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By David Cope

During this booklet David Cope develops principles and ideas he already defined in pcs and Musical kind (DAS 6), and describes the elemental rules of study, development matching, item oreintation, and usual language strategy. Copye's process makes it attainable to generate new compositions within the forms of a variety of composers, from again and Mozart to Prokovkiev and Scott Joplin. The accompany CD-ROM includes the doce and documentation for this system SARA (Simple Analytic Recombniant Algorithm), which produced new compositions within the styl of the track in its database. the recent creation features a distinct dialogue of the hot CD-ROM and the way to exploit his Recipe for protecting the programming clean and recent. Contents history and evaluate The research part The Pattern-Matching part the thing method The ATN part An Application-Level application and pattern Output Conclusions and the long run

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In one of these early interviews an elderly man broke down several times, his tears preventing him from replying to our questions. These were surmounted, and even though we offered to close the interview and leave, he insisted on continuing. It felt nevertheless that his privacy had been breached, and we had intruded in an area – his abiding sense of loss for his wife who he still missed profoundly even though she had been dead for ten years – where we should not have trodden. This was the initial impetus behind our developing the method of the self-interview, but we soon realised that it was particularly suited for researching memory in a number of ways.

Remembering as creative practice is not in itself exceptional, for it goes on all the time in everyone’s lives, involving applications of the mnemonic imagination in making meaning and deriving value out of all that has happened to us and to those we know in a series of interwoven pathways that we somehow retrace when we think of the past and what it makes of us. 24 Photography, Music and Memory With photography and recorded music as conveyances of memory, we see this as operating over three broad, overlapping stages.

As Richard Leppert has noted, ‘the sound of Cline’s voice reclaims the very agency that many of the songs she sang . . 50 We remain uncertain as to who is possessor and who the possessed, or even what it is that she possesses or is possessed by. Hearing the song again happily supported our sense of the need to investigate how these two cultural technologies mediate personal and social memories, and why they become bracketed together as media of memory. It seemed quite natural that they were placed together in the song, and this corroborated our realisation of the importance of attending to these technologies comparatively.

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