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From: quiniou@calculo.irisa.fr (Rene Quiniou)
Newsgroups: comp.music,rec.music.classical
Subject: Re: Fractal Music Generation (summary)
Keywords: music theory, composition, Meyer
Message-ID: <1990Apr12.072044.13182@irisa.fr>
Date: 12 Apr 90 07:20:44 GMT
References: <562@bilver.UUCP> <1990Apr9.151958.26859@ncsuvx.ncsu.edu> <9613@sdcc6.ucsd.edu> <12859@venera.isi.edu>
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Could you post the exact references of the sources cited in your article
as well as your thesis, please?

In article <12859@venera.isi.edu>, smoliar@vaxa.isi.edu (Stephen
Smoliar) writes:
|> In article <9613@sdcc6.ucsd.edu> mu298ac@sdcc6.ucsd.edu (Philip Marlowe)
|> writes:
|> >In article <1990Apr9.151958.26859@ncsuvx.ncsu.edu> george@shumv1.ncsu.edu
|> >(George Browning) writes:
|> >>In article <562@bilver.UUCP> alex@bilver.UUCP (Alex Matulich) writes:
|> >>
|> >>	I have an article from the book Fundamental Algorithms for
|> >>Computer Graphics written by Richard F. Voss that talks about fractal

|> grammar in Dom Paolo Ferretti's ESTHETIQUE GREGORIENNE.  (The French
|> translation of this book appeared in 1938, so don't expect to find any

|> There are any number of "dice composers" which apply a similar principle to
|> tonal music, the most famous being by Mozart.  Here, a random procedure is

|> >and why good melodies *sound* good, try reading Leonard Meyer's
|> >_Emotion_and_Meaning_in_Music_ and _Explaining_Music_.
|> >
|> sorts of insights Philip has in mind would do better to turn to a book
|> like John Sloboda's THE MUSICAL MIND.  (I disagree with a good deal of

|> in a hierarchy;  and this assumption has been carried on by both Meyer and
|> Narmour, on one hand, Lerdahl and Jackendoff, on another, and Yeston, on a
|> third.  (There are probably several more hands lurking out there, but I am
|> not particularly inclined to catalog them.)  Fortunately, Lewin seems
to have
|> broken out of this "dictatorship of the hierarchy" in his recent
"Music Theory,
|> Phenomenology, and Modes of Perception" paper;  and my own guess is that he

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