Algorithmic Composition

Composing Alongside Paradoxes

by Hanns Holger Rutz

published in: EXPLORE DREAM DISCOVER—Peninsula Arts Contemporary Music Festival, Plymouth 2012.

The essay outlines the thoughts around which the fixed media electro-acoustic composition 'Leere Null (2)' is... more The essay outlines the thoughts around which the fixed media electro-acoustic composition 'Leere Null (2)' is centered. It proposes the idea of 'programmed time', a time which exists as trace regressing from "the piece", preceding it and re-entering into it in the performance.

Variable Orderings for Solving Musical Constraint Satisfaction Problems

by Torsten Anders

Anders, T. (2011). Variable Orderings for Solving Musical Constraint Satisfaction Problems. In G. Assayag, C. Truchet (Eds.), Constraint Programming in Music. Wiley.

Composing Music by Composing Rules: Design and Usage of a Generic Music Constraint System

by Torsten Anders

Anders, T. (2007). Composing Music by Composing Rules: Design and Usage of a Generic Music Constraint System. PhD thesis, Queen's University, Belfast.

This research presents the design, usage, and evaluation of a highly generic music con- straint system called... more This research presents the design, usage, and evaluation of a highly generic music con- straint system called Strasheela. Strasheela simplifies the definition of musical constraint satisfaction problems (CSP) by predefining building blocks required for such problems. At the same time, Strasheela preserves a high degree of generality and is reasonably efficient.

Strasheela is highly generic, because it is highly programmable. In particular, three fundamental components are more programmable in Strasheela compared with existing music constraint systems: the music representation, the rule application mechanism, and the search process.

Strasheela features an expressive symbolic music representation. This representation sup- ports explicitly storing score information by sets of score objects, their attributes, and their hierarchic nesting. Any information available in the score is accessible from any object in the score and can be used to obtain derived information. The representation is complemented by the notion of variables: score information can be unknown and such information can be constrained.

This research proposes a rule formalism which combines convenience and full user con- trol to express which score variable sets are constrained by a given rule. A rule is a first-class function. A rule application mechanism is a higher-order function. A rule ap- plication mechanism traverses the score in order to apply a given rule to variable sets. This text presents rule application mechanisms suitable for a large set of musical CSPs and reproduces important mechanisms of existing systems.

Strasheela is founded on a constraint programming model which makes the search process programmable at a high-level. The Strasheela user can optimise the search for a partic- ular constraint satisfaction problem by programming a distribution strategy (a dynamic variable and value ordering) independent of the problem definition. Special distribution strategies for efficiently solving various musical CSPs – including complex polyphonic problems – are presented.

Constraint Application With Higher-Order Programming for Modeling Music Theories

by Torsten Anders

Anders, T., E. Miranda (2010). Constraint Application with Higher-Order Programming for Modeling Music Theories. Computer Music Journal. 34(2).

This paper studies how compositional rules (constraints) are applied to the score when modelling composition or music... more This paper studies how compositional rules (constraints) are applied to the score when modelling composition or music theory with constraint programming. Our overall objective is to produce a highly generic system, where users can model a wide range of theories, including theories of rhythm, harmony, melody, counterpoint and form. Existing systems provide mechanisms that are convenient for specific cases, but lack generality and cannot be extended by users. For example, constraining notes from different voices in a polyphonic setting (e.g., with harmonic constraints) is inconvenient or even impossible in most systems.

We propose an approach which combines convenience with full user control by using higher-order constraint applicators. A constraint is a first-class function, while a constraint applicator is a higher-order function that traverses the score in order to apply a given constraint to variable sets. This text presents constraint applicators suitable for a many musical CSPs, and reproduces important mechanisms of existing systems. Most importantly, users can define their own constraint applicators with this approach.

Interfacing Manual and Machine Composition

by Torsten Anders

Anders, T., E. Miranda (2009). Interfacing Manual and Machine Composition. Contemporary Music Review. 28(2), pp. 133–147.

Computer-aided composition (CAC) is situated somewhere in the middle between manual composition, and automated... more Computer-aided composition (CAC) is situated somewhere in the middle between manual composition, and automated composition that is performed autonomously by a computer program. Computers cannot make aesthetic decisions on their own, they only follow orders. Aesthetic decisions are made by composers, both via the design of computer programs and by manually controlling these programs. The latter activity plays an important part in CAC. The composition process typically involves much emending and revising: changing how a computer program is controlled is easier and allows for a more intuitive way of working than changing the program itself. This paper argues that constraint programming is a particular suitable programming paradigm for flexibly interfacing manual and machine composition, and it presents techniques that demonstrate this flexibility.

A Survey of Constraint Programming Systems for Modeling Music Theories and Composition

by Torsten Anders

Anders, T., E. Miranda (2011). A Survey of Constraint Programming Systems for Modeling Music Theories and Composition. ACM Computing Surveys. 43(4).

Constraint programming is well suited for the computational modelling of music theories and composition: its... more Constraint programming is well suited for the computational modelling of music theories and composition: its declarative and modular approach shares similarities with the way music theory is traditionally expressed, namely by a set of rules which describe the intended result.

Various music theory disciplines have been modelled, including counterpoint, harmony, rhythm, form and instrumentation. Because modelling music theories `from scratch' is a complex task, generic music constraint programming systems have been proposed that predefine the required building blocks for modelling a range of music theories.

After introducing the field and its problems in general, this survey compares these generic systems according to a number of criteria such as the range of music theories these systems support.

A Computational Model for Rule-Based Microtonal Music Theories and Composition

by Torsten Anders

Anders, T., E. Miranda (2011). A Computational Model for Rule-Based Microtonal Music Theories and Composition. Perspectives of New Music. 48(2).

This paper presents a computational model for microtonal music theories and composition based on the constraint... more This paper presents a computational model for microtonal music theories and composition based on the constraint programming paradigm. The fundamental layer of this model is its pitch representation, which introduces variables for pitches, pitch classes, and (chord or scale) degrees, as well as their their dependencies. Constrainable representations for higher level pitch-related concepts such as chord and scale objects are defined. The model has been implemented in Strasheela, so that this model can be used together with other Strasheela feature (e.g., temporal score object hierarchies).

This paper demonstrates the proposed model in a number of case studies that implement microtonal theories of harmony, melody and counterpoint. These case studies also showed how the model supports various equal temperaments. We modeled a diatonic cadence in 12-tone equal temperament (12-TET); a 7-limit harmony progression in 31-TET and adaptive just intonation; a chord figuration of a chord from La Monte Young's The Well-Tuned Piano in 41-TET; and finally first a melody and and then harmonic counterpoint with Paul Erlich's static symmetrical major scale in 22-TET.

The presented model supports equal temperaments only; we are currently working on an extension for arbitrary regular temperaments including just intonation.

On making music with artificial life models

by Prof Eduardo R. Miranda

Wakeful software and wakeful musical instruments: a theoretical approach to the implementation

by Fabio Paolizzo

to appear in: ISEA 2011 - conference proceedings

A new category of content-related software is here proposed. ‘Wakeful’ software is one that senses and responds to an... more A new category of content-related software is here proposed. ‘Wakeful’ software is one that senses and responds to an environment with which it may consistently interact meaningfully. The term ‘wakeful’ is here meant as ‘sign-bearing,’ rather than potentially being capable of such. Specifically, the study was carried out in relation to music and interactive music systems.

VIVO (Video Interactive VST Orchestra): an interactive and adaptive musical instrument for self-reflection in music

by Fabio Paolizzo

published in 'The International Journal of the Arts in Society'

The aim of the research is to create a software musical instrument that allows for an aware exploration of the self,... more The aim of the research is to create a software musical instrument that allows for an aware exploration of the self, through self-refection in music. The investigation is interdisciplinary and operates across the fields of musicology, software development and composition. The study focuses on specific logics of compatibility between human agents and technology. These are then implemented, at the design stage, in a software tool. Finally, the piece of software is tested within art projects to validate the implementations or to correct the theoretical assumptions and, therefore, to further improve the framework. This software musical instrument is VIVO (Video Interactive VST Orchestra). This paper illustrates the main features of VIVO, the theories behind the implementations and the evidence that was gathered from tests within two specific art projects.

VIVO (Video Interactive VST Orchestra) and the aesthetics of interaction

by Fabio Paolizzo

Published in SSSP 2010 - conference proceedings.

The research is drawn across the fields of musicology, composition and software development with the aim of achieving... more The research is drawn across the fields of musicology, composition and software development with the aim of achieving a collective intelligence and self-awareness through self-reflection in interactive music. The present study recognises that for a collective self-awareness to occur through self-reflection in music, specific structures of interrelation have to be adopted, which may enhance the human agent’s awareness of the own self as related to the machine. These structures are then implemented in a piece of software. Specific art projects are designed along the investigation to finally test/improve the framework through art practice. The art works spanned the disciplines of music, dance, theatre/performance, film-making, net-art, sport/music interactive public art. The implementations include: a module for adaptive video tracking that is derived from the feedback loop of action/perception (Vaggione 2001); an adaptive graphic score which is designed upon a previous multi-modal comparative analysis (Impett 2001); a dynamic host for audio software, where the concept of open content is merged within the dynamic orchestration model (Paine 2004). The piece of software, which provides outcomes that are informed by these structures, is VIVO. This software musical instrument is able to generate an adaptive musical answer to reflect the agents’ behaviour by controlling external audio-plug-ins (VST, DirectX, AU). The paper illustrates its main features, the theories behind the implementations and the partial evidence that was gathered from tests, which are still in progress, within specific art projects.

A Computational Model For The Generation Of Orchestral Music In The Germanic Symphonic Tradition: A progress report

by Andrew Brown

with Andrew Sorensen

In this article we report on progress at the Australian CRC for Interac- tion Design investigating the computational... more In this article we report on progress at the Australian CRC for Interac- tion Design investigating the computational generation of orchestral music based in the Germanic Symphonic tradition. We present an introduction to the project including a brief overview of our intended methods and some guiding principles for the project. We then outline the current state of the project and introduce our initial algorithmic system with a special emphasis on an implementation of Paul Hin- demith’s harmonic system. We conclude with some initial findings and future goals. We provide an extensive selection of audio examples on- line that accompany, verify and enhance information provided in this report.

The Application Of Mapping in Composition and Design

by Paul Doornbusch

Australasian Computer Music Conference, Melbourne, Australia, 2002

Discusses how composers and designers use data mapping in their practice, discussing similarities and differences. Discusses how composers and designers use data mapping in their practice, discussing similarities and differences.

Composers Views on Mapping in Algorithmic Composition

by Paul Doornbusch

Organised Sound, Oxford, 2002

How composers approach the mapping of data sets in algorithmic composition. How composers approach the mapping of data sets in algorithmic composition.

Integrating Spatial Parameters in Composition Practice

by Paul Doornbusch

Co-authored with Peter McIlwain, published by Australasian Computer Music Conference, Perth, Australia, 2003

How spatialised sound and spatialisation may be integrated with the composition process. How spatialised sound and spatialisation may be integrated with the composition process.

Pre-Composition and Algorithmic Composition: Reflections on Disappearing Lines in the Sand

by Paul Doornbusch

Context, University of Melbourne Conservatorium Graduate Publication, 2007

This paper discusses pre-composition within the context of algorithmic composition. This paper discusses pre-composition within the context of algorithmic composition.

Mapping in Algorithmic Composition and Related Practices

by Paul Doornbusch

This is an essay discussing many of my musical works and some papers and book chapters. It formed part of my PhD submission.

Generation of composed musical structures through recurrent neural networks based on chaotic inspiration - Andrés Coca

by Andrés Eduardo Coca Salazar

Andrés E. Coca, Roseli A. F. Romero, and Liang Zhao

In this work, an Elman recurrent neural network
is used for automatic musical structure composition based onmore In this work, an Elman recurrent neural network
is used for automatic musical structure composition based on
the style of a music previously learned during the training
phase. Furthermore, a small fragment of a chaotic melody is
added to the input layer of the neural network as an inspiration
source to attain a greater variability of melodies. The neural
network is trained by using the BPTT (back propagation through
time) algorithm. Some melody measures are also presented for
characterizing the melodies provided by the neural network and
for analyzing the effect obtained by the insertion of chaotic
inspiration in relation to the original melody characteristics.
Specifically, a similarity melodic measure is considered for
contrasting the variability obtained between the learned melody
and each one of the composite melodies by using different
quantities of inspiration musical notes.

Patenting Compositional Algorithms

by Laurie Spiegel

Sonic Set Theory: A Tonal Music Theory for Computers

by Laurie Spiegel

Proceedings of the Symposium on Small Computers and the Arts, IEEE Oct.1982

A tonal-modal music theory designed specially for computer use and why composers want to describe creative processes... more A tonal-modal music theory designed specially for computer use and why composers want to describe creative processes instead of just writing notes.