As someone who has composed aleatoric music and had many discussions with people who have devoted their lives to generative music, I have to say it&#x27;s debatable whether what you described can strictly be called a &quot;melody&quot; unless you take the broadest dictionary definition (&#x27;a pleasing sequence of notes&#x27;), though I do think you can call it &quot;melodic&quot; as in &#x27;melody-ish&#x27;. In other words, I think there&#x27;s an essential difference between melody as conceived prior to the advent of generative music, which implies a decision by the composer that &#x27;<i>this</i> is the melody&#x27;, and a &#x27;random melody&#x27; where that decision is made in a different manner, i.e. &quot;whatever this process produces is &#x27;the melody&#x27;&quot;. In the case of a randomly generated score, it gets a bit confusing because it&#x27;s not clear if the composer used a generative process to determine &#x27;the melody&#x27; or if it can meaningfully be called &#x27;random&#x27;. Ultimately we just don&#x27;t have words for such things. Perhaps conveniently, generative music still plays a very minor role in music culture outside of i.e. some of Brian Eno&#x27;s recent work and the enduring influence of John Cage.