#algorithmiccomposition — Public Fediverse posts

I'm doing some research into algorithmic organisation of rhythm these days. Here's an experiment with composing rhythms as a list of 1's and 0's. These are then masked using modulo operators and probability gating to remove events.

#supercollider #livecoding #electronicmusic #experimentalmusic #computermusic #algorithmiccomposition #creativecoding #creativetechnology #drumandbass #electronica #glitch #808 #fmsynthesis

I'm doing some research into algorithmic organisation of rhythm these days. Here's an experiment with composing rhythms as a list of 1's and 0's. These are then masked using modulo operators and probability gating to remove events.

#supercollider #livecoding #electronicmusic #experimentalmusic #computermusic #algorithmiccomposition #creativecoding #creativetechnology #drumandbass #electronica #glitch #808 #fmsynthesis

Bartholomäus Traubeck - Years

Somehow had to think of this one when listening to Robert Richiesse's grand guitar suite, but it's very different. Traubeck has some process to treat tree cross sections essentially like CDs or Vinyl - reading the year rings and turning those into piano music. The result is interesting, random, often ambient, sometimes very intense. I quite like it.

https://youtu.be/jh6UnrjIfCc?is=HQGLJKRQCRhMXhSn

I'd struggle to come up with tags, so taking most of these from the yt thumbnail

#NonMusic #Experimental #Classical #Electronic #FieldRecording #Alleatoric #AlgorithmicComposition

Bartholomäus Traubeck - Years

Somehow had to think of this one when listening to Robert Richiesse's grand guitar suite, but it's very different. Traubeck has some process to treat tree cross sections essentially like CDs or Vinyl - reading the year rings and turning those into piano music. The result is interesting, random, often ambient, sometimes very intense. I quite like it.

https://youtu.be/jh6UnrjIfCc?is=HQGLJKRQCRhMXhSn

I'd struggle to come up with tags, so taking most of these from the yt thumbnail

#NonMusic #Experimental #Classical #Electronic #FieldRecording #Alleatoric #AlgorithmicComposition

Paul Abbott – SLIP
#Experimental #algorithmiccomposition #drums #electronic #improvisation #paulabbott #London
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://paul-abbott.bandcamp.com/album/slip

Paul Abbott – SLIP
#Experimental #algorithmiccomposition #drums #electronic #improvisation #paulabbott #London
CC BY-NC-SA (#CreativeCommons Attribution Non Commercial Share Alike) #ccmusic
https://paul-abbott.bandcamp.com/album/slip

WORKSHOP: Coding Musical Patterns - Algorithmic Composition, Generative Growth, and the Music of Math
Mads Kjeldgaard

Saturday 25.4.26 and Sunday 26.4.26
11am - 4pm with breaks

at Morphine Raum in Berlin, Germany. Organized by Hyperlinear. Poster by @joegilmore. More info below.

#supercollider #algorithmiccomposition #generative #generativeart #computermusic

WORKSHOP: Coding Musical Patterns - Algorithmic Composition, Generative Growth, and the Music of Math
Mads Kjeldgaard

Saturday 25.4.26 and Sunday 26.4.26
11am - 4pm with breaks

at Morphine Raum in Berlin, Germany. Organized by Hyperlinear. Poster by @joegilmore. More info below.

#supercollider #algorithmiccomposition #generative #generativeart #computermusic

Laurie Spiegel reminds us that her 1980s Music Mouse was an expert system, not a generative‑AI tool. What does that mean for today’s music tech and algorithmic composition? Dive in to see how the legacy shapes modern creative computing. #ExpertSystem #MusicMouse #AlgorithmicComposition #CreativeComputing

🔗 https://aidailypost.com/news/laurie-spiegel-says-music-mouse-is-expert-system-not-generative-ai

Laurie Spiegel reminds us that her 1980s Music Mouse was an expert system, not a generative‑AI tool. What does that mean for today’s music tech and algorithmic composition? Dive in to see how the legacy shapes modern creative computing. #ExpertSystem #MusicMouse #AlgorithmicComposition #CreativeComputing

🔗 https://aidailypost.com/news/laurie-spiegel-says-music-mouse-is-expert-system-not-generative-ai

If you're interested in using Python for music, whether that's algorithmic composition, computational music theory, or musicology, you've doubtless encountered music21. It's great, but can be a bit prickly. MIT has a great Open Courseware course with music21's creator, Michael Scott Asato Cuthbert, and it's really great! (Yes, that was the third time I said 'great' and that was the fourth.)

#python #algorithmicComposition #musicTheory #music21 #great #fifth

https://ocw.mit.edu/courses/21m-383-computational-music-theory-and-analysis-spring-2023/

If you're interested in using Python for music, whether that's algorithmic composition, computational music theory, or musicology, you've doubtless encountered music21. It's great, but can be a bit prickly. MIT has a great Open Courseware course with music21's creator, Michael Scott Asato Cuthbert, and it's really great! (Yes, that was the third time I said 'great' and that was the fourth.)

#python #algorithmicComposition #musicTheory #music21 #great #fifth

https://ocw.mit.edu/courses/21m-383-computational-music-theory-and-analysis-spring-2023/

part 1 of my #algorithmiccomposition 'quendelzyklus' was releasad - digital & analog - on canto-crudo's mixtape
'mater y alien 1'

composed with transformed sounds in the 21-tone lucy-harrison scale a stereo-version of the 10-channel #composition is available at https://shop.canto-crudo.at

Recently rediscovered my love of algorithmic music as an intriguing art form. I myself not a composer, nor really understand how it's made. But nonetheless found it charming, especially the live coding aspect of it with the human-centric approach to algorithmic composition of music and the accompanying visuals 🤩️.
Feels refreshing ✨️ compared to the over hyped lesser Ai (LLM) generated abomination of 'art' 💩️.

#AlgorithmicComposition #algorithmicmusic #algorithmicvisuals

Kasparov’s Immortal Algorithmic Ambient Music https://youtu.be/NN8LZ2f32eY?si=GPJ53SLEbKOipd0V via @YouTube

#AlgorithmicComposition

CRAQUE
RA:RE:
REMIXES

Now available!

Rare remixes, reconstructions, recombinations, reworks, and reconfigurations by Craque.

It's only $5 for 17 songs because only five of them are remixes of original material. Music and sound that inspired me to dig deeper from Johnny Marr, Logreybeam, Twerk, Proswell, Ilkae, Christopher Willits, and more!!

#craque #remixes #idm #techno #house #dub #abstract #AlgorithmicComposition #DarkElectro #ExperimentalMusic

https://craque.bandcamp.com/album/ra-re-remixes

CRAQUE
RA:RE:
REMIXES

Now available!

Rare remixes, reconstructions, recombinations, reworks, and reconfigurations by Craque.

It's only $5 for 17 songs because only five of them are remixes of original material. Music and sound that inspired me to dig deeper from Johnny Marr, Logreybeam, Twerk, Proswell, Ilkae, Christopher Willits, and more!!

#craque #remixes #idm #techno #house #dub #abstract #AlgorithmicComposition #DarkElectro #ExperimentalMusic

https://craque.bandcamp.com/album/ra-re-remixes

Time to start writing my, hopefully accepted, https://tprc.us/tprc-2024-las/ presentations on #musical #AlgorithmicComposition in #perl (beginner & advanced 20 min each)...

Time to start writing my, hopefully accepted, https://tprc.us/tprc-2024-las/ presentations on #AlgorithmicComposition in #perl (beginner & advanced 20 min each)...

AlgoCompSynth-One v2.1.0 has been released

https://github.com/AlgoCompSynth/AlgoCompSynth-One/releases/tag/v2.1.0

#AlgorithmicComposition
#AudioAnalysis
#AudioSynthesis
#GPUAudio
#PyTorch
#DifferentiableDigitalSignalProcessing

AlgoCompSynth-One v2.1.0 has been released

https://github.com/AlgoCompSynth/AlgoCompSynth-One/releases/tag/v2.1.0

#AlgorithmicComposition
#AudioAnalysis
#AudioSynthesis
#GPUAudio
#PyTorch
#DifferentiableDigitalSignalProcessing

#BanAssaultWeapons
#ItsTheGuns

@composeroftheday
@electronicmusic
@algorithmiccomposition
#ComposerOfTheDay May 29
Giannis Klearchou Xenakis

Iannis Xenakis - Topic https://youtube.com/channel/UCCi7bWt3XSwUBxBPq_XSa4g via @YouTube

Great Composers: Iannis Xenakis https://youtu.be/Suis4IfbAAE via @YouTube

https://en.wikipedia.org/wiki/Iannis_Xenakis

#ElectronicMusic
#AlgorithmicComposition
#IannisXenakis

#BanAssaultWeapons
#ItsTheGuns

@composeroftheday
@electronicmusic
@algorithmiccomposition
#ComposerOfTheDay May 29
Giannis Klearchou Xenakis

Iannis Xenakis - Topic https://youtube.com/channel/UCCi7bWt3XSwUBxBPq_XSa4g via @YouTube

Great Composers: Iannis Xenakis https://youtu.be/Suis4IfbAAE via @YouTube

https://en.wikipedia.org/wiki/Iannis_Xenakis

#ElectronicMusic
#AlgorithmicComposition
#IannisXenakis

#BanAssaultWeapons
#ItsTheGuns

@composeroftheday
@algorithmiccomposition
#ComposerOfTheDay May 17
David Cope

David Cope - Topic https://youtube.com/channel/UCVLnNr5gpHHPE8DGSZGK_ZA via @YouTube

https://en.wikipedia.org/wiki/David_Cope

#AlgorithmicComposition

#BanAssaultWeapons
#ItsTheGuns

@composeroftheday
@algorithmiccomposition
#ComposerOfTheDay May 17
David Cope

David Cope - Topic https://youtube.com/channel/UCVLnNr5gpHHPE8DGSZGK_ZA via @YouTube

https://en.wikipedia.org/wiki/David_Cope

#AlgorithmicComposition

@Perl Gene continues to build really neat #Perl tools for #music. Be sure to check out his HOWTO on #AlgorithmicComposition with Perl and #MIDI: https://github.com/ology/MIDI-Perl-HOWTO/wiki

And of course, he has a #SoundCloud: https://on.soundcloud.com/vMnat4AgTmpWzoLz5 https://fosstodon.org/@ology/109956220827016637

Another very interesting piece in this museum is the Mini-componium, a replica of the original Componium built by Diederich Nikolaus Winkel in 1821. This remarkable mechanical music instrument can vary the music it plays using a randomizing mechanism! In fact, the Componium creates endless variations on a theme by selecting randomly one of the 8 possible melodies every two measures.
In a sense, this is a very early example of
#ComputerMusic #AlgorithmicComposition
(https://en.m.wikipedia.org/wiki/Componium)
(3/3)
#musicbox #music

Another very interesting piece in this museum is the Mini-componium, a replica of the original Componium built by Diederich Nikolaus Winkel in 1821. This remarkable mechanical music instrument can vary the music it plays using a randomizing mechanism! In fact, the Componium creates endless variations on a theme by selecting randomly one of the 8 possible melodies every two measures.
In a sense, this is a very early example of
#ComputerMusic #AlgorithmicComposition
(https://en.m.wikipedia.org/wiki/Componium)
(3/3)
#musicbox #music

@microtonal
#Microtonal
#AlgorithmicComposition
#WorkInProgress
eikosany - Algorithmic Composition With Erv Wilson’s Combination Product Sets

https://algocompsynth.github.io/eikosany/

@microtonal
#Microtonal
#AlgorithmicComposition
#WorkInProgress
eikosany - Algorithmic Composition With Erv Wilson’s Combination Product Sets

https://algocompsynth.github.io/eikosany/

hi! just migrated, a short intro,
i'm doing
#improvisedmusic #computermusic #experimentalmusic
#electroacoustic and #algorithmiccomposition
#sounddesign and #filmmusic mainly for #experimentalfilm & #documentaries
#cat #sauna #forrest #mushroom and #microtonal #music lover

This is “フラグマー 1” (“Furaguma I”), an algorithmic piece based on a compositional approach that I called Wohlgestaltete Komposition. It is a hybrid process, in which machine and man cooperate. In a nutshell:

• I identify musical quanta that represent initial configurations for a game simulator.
• When fed into the simulator, those “μQuanta” produce 3-voice music fragments. I select the μQuanta that produce fragments that I consider of interest, and I compose them together.
• I consider the music emerging from the combined fragments, and I operate modifications in the order and quantity of μQuanta in order to accentuate musical aspects that enhance the overall musical quality (according to my own perception) and to dampen aspects that I consider detrimental to that subjective concept of quality.
• I continue the process by disrupting the selected μQuanta by flipping / adding / subtracting certain elements. Those disruptions in some cases aim at producing more “balanced” initial configurations, such that the corresponding games and music fragments last longer. In some other cases they may be purely random.
• I include the disrupted μQuanta in the ongoing compositional process, and continue to build up the “piece” until its overall shape and contents assume what I arbitrarily recognize as a unique “identity”.

I refer to the overall selection of μQuanta in a piece such as “Furaguma I” as to “the Grundgestalt of Furaguma I”.

In fact, the term “Wohlgestaltete” means “well-shaped”, but it’s actually a reference to the above process of selection of μQuanta that shape up the piece by defining its “basic form” — its Grundgestalt.

When time allows, I will write a paper describing the Wohlgestaltete Komposition. I would appreciate it very much if you would have suggestions regarding possible target journals. Thank you!

• 栄屯

• Logo: Two of the 37 fragments from Manuscript Mi 75, a Missale crafted in a Trondheim scriptorium around 1150—1200. In Lilli Gjerløw: Ordo Nidrosiensis Ecclesiae (Oslo 1968), p. 92, n. 2 (as 878a). Processed with G’MIC.
• Video: Reversed fragments from “Hawaii’s Spectacular Volcano Eruptions”, 1960. Photography by Art Carter with help of Fred Rackle, John Bonsey, Claude Jendrusch.

Comment about Mi 75 “One of the challenges in sorting out the fragments from Mi 75 is that the scriptorium seems to have a rather casual attitude to ruling – two pages of the same leaf can have different writing space, and the columns may be of different widths. Lat. fragm. 896, 1-4 are related to Mi 75 through initials, pigment and parchment, but differ in scribe, music scribe and format. Still, the scribe seems to be imitating the main scribe of Mi 75, and may therefore have collaborated on the same book.”

• On #Bandcamp: https://eidon.bandcamp.com/track/1-furaguma-i
• On #Youtube: https://youtu.be/mwTj0YuZ6TM, on https://www.youtube.com/@eidonveda.

#μQuanta #WohlgestalteteKomposition. #Grundgestalt #GenerativeMusic #AlgorithmicComposition

Okonai is the rite of marriage between the rice fields and the mountain, which represent the world organized by man and the Absolutely Free world of Nature:

“There is an ancient rite, the okonai (行ない), which clearly expresses, in the symbolic language of the ceremony, the cultural perception of sacred space, based on overcoming the opposition between the two dimensions of the ecosystem that characterizes daily village life: the rice fields and the mountain. On the night of the first of the year, the village heads of households climb up to the slopes of the mountain. On the edge of the forest they draw a sacred perimeter. The tōya 当屋, the religious and social leader of the village, enters it, holding two wooden statues representing one the mountain goddess (Yama-no-kami, 山の神) and the other the god of the rice field (Ta-no-kami, 田の神). The tōya joins the two statues symbolizing their sexual union, pours sake, the symbol of semen, on their sexes, and declares them to be newlyweds. Everyone then presents offerings to the deities and the officiant reads norito 祝詞, a prayer formula. Sake is then distributed to each person, and the offerings are divided and consumed. The village chief makes possible the union between the deities who define the two different spaces, of the cultivated and the wild, and seals the harmony between humans and nature. The dichotomy of these economically and culturally distinct worlds is not perceived as a rigid opposition, a distinction that denies any possibility of an exchange relationship; it is expressed in the terms of a necessary complementarity. Everything in this ritual is mediation: mediation of spatial patterns because the ritual takes place at the boundary point between the last rice fields and the forest. And mediation of time, because the ceremony marks the transition from one year to the next, between the cultivation cycle that has passed and the one that is to begin; it is the last hours of the night when the rite begins and, when it ends, it is dawn.”

(Massimo Raveri, “Classical Japanese Thought,” Piccola Biblioteca Einaudi, ISBN 9788806165871).

Two worlds becoming one; the transition from night to day, from the old to the new, from the mystical to the carnal: all this struck me in no small measure. I then thought of writing a piece of music dedicated to this propitiatory rite. And so here is Okonai, an algorithmic composition generated from the two seed strings “tanokami” and “yamanokami.” It can be downloaded from my #bandcamp here. I hope you’re going to enjoy it!

The photos, so beautiful in my opinion, are by Kanemori.

#Japan #Shinto #OriginalMusic #AlgorithmicComposition #Grundgestalt #Eidon