The author has given a very thorough look at the almost purely algorithmic melodic variations in a classical sonata, although I would think starting with Beetho

The author has given a very thorough look at the almost purely algorithmic melodic variations in a classical sonata, although I would think starting with Beethoven (and Chopin) may be a bit ambitious. For music of the classical era, the meaning of the music depends on not just melody and harmony, but also articulation and dynamics. In the Beethoven example, the ascending arpeggio is staccato which contrasts against the descending figure which is slurred. The sforzando in bars 5 and 6 creates an intensification in comparison to the first four bars which is all in piano; the harmony is the same as before but moves twice as fast and culminates in a rolled fortissimo chord that dies away to a half close. Without the articulation and dynamics, the meaning of the music is changed and its clarity is weakened considerably, which is why I think separating out the melodic aspect is a risky endeavour. The music of earlier composers, Bach especially, may be more robust when put under this type of algorithmic manipulation since much less sense is lost in Bach even if you only have the melody.