Towards an endogenous automated music

Chronochroma, a compositional language introduced in a previous article (Interface, vol. 8 (1979), 73–90), is extended to an automated system from both the compositional and the performance standpoint. Transformations within a diapason ranging from the purely stochastic to the purely deterministic, and patterned according to the basic principles of evolution are discussed, as well as the basics of a digital sound synthesis program which accommodates this system. Special attention is given to the aesthetic, philosophical and symbolic implications of this system and of automation in music generally.