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Volume 2, Issue 1, September 2017
machine improvisation, computational creativity, partial creativity, analysis
I analyse two specific cases of “improvising” music systems with the aim of developing some insights into what might constitute the “computational creativity” in each of these two implementations. First, I outline my working understandings of computational creativity and improvisation, giving a formal framework with which I subsequently examine my analyses of the two computer implementations: George E. Lewis’s Voyager and my own Favola. I complement the formal framework with soft systems analysis in order to map the role of the implementations in the concert performance situations. Through this approach I evaluate each of these implementations as a partial creativity in the context of the “human activity system” of the performance situation.