Further Reading

Boden’s distinctions among combinational, exploratory, and transformational creativity remain the conceptual point of departure [ Boden , 1998 , 2004 ] . Computational criteria for creative systems are developed by Wiggins [ 2006 ] , Ritchie [ 2007 ] , Colton [ 2008 ] , and Jordanous [ 2012 ] ; the Association for Computational Creativity maintains a broader and continually developing bibliography [ Association for Computational Creativity , 2026b ] . The psychological and neural scope of creativity is surveyed by Abraham [ 2018 ] , while Piaget’s account of equilibration motivates the assimilation–accommodation distinction used throughout this book [ Piaget , 1985 ] .

Chapter 6 situates three complementary surveys at the points where their explanatory scales enter the argument: Sawyer [ 2012 ] connects individual cognition to collaborative and cultural processes, Wilson [ 2018 ] offers an evolutionary and humanistic perspective, and Miller [ 2019 ] records the cross-domain landscape of AI-powered creative practice before the current frontier-model era. They define important phenomena and historical baselines; none is a computational model of DIAL-style theory change.

For musical structure, Lerdahl and Jackendoff [ 1983 ] develop a generative theory of tonal organization, Xenakis [ 1992 ] treats composition through mathematical constructions, Cope [ 1996 ] studies computational composition through reusable stylistic structure, and Tymoczko [ 2011 ] gives a geometric account of harmony and voice leading. These works do not instantiate DIAL; they illustrate the depth of the musical theories, practices, and evaluative communities that a credible DIAL-MUSIC system would have to respect.