Making Complex Music with Simple Algorithms, is it Even Possible?
Visualizações: 211DOI:
https://doi.org/10.33871/23179937.2021.9.2.3Palabras clave:
Algorithmic composition, Computational complexity, Dynamic systems, Acoustic processingResumen
Algorithmic composition is often limited to score generation, but may also include sound production. All levels from sound synthesis to the generation of a complete composition can be integrated into one monolithic program. A strict separation of the low level of sound synthesis and higher levels otherwise reserved for algorithmic composition is not necessary, information can flow between all levels. An interesting challenge in this kind of thorough algorithmic composition is to generate as complex music as possible with as little code as possible. The challenge has been accepted, successfully or not, in a series of compositions called Kolmogorov Variations. We discuss the techniques used in a few of the pieces as well as the promises and perils of this strict approach to algorithmic composition.Descargas
Citas
BAYLES, David and ORLAND, Ted. Art & Fear. Observations on the perils (and rewards) of artmaking. Santa Cruz: The Image Continuum, 1993.
HAKEN, Hermann. Synergetics. Introduction and Advanced Topics. Berlin, Heidelberg: Springer, 2004.
HEINICH, Nathalie. Le paradigme de l"™art contemporain. Structures d"™une révolution artistique. Éditions Gallimard, 2014.
HOLOPAINEN, Risto. Self-organised Sound with Autonomous Instruments. Aesthetics and experiments. Doctoral thesis, University of Oslo, 2012.
LOY, Gareth. Musimathics. The mathematical foundations of music, Vol 1. Cambridge, Massachusetts: The MIT Press, 2006.
MAUCH, Matthias and LEVY, Mark. Structural Change on Multiple Time Scales as a Correlate of Musical Complexity. Proc. of the 12th International Society for Music Information Retrieval (ISMIR 2011). Miami, USA, pp. 489-494, 2011.
MEADOWS, Donella. Thinking in Systems. A primer. White River Junction, Vermont: Chelsea Green Publishing, 2008.
NIERHAUS, Gerhard. Algorithmic Composition. Paradigms of Automated Music Generation. Wien, New York: Springer, 2010.
SCHNEIER, Bruce. Applied Cryptography, Second Edition: Protocols, algorithms, and source code in C. New York: Wiley, 1996.
SIEDENBURG, Kai. & McADAMS, Stephen. Four Distinctions for the Auditory "Wastebasket" of Timbre. Front. Psychol. 8:1747, 2017.
SPROTT, Julien C. Elegant Chaos. Algebraically Simple Chaotic Flows. World Scientific, 2010.
Descargas
Publicado
Cómo citar
Número
Sección
Licencia
Derechos de autor 2021 Risto Holopainen
Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.
Los autores conservan los derechos de autor y conceden a la revista el derecho de primera publicación, con el trabajo simultáneamente bajo la licencia Creative Commons Attribution Licence que permite compartir el trabajo con reconocimiento de autoría y publicación inicial en esta revista.