The reading delves into the cyclical patterns found in music composition and explores the application of information theory within a compositional context. The author emphasizes our ability to anticipate each note before hearing it, highlighting the cognitive reception of repetitiveness in music.

In my perspective, the incorporation of repetitions and predictable elements in music can be effective when balanced with non-repetitive details and transitions. I find that some repetitions, when skillfully employed, contribute to a catchy earworm effect and even introduce a hypnotic quality that enhances the overall composition. A well-executed use of repetition can create an auditory illusion of change, despite the underlying continuity of the sound. This idea lowkey resonates with the author’s point on how “what we interpret as spontaneous generation may be just the transformation of previously experienced material as it moves within the human perceptual and cognitive systems.”

Furthermore, the reading introduces the idea of incorporating noise and randomness as a tool to counteract redundancy in musical composition. While random corruptions have the potential to add a layer of unpredictability and musicality, I believe that such interventions work best when they are executed strategically. Applying randomness at the right moment and with a calculated approach often ensures that it contributes to the overall composition without disrupting the coherence of the musical piece.