tronic origin - in evoking in a listener some of the impressions generally associated to 'conventional' music.

We will attempt to describe each individual project.

Dave Anderson, then faculty member at the University of California at Berkeley and now at Sonic Solution, has contributed to the definition of the language Formula, which allows rendition of interpretative nuances for a known score - here the Prelude No. 8 by Chopin - as well as the definition of compositional procedures, used in the piece Tuf-Stuf by Ron Kuivila, who has collaborated with the author.

David Cope is Professor of Music at the University of Santa Cruz. Inspired by the algorithmic procedure for automatic composition Würfelspiel by W.A. Mozart, the author considers the problem of recombining excerpts from Mozart sonatas to obtain 'new' ones. In doing so, he shows that segments recombined at random produce unsatisfactory pieces, because devoid of musical sense. If instead the system takes into account musical concepts such as harmony, melody and overall context, then the recombination is much better, as illustrated by a piece 'composed' by his program EMI from segments of the Mozartian sonatas K 283 and K 300. The CD contains also a complete piece with the duration of 2 minutes and 43 seconds composed by the system.

Margareth Johnson, now at Stanford University, submitted this work for her Ph.D. thesis at Hunter College in New York. It is an expert system which interprets Bach Fugues, such as those of the Well Tempered Clavier.

As examples one hears the subject of fugues 2, 13 and 7 from the book, first as written and played mechanically by a sequencer and then with the interpretation, followed by the execution of the complete Fugue no. 2.

Roger Dannenberg teaches at Carnegie Mellon University in Pittsburgh and he is well-known among others for his CMU toolkit, a set of programs to drive a MIDI interface. His project consists of the design and realization of the language Fugue, a LISP-like system to express musical sounds and concepts. The piece, Spomin by P. Velikonjia, illustrates the concepts described in the text and uses Fugue as a musical and expressive medium.

Hideyuki Morita is a student at the Waseda University in Tokyo and demonstrates a robot-orchestra, that is a system who simulates a classical orchestra and which can be conducted by a conductor which wears an electrically wired glove and stands in front of a camera. The examples are taken from: the Symphony no. 1 by Brahms; the piece Premonition by T. Hinata, in which the user gives commands which the system acknowledges by talking back; Clair de lune by C. Debussy; the Dance of the Sugar Plum Fairy from the Nutcracker Suite by Tchaikowsky, in rapidly changing tempi to show the time response of the system to conductor commands; and finally the Concert no. 1 for piano and orchestra by Tchaikowsky, with a human pianist and the synthetic orchestra.