Generative music and Brian Eno

just copied this from wikipedia.
tis about brian eno and what he's been doing....

He collaborated on the development of SSEYO's Koan generative music system (created by Pete Cole and Tim Cole of intermorphic), which he used to create his hybrid album Generative Music 1.
Brian Eno, 1996:
“ Some very basic forms of generative music have existed for a long time, but as marginal curiosities. Wind chimes are an example, but the only compositional control you have over the music they produce is in the original choice of notes that the chimes will sound. Recently, however, out of the union of synthesisers and computers, some much finer tools have evolved. Koan Software is probably the best of these systems, allowing a composer to control not one but one hundred and fifty musical and sonic parameters within which the computer then improvises (as wind improvises the wind chimes).
The works I have made with this system symbolise to me the beginning of a new era of music. Until 100 years ago, every musical event was unique: music was ephemeral and unrepeatable and even classical scoring couldn't guarantee precise duplication. Then came the gramophone record, which captured particular performances and made it possible to hear them identically over and over again.
But now there are three alternatives: live music, recorded music and generative music. Generative music enjoys some of the benefits of both its ancestors. Like live music it is always different. Like recorded music it is free of time-and-place limitations - you can hear it when and where you want.
I really think it is possible that our grandchildren will look at us in wonder and say: "you mean you used to listen to exactly the same thing over and over again?"
”
Using the pseudonym CSJ Bofop, 1996:
“ Each of the twelve pieces on Generative Music 1 has a distinctive character. There are, of course, the ambient works ranging from the dark, almost mournful Densities III (complete with distant bells), to translucent Lysis (Tungsten). These are contrasted with pieces in dramatically different styles, such as Komarek with its hard edged, angular melodies, reminiscent of Schoenberg's early serial experiments, and Klee 42 whose simple polyphony is similar to that of the early Renaissance. But of course, the great beauty of Generative Music is that those pieces will never sound quite that way again.


and heres what wikipedia also got to say about generative music

There are four primary perspectives on Generative Music (Wooller, R. et.al., 2005)(reproduced with permission):

1. Linguistic/Structural: music composed from analytic theories that are so explicit as to be able to generate structurally coherent material (Loy and Abbott 1985; Cope 1991). 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.
2. Interactive/Behavioural: music generated by a system component that ostensibly has no inputs. That is, 'not transformational' (Rowe 1991; Lippe 1997:34; Winkler 1998).
3. Creative/Procedural: music generated by processes that are designed and/or initiated by the composer. Steve Reich's Its gonna rain and Terry Riley's In C are examples of this (Eno 1996).
4. Biological/Emergent: non-deterministic music (Biles 2002), or music that cannot be repeated, for example, ordinary wind chimes (Dorin 2001). This perspective comes from the broader generative art movement. 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 [citation needed].
Lerdahl and Jackendoff's publication described a generative grammar for homophonic tonal music, based partially on a Schenkerian model. While originally intended for analysis, significant research into automation of this process in software is being carried out by Keiji Hirata and others.
In Its gonna rain, overlapping tape loops of the spoken phrase "it's gonna rain" are played at slightly different speeds, generating different patterns through phasing.
Brian Eno, who coined the term 'generative music'[citation needed], 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) his latest album 'Another Day on Earth'. His works, lectures, and interviews on the subject have done much to promote generative music in the avant-garde music community.
Many software programs are now available to create generative music, such as SSEYO's Koan Pro (1994-2007) (used by Brian Eno to create his hybrid album 'Generative Music 1'), Karlheinz Essl's sound environments fLOW (1998-2004) and SEELEWASCHEN (2004), furthermore MusiGenesis (2005), a program that evolves music.
Lauri Gröhn has developed Synesthesia software that generates music (midi file) from any photos in a few seconds.
The madplayer uses generative techniques to create electronic music, as does LEMu (Live Electronic Music). Many algorithmic music projects are also considered to be generative. algorithmic.net comprehensively maps them.