So, how does this relate to computer music?
Western Music theory, up until the late 20th century, naturally assumed human performers and human audiences. With computer music, it's computer performers and human audiences.
The trick with this translation is decoupling the audience from the performer.
Perhaps, it starts with these series of questions:
What does it mean for a computer to compute?
How does the nature of computation relate to musical performance?
How can computational musical performance be relatable to our collective human perception of sound?
Then, it's just a matter of retro-actively applying voice->melody->counterpoint->harmony with this new context.
@paul I think you would love James Tenney's Meta-Hodos and Meta Meta Hodos if you haven't read it already. It was his pass at creating a music theory text from first principles: https://monoskop.org/images/1/13/Tenney_James_Meta-Hodos_and_Meta_Meta-Hodos.pdf
Excellent. I was quietly hoping you'd come up with something for me.
@paul This is the only thing of his I've read, but Denis Smalley also has some interesting ideas on the subject: ftp://infomus.it/pub/Papers/AestheticsPapers/OrganisedSound-Smalley.pdf
@paul Also I'd love to read this. Maybe you could serialize it in blog-like-form as you work on it?
If I do get around to working on this, it'll definitely be done in an incremental and informal way.
I may work it into my sndkit project. I think it can fit inside the scope. I'd want supplementary code to go with the ideas.
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