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Navigating the Landscape of Computer Aided Algorithmic Composition Systems: a Definition, Seven Descriptors, and a Lexicon of Systems and Research
NAVIGATING THE LANDSCAPE OF COMPUTER AIDED ALGORITHMIC COMPOSITION SYSTEMS: A DEFINITION, SEVEN DESCRIPTORS, AND A LEXICON OF SYSTEMS AND RESEARCH Christopher Ariza New York University Graduate School of Arts and Sciences New York, New York [email protected] ABSTRACT comparison and analysis, this article proposes seven system descriptors. Despite Lejaren Hiller’s well-known Towards developing methods of software comparison claim that “computer-assisted composition is difficult to and analysis, this article proposes a definition of a define, difficult to limit, and difficult to systematize” computer aided algorithmic composition (CAAC) (Hiller 1981, p. 75), a definition is proposed. system and offers seven system descriptors: scale, process-time, idiom-affinity, extensibility, event A CAAC system is software that facilitates the production, sound source, and user environment. The generation of new music by means other than the public internet resource algorithmic.net is introduced, manipulation of a direct music representation. Here, providing a lexicon of systems and research in computer “new music” does not designate style or genre; rather, aided algorithmic composition. the output of a CAAC system must be, in some manner, a unique musical variant. An output, compared to the 1. DEFINITION OF A COMPUTER-AIDED user’s representation or related outputs, must not be a ALGORITHMIC COMPOSITION SYSTEM “copy,” accepting that the distinction between a copy and a unique variant may be vague and contextually determined. This output may be in the form of any Labels such as algorithmic composition, automatic sound or sound parameter data, from a sequence of composition, composition pre-processing, computer- samples to the notation of a complete composition. -
Syllabus EMBODIED SONIC MEDITATION
MUS CS 105 Embodied Sonic Meditation Spring 2017 Jiayue Cecilia Wu Syllabus EMBODIED SONIC MEDITATION: A CREATIVE SOUND EDUCATION Instructor: Jiayue Cecilia Wu Contact: Email: [email protected]; Cell/Text: 650-713-9655 Class schedule: CCS Bldg 494, Room 143; Mon/Wed 1:30 pm – 2:50 pm, Office hour: Phelps room 3314; Thu 1: 45 pm–3:45 pm, or by appointment Introduction What is the difference between hearing and listening? What are the connections between our listening, bodily activities, and the lucid mind? This interdisciplinary course on acoustic ecology, sound art, and music technology will give you the answers. Through deep listening (Pauline Oliveros), compassionate listening (Thich Nhat Hanh), soundwalking (Westerkamp), and interactive music controlled by motion capture, the unifying theme of this course is an engagement with sonic awareness, environment, and self-exploration. Particularly we will look into how we generate, interpret and interact with sound; and how imbalances in the soundscape may have adverse effects on our perceptions and the nature. These practices are combined with readings and multimedia demonstrations from sound theory, audio engineering, to aesthetics and philosophy. Students will engage in hands-on audio recording and mixing, human-computer interaction (HCI), group improvisation, environmental film streaming, and soundscape field trip. These experiences lead to a final project in computer-assisted music composition and creative live performance. By the end of the course, students will be able to use computer software to create sound, design their own musical gears, as well as connect with themselves, others and the world around them in an authentic level through musical expressions. -
Interpretação Em Tempo Real Sobre Material Sonoro Pré-Gravado
Interpretação em tempo real sobre material sonoro pré-gravado JOÃO PEDRO MARTINS MEALHA DOS SANTOS Mestrado em Multimédia da Universidade do Porto Dissertação realizada sob a orientação do Professor José Alberto Gomes da Universidade Católica Portuguesa - Escola das Artes Julho de 2014 2 Agradecimentos Em primeiro lugar quero agradecer aos meus pais, por todo o apoio e ajuda desde sempre. Ao orientador José Alberto Gomes, um agradecimento muito especial por toda a paciência e ajuda prestada nesta dissertação. Pelo apoio, incentivo, e ajuda à Sara Esteves, Inês Santos, Manuel Molarinho, Carlos Casaleiro, Luís Salgado e todos os outros amigos que apesar de se encontraram fisicamente ausentes, estão sempre presentes. A todos, muito obrigado! 3 Resumo Esta dissertação tem como foco principal a abordagem à interpretação em tempo real sobre material sonoro pré-gravado, num contexto performativo. Neste caso particular, material sonoro é entendido como música, que consiste numa pulsação regular e definida. O objetivo desta investigação é compreender os diferentes modelos de organização referentes a esse material e, consequentemente, apresentar uma solução em forma de uma aplicação orientada para a performance ao vivo intitulada Reap. Importa referir que o material sonoro utilizado no software aqui apresentado é composto por músicas inteiras, em oposição às pequenas amostras (samples) recorrentes em muitas aplicações já existentes. No desenvolvimento da aplicação foi adotada a análise estatística de descritores aplicada ao material sonoro pré-gravado, de maneira a retirar segmentos que permitem uma nova reorganização da informação sequencial originalmente contida numa música. Através da utilização de controladores de matriz com feedback visual, o arranjo e distribuição destes segmentos são alterados e reorganizados de forma mais simplificada. -
Musique Algorithmique
[Version adaptée pour un cours commun ATIAM/CURSUS d’un article à paraître dans N. Donin and L. Feneyrou (dir.), Théorie de la composition musicale au XXe siècle, Symétrie, 2012] Musique algorithmique Moreno Andreatta . La plupart des études sur la musique algorithmique soulignent, à juste titre, le caractère systématique et combinatoire de certaines démarches compositionnelles qui ont accompagné l’évolution de la musique occidentale. De l’isorythmie du Moyen Âge aux musikalische Würfelspiele ou « jeux musicaux » attribués à Johann Philipp Kirnberger, Wolfgang Amadeus Mozart, Josef Haydn ou Carl Philipp Emmanuel Bach, l’utilisation de méthodes combinatoires et algorithmiques n’a pas dû attendre l’« implémentation » informatique pour voir le jour1. Fig 0.1 : « Jeux musicaux » (générés par http://sunsite.univie.ac.at/Mozart/dice/) 1 En attendant un article sur la musique algorithmique dans le Grove Music Online, nous renvoyons le lecteur à l’étude de Karlheinz ESSL, « Algorithmic Composition » (The Cambridge Companion to Electronic Music (Nick COLLINS et Julio D’ESCRIVAN, éds.), Cambridge : Cambridge University Press, 2007, p. 107-125) pour une analyse plus large des procédés algorithmiques. On pourrait penser, et c’est l’hypothèse le plus souvent proposée, que c’est l’artifice de l’écriture qui rend possible l’exploration de la combinatoire. Cela est sans doute vrai dans plusieurs répertoires, des polyphonies complexes de Philippe de Vitry ou Guillaume de Machaut aux œuvres sérielles intégrales de la seconde moitié du XXe siècle. Cependant, comme l’ont bien montré certains travaux d’ethnomusicologie et d’ethnomathématique (voir Marc CHEMILLIER, Les Mathématiques naturelles, Paris : Odile Jacob, 2007), l’utilisation d’algorithmes est également présente dans les musiques de tradition orale – une problématique que nous n’aborderons cependant pas ici, car elle dépasse le cadre de cette étude. -
The Evolution of the Performer Composer
CONTEMPORARY APPROACHES TO LIVE COMPUTER MUSIC: THE EVOLUTION OF THE PERFORMER COMPOSER BY OWEN SKIPPER VALLIS A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2013 Supervisory Committee Dr. Ajay Kapur (New Zealand School of Music) Supervisor Dr. Dugal McKinnon (New Zealand School of Music) Co-Supervisor © OWEN VALLIS, 2013 NEW ZEALAND SCHOOL OF MUSIC ii ABSTRACT This thesis examines contemporary approaches to live computer music, and the impact they have on the evolution of the composer performer. How do online resources and communities impact the design and creation of new musical interfaces used for live computer music? Can we use machine learning to augment and extend the expressive potential of a single live musician? How can these tools be integrated into ensembles of computer musicians? Given these tools, can we understand the computer musician within the traditional context of acoustic instrumentalists, or do we require new concepts and taxonomies? Lastly, how do audiences perceive and understand these new technologies, and what does this mean for the connection between musician and audience? The focus of the research presented in this dissertation examines the application of current computing technology towards furthering the field of live computer music. This field is diverse and rich, with individual live computer musicians developing custom instruments and unique modes of performance. This diversity leads to the development of new models of performance, and the evolution of established approaches to live instrumental music. This research was conducted in several parts. The first section examines how online communities are iteratively developing interfaces for computer music. -
62 Years and Counting: MUSIC N and the Modular Revolution
62 Years and Counting: MUSIC N and the Modular Revolution By Brian Lindgren MUSC 7660X - History of Electronic and Computer Music Fall 2019 24 December 2019 © Copyright 2020 Brian Lindgren Abstract. MUSIC N by Max Mathews had two profound impacts in the world of music synthesis. The first was the implementation of modularity to ensure a flexibility as a tool for the user; with the introduction of the unit generator, the instrument and the compiler, composers had the building blocks to create an unlimited range of sounds. The second was the impact of this implementation in the modular analog synthesizers developed a few years later. While Jean-Claude Risset, a well known Mathews associate, asserts this, Mathews actually denies it. They both are correct in their perspectives. Introduction Over 76 years have passed since the invention of the first electronic general purpose computer,1 the ENIAC. Today, we carry computers in our pockets that can perform millions of times more calculations per second.2 With the amazing rate of change in computer technology, it's hard to imagine that any development of yesteryear could maintain a semblance of relevance today. However, in the world of music synthesis, the foundations that were laid six decades ago not only spawned a breadth of multifaceted innovation but continue to function as the bedrock of important digital applications used around the world today. Not only did a new modular approach implemented by its creator, Max Mathews, ensure that the MUSIC N lineage would continue to be useful in today’s world (in one of its descendents, Csound) but this approach also likely inspired the analog synthesizer engineers of the day, impacting their designs. -
The Path to Half Life
The Path to Half-life Curtis Roads A composer does not often pause to explain a musical path. When that path is a personal break- through, however, it may be worthwhile to reflect on it, especially when it connects to more gen- eral trends in today’s musical scene. My electronic music composition Half-life por- trays a virtual world in which sounds are born and die in an instant or emerge in slow motion. As emerging sounds unfold, they remain stable or mutate before expiring. Interactions between different sounds sug- gest causalities, as if one sound spawned, trig- gered, crashed into, bonded with, or dis- solved into another sound. Thus the introduc- tion of every new sound contributes to the unfolding of a musical narrative. Most of the sound material of Half-life was produced by the synthesis of brief acoustic sound particles or grains. The interactions of acoustical particles can be likened to photo- graphs of bubble chamber experiments, which were designed to visualize atomic inter- actions. These strikingly beautiful images por- tray intricate causalities as particles enter a chamber at high speed, leading to collisions in which some particles break apart or veer off in strange directions, indicating the pres- ence of hidden forces (figure 1). Figure 1. Bubble chamber image (© CERN, Geneva). Composed years ago, in 1998 and 1999, Half-life is not my newest composition, nor does it incor- porate my most recent techniques. The equipment and software used to make it was (with exception of some custom programs) quite standard. Nonetheless this piece is deeply significant to me as a turning point in a long path of composition. -
Eastman Computer Music Center (ECMC)
Upcoming ECMC25 Concerts Thursday, March 22 Music of Mario Davidovsky, JoAnn Kuchera-Morin, Allan Schindler, and ECMC composers 8:00 pm, Memorial Art Gallery, 500 University Avenue Saturday, April 14 Contemporary Organ Music Festival with the Eastman Organ Department & College Music Department Steve Everett, Ron Nagorcka, and René Uijlenhoet, guest composers 5:00 p.m. + 7:15 p.m., Interfaith Chapel, University of Rochester Eastman Computer Wednesday, May 2 Music Cente r (ECMC) New carillon works by David Wessel and Stephen Rush th with the College Music Department 25 Anniversa ry Series 12:00 pm, Eastman Quadrangle (outdoor venue), University of Rochester admission to all concerts is free Curtis Roads & Craig Harris, ecmc.rochester.edu guest composers B rian O’Reilly, video artist Thursday, March 8, 2007 Kilbourn Hall fire exits are located along the right A fully accessible restroom is located on the main and left sides, and at the back of the hall. Eastman floor of the Eastman School of Music. Our ushers 8:00 p.m. Theatre fire exits are located throughout the will be happy to direct you to this facility. Theatre along the right and left sides, and at the Kilbourn Hall back of the orchestra, mezzanine, and balcony Supporting the Eastman School of Music: levels. In the event of an emergency, you will be We at the Eastman School of Music are grateful for notified by the stage manager. the generous contributions made by friends, If notified, please move in a calm and orderly parents, and alumni, as well as local and national fashion to the nearest exit. -
Processes and Systems in Computer Music
Processes Processes and systems and systems in computer in computer music; from music; from meta to matter meta to matter DR TONY MYATT DR TONY MYATT 05 2 The use of the terms ‘system’ and ‘process’ to generate works of music are often applied to the output of composers such as Steve Reich or Philip Glass, and also to Serial composers [1]2 from Schoenberg to Stockhausen, or to the works of experimentalists like John Cage. This may be where these terms are most clearly expressed, in either the material of the work or in the discourse that surrounds it, but few composers would not claim that systematic processes lie at the root of their work, in the methods they use to generate, manipulate, or control sound. The grand narrative of twentieth century classical music to move away from the tonal system of harmony has prompted experimental composers to push at the boundaries of music to discover approaches that create original musics. With the advent of the computer age and the use of computers to control and generate sound, it appeared to many that it was inevitable this new technology might take forward the concept of music. Computers, as we will see, were initially employed as tools that sustained traditional concepts of music, but as Cage hinted in 1959, and maybe for the same reason, perhaps this is now changing. In this essay, I will discuss how these early approaches to systematic process developed a canon of computer music, and in particular algorithmic systems and processes that reflected an underlying vision of what computer technologies were thought to hold in store, from a utopian and rationalist perspective. -
Expressive Musical Robots : Building, Evaluating, and Interfacing with An
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Expressive Musical Robots: Building, Evaluating, and Interfacing with an Ensemble of Mechatronic Instruments By: Jim Murphy A thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy Victoria University of Wellington 2014 Supervisory Committee Supervisor: Dr. Ajay Kapur (New Zealand School of Music, Victoria University of Wellington School of Engineering and Computer Science) Co-Supervisor: Dr. Dale A. Carnegie (Victoria University of Wellington School of Engineering and Computer Science) ©Jim W. Murphy, 2014 ii “Merlin himself, their elderly creator, said he had devoted years to these machines, his favorites, still unfinished.” James Gleick Abstract Expressive Musical Robots: Building, Evaluating, and Interfacing with an Ensemble of Mechatronic Instruments by Jim Murphy An increase in the number of parameters of expression on musical robots can result in an increase in their expressivity as musical instruments. This thesis focuses on the design, construction, and implementation of four new robotic instruments, each designed to add more parametric control than is typical for the current state of the art of musical robotics. The principles followed in the building of the four new instruments are scalable and can be applied to musical robotics in general: the techniques exhibited in this thesis for the construction and use of musical robotics can be used by composers, musicians, and installation artists to add expressive depth to their own works with robotic instruments. -
Musique Acousmatique Und Ihre Parallelen Im Pop
Musique acousmatique und ihre Parallelen im Pop Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Geisteswissenschaftlichen Fakultät der Karl-Franzens-Universität Graz vorgelegt von Christian TSCHINKEL am Institut für Musikwissenschaft Begutachter: Ao.Univ.-Prof. Priv.-Doz. Dr. Werner Jauk Graz, 2008 Vorwort und Danksagung Mit seiner charismatischen Vermittlung der systematischen Musikwissenschaft und ihrer psychologischen Relevanz, die unter anderem das Gebiet der elektronischen Medien gleicher- maßen wie das der populären Musikkulturen und Avantgarden umfasst, hat Werner Jauk vor vielen Jahren für mich die Funktion eines Mentors übernommen. Ohne es zu wissen, war ich wohl genau nach solchen Inhalten auf der Suche. Sein Unterricht sowie einige Gastvorträge innerhalb seiner Lehrveranstaltungen übten auf mich eine große Faszination aus, obwohl ich bei weitem nicht immer verstanden habe, was zeitgenössische Komponisten denn „eigentlich so tun“. Im Zuge der Auseinandersetzung mit diesen Themen habe ich den von Dieter Kaufmann ins Leben gerufenen Lehrgang für Computermusik und elektronische Medien an der Universität für Musik und darstellende Kunst Wien für mich entdeckt, dessen Lehrinhalte ich im dreijährigen Studium „wie ein trockener Schwamm“ aufgesogen habe. Zu meiner großen Überraschung brachte mich dieser Unterricht schon bald nach Paris, wo ich das IRCAM, die GRM und das CCMIX besuchen durfte. Viele dieser Erfahrungen fließen heute in meine eigene Musik sowie in diese Diplomarbeit mit ein, weswegen ich meinen herzlichen Dank gegenüber meinem Betreuer Werner Jauk und im Nachhinein auch allen meinen ehemaligen Lehrern der „ELAK-Wien“ für ihren inspirierenden Unterricht aussprechen möchte. Namentlich sind das Igor Lintz-Maues, Peter Mechtler, Wolfgang Musil, Germán Toro-Pérez, Günther Rabl und Tamas Ungvary. -
Computer Music (So Far)
Computer Music (So Far) Part I. Mainframes Computers have made noises since Eniac was rolled out in 1947. It seems one of the problems with programming the early systems was knowing that everything was operating properly. That's why you see computers in 50s science fiction movies covered in lights. A common trick was to connect a loudspeaker to a key component in the main processor -- this would give tones of various pitches as data moved in and out of the accumulator. As long as a program was running, the tones would change in a random sort of way. A steady pitch meant the program was caught in a loop and needed to be shut down. That's how beedle beep became the signifier of computer operation. The first real music program was written by Max Mathews in the early 1960s. He was working at Bell labs, a research center run by AT&T when they were the phone company. Max was primarily developing more practical things for the phone company (he invented the little square plug, for instance). But he worked on music software in his spare time. He called his software MUSIC, with the different versions indicated by Roman numerals. MUSIC made its first sound in 1957, playing single line tunes. MUSIC II, a year later, had four part polyphony. These ran on the most powerful computer of the day, and took something like an hour of computing time to generate a minute of music. The sound was similar to the tunes played by some wristwatches today. In 1960, MUSIC III introduced the concept of a "unit generator", a subroutine that would create a specific kind of sound and only needed a few numbers from the composer.