John ffitch

Automatic music composition using answer set programming

Music composition used to be a pen and paper activity. These days music is often composed with the aid of computer software, even to the point where the computer composes parts of the score autonomously. The composition of most styles of music is governed by rules. We show that by approaching the automation, analysis and verification of composition as a knowledge representation task and formalising these rules in a suitable logical language, powerful and expressive intelligent composition tools can be easily built. This application paper describes the use of answer set programming to construct an automated system, named Anton, that can compose melodic, harmonic and rhythmic music, diagnose errors in human compositions and serve as a computer-aided composition tool. The combination of harmonic, rhythmic and melodic composition in a single framework makes Anton unique in the growing area of algorithmic composition. With near real-time composition, Anton reaches the point where it can not only be used as a component in an interactive composition tool but also has the potential for live performances and concerts or automatically generated background music in a variety of applications. With the use of a fully declarative language and an ???off-the-shelf??? reasoning engine, Anton provides the human composer a tool which is significantly simpler, more compact and more versatile than other existing systems.

ANTON: Composing Logic and Logic Composing

In most styles of music, composition is governed by a set of rules. We demonstrate that approaching the automation and analysis of composition declaratively, by expressing these rules in a suitable logical language, powerful and expressive intelligent composition tools can easily be built. This paper describes the use of answer set programming to construct an automated system, named Anton , that can compose both melodic and harmonic music, diagnose errors in human compositions and serve as a computer-aided composition tool.

Ride a cock-horse... [electronic music]

We describe an architecture currently under design and implementation at the University of Bath whose purpose is the provision of a net-wide musical service, building on previous experience in the development and deployment of mathematical Web services (MONET) as well as long standing involvement in sound synthesis (CSound). The structure and components of this architecture are discussed, and a number of sample applications are presented, to show the scope of the capabilities of this architecture. A particular motivation for the development of this architecture is to provide the means to have music where ever we go, whether delivered on a workstation, laptop or palm-held device. This opens up a number of possibilities for performance or personal delight.

Advanced Data Types

This chapter will explore the more advanced data types in Csound. We will begin by discussing Strings and manipulating texts. Next, we will explore Csound’s spectral data types for signal analysis and transformations. Finally, we will discuss arrays, a data type that acts as a container for other data types.

Time-Domain Processing

This chapter will discuss processing of audio signals through the use of time-domain techniques. These act on the samples of a waveform to deliver a variety of effects, from echoes and reverberation to pitch shifting, timbral modification and sound localisation. The chapter is divided into four sections dealing with the basic methods of fixed and variable delays, filtering and spatial audio. Code examples are provided implementing many of the techniques from first principles, to provide the reader with an insight into the details of their operation.

Key System Concepts

This chapter provides an overview of the key principles that underline the operation of Csound: frontends; the sampling theorem; control and audio rates; processing blocks; function table generation; real-time and offline audio; the API. These ideas will be presented as a foundation for the detailed exploration of Csound programming in the subsequent chapters.

Øyvind Brandtsegg: Feedback Piece

This chapter presents a case study of a live electronics piece where the only sound source is audio feedback captured with two directional microphones. The performer controls the timbre by means of microphone position. Algorithms for automatic feedback reduction are used, and timbral colouring added by using delays, granular effects, and spectral panning.

Victor Lazzarini: Noctilucent Clouds

This chapter presents a case study of a fixed-media piece composed entirely using Csound. It discusses the main ideas that motivated the work, and its three basic ingredients: a non-standard spectral delay method; a classic algorithm using time-varying delays; and feedback. The source sounds used for the piece are discussed, as well as its overall structure. The case study is completed by looking at how post-production aspects can be seamlessly integrated into the orchestra code.

Music Programming Systems

This chapter introduces music programming systems, beginning with a historical perspective of their development leading to the appearance of Csound. Its direct predecessors, MUSIC I-IV, MUSIC 360 and MUSIC 11, as well as the classic MUSIC V system, are discussed in detail. Following this, we explore the history of Csound and its evolution leading to the current version. Concepts such as unit generators, instruments, compilers, function tables and numeric scores are introduced as part of this survey of music programming systems.

Joachim Heintz: Knuth and Alma, Live Electronics with Spoken Word

This chapter exemplifies the usage of Csound in a live electronics setup. After introducing the general idea, two branches of working with spoken word as live input are shown. Knuth analyses the internal rhythm and triggers events at recognised accents, whereas Alma analyses sounding units of different sizes and brings them back in different modes. The concept is shown as a work in progress, with both realisations for improvisation and sketches for possible compositions.