Although David Cope describes Experiments in Musical Intelligence’s (hereafter, EMI) melodic analysis in Schenkerian terms. EMI provides automated, stylistically nondiscriminatory, hierarchical and functional melodic analysis based on the terminal-point destinations, allowing the new compositions resulting from the recombination process to coherently recreate, moment by moment, middle and background structural levels (see Cope, 1996, pages 184-187).
A key point in the melodic analysis process is the concept of signature. David Cope defines signatures (Cope, 1991) as patterns of 1 to 8 contiguous melodic intervals (potentially a larger quantity if including harmonic intervals) that occur in more than one work from the same composer; that is, signatures are style-dependent but work-independent.
A key point in the melodic analysis process is the concept of signature. David Cope defines signatures (Cope, 1991) as patterns of 1 to 8 contiguous melodic intervals (potentially a larger quantity if including harmonic intervals) that occur in more than one work from the same composer; that is, signatures are style-dependent but work-independent.
