One of the articles that had a lasting impact upon my thinking about computer-assisted composition was Denis Lorrain’s A Panoply of Stochastic “Cannons,” published in Computer Music Journal in 1980. (The unusual spelling “Cannons,” with two n’s, is Lorrain’s original title and is retained here intentionally.) I encountered the ideas behind this work at a time when computer music was beginning to offer a particularly compelling possibility: composition could be approached not simply as the specif
Connecting an AI to Opusmodus through Swank Speed, freedom of choice, and a closer connection between musical ideas and working code. Connecting an AI assistant to the running Lisp environment of Opusmodus opens up an interesting way of working. Through Swank, the assistant can propose code, evaluate expressions, examine results, and refine its suggestions within an ongoing session. For a composer working with algorithms, this creates a direct connection between musical intention, programming, a
This short essay about Joji Yuasa's methods of composing, and in particular his viewpoints on pitch material and pitch control, may be of interest to some of the Opusmodus community. This is on Substack at the link below:
I am beginning this blog as a place to share observations from my ongoing work with Opusmodus: not so much finished articles or formal presentations, but glimpses into the process of developing new compositional ideas, programming techniques, and musical systems. This blog will not take the place of my more detailed writing at Substack, where I publish longer essays, extended discussions of compositional method, complete Opusmodus projects, documentation, and other materials intended for more
It is a work in progress - here is part of the composer controls in the code as I am developing it. ;; Controlled Aleatorism v15.12 — Formal Morphology
;; after the Controlled Aleatory Experiment after Lutoslawski
;;
;; DEVELOPMENT FROM v15.1:
;; The successful field-memory and instrumental-character architecture
;; remains intact. v15.2 adds a shared latent trajectory that can exert
;; occasional attraction or avoidance upon each instrumental path.
;;
;; Attraction maps the same shared traject
