How does a performer interpret these pieces, given that there's no "intention" of the composer to look for? "Suppose I found a score in a library without knowing who wrote it," says Díaz-Jerez. "I approach these pieces as I would that one – by analysing the score to see how it works." In that respect, he sees no difference from deducing the structure of a Bach fugue.This reminds me strongly of the discussion that took place amongst Mīmāṃsaka philosophers in India about the possibility of a injunctive force being exerted by a scripture having no author and therefore no inherent intentionality (see, e.g., John Taber on this topic).
You can compare it with computer chess, says the philosopher of music Stephen Davies, of the University of Auckland in New Zealand. "People said computers wouldn't be able to show the same original thinking, as opposed to crunching random calculations. But now it's hard to see the difference between people and computers with respect to creativity in chess. Music, too, is rule-governed in a way that should make it easily simulated."
What would a Mīmāṃsaka say about computer-generated music? Or computer-generated scripture, for that matter?
And can you tell human- and computer-generated music apart? Take this test :-)