computer synthesis of musical style (2001): 33-82.
  11. ^ Page Module:Citation/CS1/styles.css has no content.Boden, Margaret A. (July 7, 2009). "Computer Models of Creativity". AI Magazine. 30 (3): 23–34. doi:10.1609/aimag.v30i3.2254. ISSN 2371-9621.
  12. ^ Page Module:Citation/CS1/styles.css has no content.Boden, Margaret A. (2004). The Creative Mind: Myths and Mechanisms (PDF) (2nd ed.). London: Routledge. pp. 311–313. ISBN 0-203-50852-1.
  13. ^ Page Module:Citation/CS1/styles.css has no content.Adams, Tim (July 10, 2010). "David Cope: 'You pushed the button and out came hundreds and thousands of sonatas'". The Observer. ISSN 0029-7712. Retrieved October 6, 2017.
  14. ^ David Cope (1987), "Experiments in Music Intelligence." In Proceedings of the International Computer Music Conference, San Francisco: Computer Music Assn.
  15. ^ Page Module:Citation/CS1/styles.css has no content.Cheng, Jacqui (September 30, 2009). "Virtual Composer Makes Beautiful Music and Stirs Controversy". Ars Technica.
  16. ^ Page Module:Citation/CS1/styles.css has no content.Wiggins, G. A. (December 14, 2007). "Computer Models of Musical Creativity: A Review of Computer Models of Musical Creativity by David Cope" (PDF). Literary and Linguistic Computing. 23 (1): 109–116. doi:10.1093/llc/fqm025. Archived from the original (PDF) on March 19, 2012. Retrieved October 24, 2014.
  17. ^ Page Module:Citation/CS1/styles.css has no content."Emily Howell: From Darkness, Light. Music Composed by a computer program designed by David Cope. From Darkness, Light". www.centaurrecords.com.
  18. ^ Page Module:Citation/CS1/styles.css has no content."Artificial Intelligence Able to Create Music". Next Nature Network. March 21, 2015. Retrieved October 6, 2017.
  19. ^ Page Module:Citation/CS1/styles.css has no content."Emily Howell: Breathless. Silver Blood". www.centaurrecords.com.
  20. ^ Page Module:Citation/CS1/styles.css has no content.de la Vega, Aurelio (1984). "Review of New Directions in Music". American Music. 2 (2): 98–100. doi:10.2307/3051670. ISSN 0734-4392. JSTOR 3051670.
  21. ^ Page Module:Citation/CS1/styles.css has no content.Cope, David (March 19, 2022). Ethics of Computer-Assisted Music. Coppell, Texas: Self-published. p. 9. ISBN 979-8-4304-3236-2.

Sources

Further reading

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