Motivations and Methodologies for Automation of the Compositional Process

Our aim in this paper is to clarify the range of motivations that have inspired the development of computer programs for the composition of music. We consider this to be important since different methodologies are appropriate for different motivations and goals. We argue that a widespread failure to specify the motivations and goals involved has lead to a methodological malaise in music related research. A brief consideration of some of the earliest attempts to produce computational systems for the composition of music leads us to identify four activities involving the development of computer programs which compose music each of which is inspired by different practical or theoretical motivations. These activities are algorithmic composition, the design of compositional tools, the computational modelling of musical styles and the computational modelling of music cognition. We consider these four motivations in turn, illustrating the problems that have arisen from failing to distinguish between them. We propose a terminology that clearly differentiates the activities defined by the four motivations and present methodological suggestions for research in each domain. While it is clearly important for researchers to embrace developments in related disciplines, we argue that research in the four domains will continue to stagnate unless the motivations and aims of research projects are clearly stated and appropriate methodologies are adopted for developing and evaluating systems that compose music.