DURING THE LAST TWO DECADES, a psychoacoustic theory of pitch, consonance, and harmony has been developed by Ernst Terhardt and his colleagues at the Institute of Electroacoustics, Technical University of Munich. Applications of the model in music theory (Terhardt 1974a and 1976) include estimation of the perceptual importance (salience) of specific pitches in musical chords (Terhardt, Stoll, and Seewann 1982) and estimation of the strength of the harmonic relationship perceived between successive pairs of tones or chords (Parncutt 1989 and 1993). Terhardt's model, as formulated and extended by Parncutt, would appear to have considerable potential as a basis for algorithmic composition. The aim of the present article is to explore ways in which this potential might be tapped. In other words, we would like to bridge the gap