Algorithmic Composition: A Guide to Composing Music with by Roger B Dannenberg, Mary Simoni PDF

By Roger B Dannenberg, Mary Simoni

Composers have used formalized methods to create tune all through background. With the appearance of the pc, algorithmic composition permits composers not just to create and test with various formalisms, yet to listen to and overview effects quick. frequently in algorithmic composition, the composer has just a obscure thought how the output will sound, yet as the enter is extremely computerized, the composer could make alterations to use satisfied injuries, application insects, and different inventive resources of sound.

Algorithmic Composition: A consultant to Composing song with Nyquist offers an summary of procedural ways to tune new release. It introduces programming recommendations via many examples written utilizing the Nyquist procedure for song composition and sound synthesis. Nyquist is freely to be had software program, and over a hundred application examples from this e-book are available digital shape. Readers should be good built to strengthen their very own algorithms for composition.

Music scholars who're studying approximately machine tune and digital tune will all have an interest during this leading edge e-book, as generative tune turns into an incredible a part of the way forward for the self-discipline. scholars and students in laptop technology also will locate a lot to curiosity them, in a simple and enjoyable way.

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Example text

Thus, {note pitch: 60 vel: 100} is Lisp notation for note(pitch: 60, vel: 100). To complete the story, it should be mentioned that while lists in SAL are written with braces {}, lists in Lisp are written with parentheses (), and while keywords in SAL are written with a trailing colon (pitch:), keywords in Lisp are preceded with a colon (:pitch). If you stick to writing programs in SAL, these details should only rarely be visible. Pitches are given by numbers consistent with MIDI: 60 is middleC, 61 is C-sharp, and so on.

G. 60 and 100). As a slight extension to the score representation, scores can have an explicit starting time and ending time, indicated by a “pseudosound-expression” using the name score-begin-end. 0. 0, even though the last note of the first score ends at time 3. To convert a score into sound, use the score-play function. Notice that the play command requires an expression that results in a sound, so it cannot be used with a score. The score-play function converts a score to a sound, and since it also plays the sound, we do not want to invoke it with the play command.

Operator SAL> print ! 4 = 5 #f SAL> print ! (4 = 5) #t SAL> print ! 1 #f SAL> print ! 6 User-Defined Functions To build programs that solve complex problems, it is necessary to write your own functions. User-defined functions may be used just like the SAL primitives. The template to define a function is: define function function-name(optional-inputs) begin commands end Note: the word define is optional, but we use it throughout this book to remind the reader that this is a function definition. 1, we define a function named my-c-chord that creates a list of the pitches C, E, and G.

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