Since you have mentioned algorhythms several times, I wonder if you might reveal a bit more to what degree this is actually stochastic in origin.
In music you get three main elements: Melody, Harmony and Rhythm. I think it's plain obvious that the rhythmic part of Perniciosus was left to my discretion.
So I will concentrated on the two other elements.Melody
The melody that came directly from the computer can be found in bars 57 (6:13) to 123 (7:23). So 1:10 minutes of continuous stream of pitches. This came directly
from the computer, and I just added dynamics and some pedaling. It sounds like that, doesn't it?
The point there was to create a matrix which has no place for the audience (or the pianist I'll admit) to latch. To create a mathematical formula that would disallow the melody from repeating itself. And thus I used a computer to generate these pitches! The pitches come in permutations of 23 notes (*I think*. It's been a while since I composed this) and no permutation is the same with the other, or has similar patterns or others. It's a constant stream of notes coming to the face of the audience.
The same melodic material was used in the slow part, but treated in a completely different way and in a rather romantic fashion (as far as gestures are concerned). You can notice it in the first few bars...
And while I agree that there isn't a clear tonal center, things do revolve around C (the first and final note of the permutations)...Harmony
In the chords I had the same idea as before: Not to let two chords sound the same! So I wrote down all possible chords with 2,3 and 4 notes, without any repeating intervals in them (using a computer again), mixed them up and printed the info.
If you separate the work into three parts (slow - fast single pitches - tocatta like part) then you can say that I and II were influenced by computers, while the third is completely free.
II is just the computer speaking, and I uses the same material but in completely different ways.
I was very curious (as a research method probably), to study the extent that a composer can influence a given and non human material. Not a Bach melody but a computer melody. And I do feel that the first part is doing that very well. With great variation, difference of pace and interest. Then again this is me talking... Thoughts behind the work and the technique
The main idea of the work was explained above. The idea behind the technique is that if you give the audience a completely grey background (a stream of notes with no connection with each other), any element that stands out will be amplified! Computer generated material, so 'equal' in a sense, but the composers' use of it, and the control applied gave it shape... (Again I think).
The same technique was used later on, while doing my PhD for different reasons... Again the results are... interesting to say the least (and not displeasing I hope)!
Thanks for offering me a chance to talk about this! ^_^