{"id":28899,"date":"2025-06-02T20:57:49","date_gmt":"2025-06-02T20:57:49","guid":{"rendered":"http:\/\/medexperts.pro\/?p=28899"},"modified":"2025-06-02T21:24:01","modified_gmt":"2025-06-02T21:24:01","slug":"david-cope-godfather-of-a-i-music-is-dead-at-83","status":"publish","type":"post","link":"https:\/\/medexperts.pro\/?p=28899","title":{"rendered":"David Cope, Godfather of A.I. Music, Is Dead at 83"},"content":{"rendered":"<div><\/div>\n<p id=\"article-summary\" class=\"css-79rysd e1wiw3jv0\">His EMI algorithm, an early form of artificial intelligence that he developed in the 1980s, prompted searching questions about the limits of human creativity.<\/p>\n<section class=\"meteredContent css-1r7ky0e\">\n<div class=\"css-s99gbd StoryBodyCompanionColumn\" data-testid=\"companionColumn-0\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">David Cope, a composer and pioneer in the field of algorithmic composition, who in the 1980s developed a computer program for writing music in the style of Johann Sebastian Bach, Wolfgang Amadeus Mozart and other Classical masters, died on May 4 at his home in Santa Cruz, Calif. He was 83.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The cause was congestive heart failure, his son Stephen Cope said.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">Before the proliferation of A.I. music generators, before the emergence of Spotify and the advent of the iPod, before Brian Eno had even coined the term \u201cgenerative music,\u201d Mr. Cope had already figured out how to program a computer to write classical music.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">It was 1981 and, struggling with writer\u2019s block after being commissioned to compose an opera, he was desperate for a compositional partner. He found one in a floppy disk.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">The process was straightforward but tedious. Mr. Cope started by quantifying musical passages from his own work, rendering them as numbers in a database that could be analyzed by a pattern-identifying algorithm he created. The algorithm would then reassemble the \u201csignatures\u201d \u2014 Mr. Cope\u2019s name for the patterns it found \u2014 into new combinations, and he would convert those combinations into a score.<\/p>\n<\/div>\n<\/div>\n<div data-testid=\"Dropzone-1\"><\/div>\n<div class=\"css-s99gbd StoryBodyCompanionColumn\" data-testid=\"companionColumn-1\">\n<div class=\"css-53u6y8\">\n<p class=\"css-at9mc1 evys1bk0\">It wasn\u2019t the first time someone had used a computer to create music. In 1957, <a class=\"css-yywogo\" href=\"https:\/\/www.nytimes.com\/1994\/02\/01\/obituaries\/lejaren-hiller-69-first-composer-to-write-music-with-a-computer.html\" title>Lejaren Hiller<\/a> and Leonard Isaacson had employed a <a class=\"css-yywogo\" href=\"https:\/\/distributedmuseum.illinois.edu\/exhibit\/illiac-suite\/\" title rel=\"noopener noreferrer\" target=\"_blank\">five-ton<\/a> supercomputer at the University of Illinois to compose \u201cIlliac Suite,\u201d widely considered to be the first computer-generated score. But Mr. Cope\u2019s program took things a step further: By scanning and reproducing unique signatures, his algorithm could essentially replicate style.<\/p>\n<p class=\"css-at9mc1 evys1bk0\">After years of troubleshooting and fine-tuning, the program, known as Experiments in Musical Intelligence, was able to produce a full opera in a matter of hours. EMI, or Emmy, as Mr. Cope affectionately called it, was officially born. It was one of the earliest computer algorithms used to generate classical music.<\/p>\n<div class=\"css-kbghgg\">\n<div class=\"css-121kum4\">\n<div class=\"css-171quhb\"><\/div>\n<div class=\"css-asuuk5\">\n<div class=\"css-7axq9l\" data-testid=\"optimistic-truncator-noscript\">\n<div data-testid=\"optimistic-truncator-noscript-message\" class=\"css-6yo1no\">\n<p class=\"css-3kpklk\">We are having trouble retrieving the article content.<\/p>\n<p class=\"css-3kpklk\">Please enable JavaScript in your browser settings.<\/p>\n<\/div>\n<\/div>\n<div class=\"css-1dv1kvn\" id=\"optimistic-truncator-a11y\">\n<hr \/>\n<p>Thank you for your patience while we verify access. If you are in Reader mode please exit and\u00a0<a href=\"https:\/\/myaccount.nytimes.com\/auth\/login?response_type=cookie&amp;client_id=vi&amp;redirect_uri=https%3A%2F%2Fwww.nytimes.com%2F2025%2F06%2F02%2Ftechnology%2Fdavid-cope-dead-ai-music.html&amp;asset=opttrunc\">log into<\/a>\u00a0your Times account, or\u00a0<a href=\"https:\/\/www.nytimes.com\/subscription?campaignId=89WYR&amp;redirect_uri=https%3A%2F%2Fwww.nytimes.com%2F2025%2F06%2F02%2Ftechnology%2Fdavid-cope-dead-ai-music.html\">subscribe<\/a>\u00a0for all of The Times.<\/p>\n<hr \/>\n<\/div>\n<div class=\"css-1g71tqy\">\n<div data-testid=\"optimistic-truncator-message\" class=\"css-6yo1no\">\n<p class=\"css-3kpklk\">Thank you for your patience while we verify access.<\/p>\n<p class=\"css-3kpklk\">Already a subscriber?\u00a0<a data-testid=\"log-in-link\" class=\"css-z5ryv4\" href=\"https:\/\/myaccount.nytimes.com\/auth\/login?response_type=cookie&amp;client_id=vi&amp;redirect_uri=https%3A%2F%2Fwww.nytimes.com%2F2025%2F06%2F02%2Ftechnology%2Fdavid-cope-dead-ai-music.html&amp;asset=opttrunc\">Log in<\/a>.<\/p>\n<p class=\"css-3kpklk\">Want all of The Times?\u00a0<a data-testid=\"subscribe-link\" class=\"css-z5ryv4\" href=\"https:\/\/www.nytimes.com\/subscription?campaignId=89WYR&amp;redirect_uri=https%3A%2F%2Fwww.nytimes.com%2F2025%2F06%2F02%2Ftechnology%2Fdavid-cope-dead-ai-music.html\">Subscribe<\/a>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n","protected":false},"excerpt":{"rendered":"<p>His EMI algorithm, an early form of artificial intelligence that he developed in the 1980s, prompted searching questions about the limits of human creativity.David Cope, a composer and pioneer in the field of algorithmic composition, who in the 1980s developed a computer program for writing music in the style of Johann Sebastian Bach, Wolfgang Amadeus Mozart and other Classical masters, died on May 4 at his home in Santa Cruz, Calif. He was 83.The cause was congestive heart failure, his son Stephen Cope said.Before the proliferation of A.I. music generators, before the emergence of Spotify and the advent of the iPod, before Brian Eno had even coined the term \u201cgenerative music,\u201d Mr. Cope had already figured out how to program a computer to write classical music.It was 1981 and, struggling with writer\u2019s block after being commissioned to compose an opera, he was desperate for a compositional partner. He found one in a floppy disk.The process was straightforward but tedious. Mr. Cope started by quantifying musical passages from his own work, rendering them as numbers in a database that could be analyzed by a pattern-identifying algorithm he created. The algorithm would then reassemble the \u201csignatures\u201d \u2014 Mr. Cope\u2019s name for the patterns it found \u2014 into new combinations, and he would convert those combinations into a score.It wasn\u2019t the first time someone had used a computer to create music. In 1957, Lejaren Hiller and Leonard Isaacson had employed a five-ton supercomputer at the University of Illinois to compose \u201cIlliac Suite,\u201d widely considered to be the first computer-generated score. But Mr. Cope\u2019s program took things a step further: By scanning and reproducing unique signatures, his algorithm could essentially replicate style.After years of troubleshooting and fine-tuning, the program, known as Experiments in Musical Intelligence, was able to produce a full opera in a matter of hours. EMI, or Emmy, as Mr. Cope affectionately called it, was officially born. It was one of the earliest computer algorithms used to generate classical music.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and\u00a0log into\u00a0your Times account, or\u00a0subscribe\u00a0for all of The Times.Thank you for your patience while we verify access.Already a subscriber?\u00a0Log in.Want all of The Times?\u00a0Subscribe.<\/p>\n","protected":false},"author":1,"featured_media":28901,"comment_status":"close","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-28899","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-technology"],"_links":{"self":[{"href":"https:\/\/medexperts.pro\/index.php?rest_route=\/wp\/v2\/posts\/28899","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/medexperts.pro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/medexperts.pro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/medexperts.pro\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/medexperts.pro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=28899"}],"version-history":[{"count":2,"href":"https:\/\/medexperts.pro\/index.php?rest_route=\/wp\/v2\/posts\/28899\/revisions"}],"predecessor-version":[{"id":28902,"href":"https:\/\/medexperts.pro\/index.php?rest_route=\/wp\/v2\/posts\/28899\/revisions\/28902"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/medexperts.pro\/index.php?rest_route=\/wp\/v2\/media\/28901"}],"wp:attachment":[{"href":"https:\/\/medexperts.pro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=28899"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/medexperts.pro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=28899"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/medexperts.pro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=28899"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}