Laurie Spiegel’s article is a captivating exploration of the intersection between information theory and music composition. I appreciate how she breaks down the concept of entropy, using it as a lens to analyze the limitations of a simple melodic pattern and the power of introducing controlled noise.

It’s fascinating to consider how entropy, anticipation, and noise play crucial roles in shaping our musical experiences. This brought to mind the crafted buildup of climaxes, which, despite their intentional, predictable nature, manage to surprise us by deviating from the established pattern. It’s a delicate orchestration of tension and release, inviting nuanced anticipation. It contrasts with the randomness introduced by noise, aligning more with a controlled entropy.

I wonder if information theory has gained widespread use among composers working with computers, and if not, why that might be the case.