Staring Emmy Straight in the Eye—And Doing My Best Not to Flinch

This chapter contains sections titled: Editor's Introduction, How Young I Was, and How Naive, Chess Tumbles to Computational Power..., ...and so, Is Musical Beauty Next in Line?, The Proof of the Pudding Is in the Eating, Lecturing on Emmy in Many Different Venues, Is Music Just Splicings of Licks, and No More?, A personal View of How Emmy Works, Syntactic Meshing in Emmy: Voice-Hooking and Texture-Matching, Semantic Meshing in Emmy: Tension-Resolution Logic and SPEAC Labels, Signatures, Templagiarism, The Acid Test: Hearing and Voting, To Sound like Bach and to Speak like Bach, The Nested Circles of Style, When Does a Beatles Song Sound like a Bach Chorale?, A Portrait That “Looks like” Its Intended Subject, Lewis Rowell's “Bach Grammar”, Showing Up Despite Being a No-Show, Lennie Is Jealous of George, Devilishly Infectious Rubbish Spouted by the Orwellian Versificator, The Pea-Sized Creative Module Keeps on Truckin'..., Emmy Tries Her Hand at Doing Chopin, Scarfing Down Spastroni in South Delabam', Using 8-grams to Ape the Great Art of the Bard, Well, not Quite the Bard..., Composing in Your Sleep... or in Your Grave, Is Language Instrinsically Deeper Than Music?, Falling Hard for a Pattern of Blips, Three Flavors of Pessimism