Subject: Re: Virtual Concerto
From: Kevin Austin (firstname.lastname@example.org)
Date: Wed May 19 2004 - 10:12:57 EDT
Is this not partly a question of semantics? If he had called it a
Melisma Stochastic MIDI note-on MIDI note-off Generator
rather than a
Melisma Stochastic Melody Generator
Would this visit take place?
The early days of 'computer music' Hiller et al used an analysis /
synthesis model. starting from random action and designing filters
that would only allow through information that fit the rules -- a
subtractive synthesis model.
Some years after this with the introduction of the (non-keyboard
based) modular synthesizer 'patch cords' could be used as a (quasi)
additive synthesis model. Many of these 'algorithmic' patches bored
after a short period of time. (Note the entrance of perception /
evaluation.) MAX is an outgrowth of this history.
From time to time an individual would come along who created (analog
or MAX) patches that were really interesting, fluid and dynamic, and
required little human intervention. Gottfried Michael Konig (as I
recall) was writing interesting pieces based upon large sheets of
numbers generated by machines, and he (selected) and transcribed
these numbers into pieces. Some of those I heard were marvelous.
I understood his pieces as his having pre-limited his possible
compositional materials by the algorithms, and then 'composed' by
using his mind as the "filter".
Part of this discussion I feel is about the nature of the 'human
filter' at the end.
>Sure -- try this:
>It's David Temperley's "stochastic melody generator."
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