Priming Computer-Assisted Music Composition through Design of Human/Computer Interaction

Abstract:- This paper considers recent developments in the psychology of creativity and human/computer interaction, in order to advocate that the computer be understood not merely as a tool for building tools, but as a tool for constructing conceptual frames by which we come to understand and extend problem domains. Such an understanding of the computer allows for evaluation of its use in the creation of progressive art. Use of the computer in music composition and sound synthesis has a long history (more than 40 years) and provides a wealth of theoretical and experimental data on creative idea generation and human/computer interaction. Recent theories in cognitive psychology indicate that creative thinking involves a process of iterative activation of “cues ” which help direct the generation of ideas and the search for problem solutions. Along the way, however, thinking can become fixated on particular cues, thus leading to mental blocking and failure to creatively solve a given problem or formulate a new idea. Such a deadlock can be broken by shifting the conceptual framework through which cognitive patterns are engendered. The computer can be understood as a tool for designing interfaces and, as such, as a tool for constructing conceptual frameworks. In this capacity, computers assist not only problem solving, but in designing the very conceptual means by which problems might be formulated. It is precisely this capacity of the computer—the capacity for constructing representations of problem domains and spaces—that compels its use in creative activity like music composition. Several music composition software systems are briefly discussed in light of these considerations. Key-Words:- Composition theory, cognitive psychology, human/computer interaction, music composition