sion, antecedent, and consequent into a grammatically viable whole. Some of these parts may subsume others and most can be used recursively. The number of possible results is potentially unlimited. For each new grammatical item, the program consults an appropriate lexicon and selects at random a verified pattern. In a subsequent pass, the texture-acquisition phase, the skeletal new piece is fleshed out with additional notes appropriate to its genre. While the results are far from perfect imitations of the parent repertories, they are infinitely superior to many other cut-and-paste procedures that have been used in computer music labs to re-compose music of the past. An EMI F-Minor Invention in the style of Bach is shown below (see Ex. 4).

© 1991 David Cope. Used by permission.

Ex. 4: Experiments in Musical Intelligence: F-Minor Invention in the style of

J. S. Bach (excerpt)