RE: Virtual Concerto

Subject: RE: Virtual Concerto
Date: Wed May 19 2004 - 10:53:22 EDT

As a side note.

G.M.Koenig and Otto Laske both developed this approach at Institute of
Sonology at the University of Utrecht in the 70's. Laske has continued
working with this manner and has refined the process considerably. Project
1, written by Koenig, outputs streams of numbers, the constraints of which
are determined in the parameters of the program. There is a feeling of
openness with regard to interpretation of these numbers. They can be
interpreted as more traditional notation or recently the ability to convert
them to CSound score has been implemented. It entirely the decision of the
composer how these numbers are to be applied to the compositional process.
IMHO, Laske has been composing very excellent works utilizing this method.
His CDs are available at CDemusic on the EMF site

Laske's Web Site
Koenig's Web site

Michael Rhoades

-----Original Message-----
[] On Behalf Of Kevin Austin
Sent: Wednesday, May 19, 2004 9:13 AM
To:; Eliot Handelman
Subject: Re: Virtual Concerto

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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