How jazz musicians improvise
How jazz musicians improvise
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DOI：
10.1525/mp.2002.19.3.415
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发表时间：
2002-03-01
期刊：
影响因子：
2.3
通讯作者：
Johnson-Laird, PN
中科院分区：
文献类型：
--
作者：
Johnson-Laird, PN
本文捍卫了创造性理论应该是可计算的，并且只有三种算法可以具有创造性的观点。它提出了爵士乐即兴演奏的算法需求的一个中心原则：在即兴创作的和弦序列的创建和实时旋律即兴创作之间，在计算能力方面进行了分工。生成和弦序列的算法必须具有强大的计算能力，也就是说，它需要一个工作内存或中间结果的符号。即兴表演取决于即兴演奏符合和弦顺序的新旋律的能力。相应的算法必须实时快速运行，从而最小化工作内存上的计算负荷。分析和计算机模型支持了算法需求的原则。
This article defends the view that theories of creativity should be computable and that only three sorts of algorithm can be creative. It proposes a central principle of algorithmic demands for jazz improvisation: a division of labor in terms of computational power occurs between the creation of chord sequences for improvisation and the creation of melodic improvisations in real time. An algorithm for producing chord sequences must be computationally powerful, that is, it calls for a working memory or a notation of intermediate results. Improvisation depends on the ability to extemporize new melodies that fit the chord sequence. The corresponding algorithm must operate rapidly in real time, and so it minimizes the computational load on working memory. The principle of algorithmic demands is supported by analysis and a computer model.