Simply compose one short piece a day. It must be a complete composition each day. It is like 'kindling' - one day along will come a more important idea that will require extensive work - the flame is thus lit & away you go! It is important, he says to keep regular appointments with the muse - if she doesn't arrive then it's not your fault, at least You are there!
mailing list is devoted to algorithmic composition.
Not a lot of volume, but with a bunch of good people
subscribing the general quality of discourse is fairly
Anti-Math Story plot notation presents itself as a way of pictorially representing stories. But
really it's a taxonomy of plot outlines. It's a little bit wacky and
half-finished, but might be good for brainstorming opera libretti and such.
Clarence Barlow's Autobusk
is a freeware Atari ST program for real-time probabalistic generation of MIDI events.
Clarence is working on a Linux port, and in any case, he includes a pointer
to a Windows ST emulator.
Here's a paper about Bol, a computer system for Macintosh by Bernard Bel for composition and analysis, with emphasis on polyrhythms.
Here's a system for composing MIDI sequences, describe in a paper by Alin Dorin, that uses Boolean networks (something like cellular automata) to generate rhythmic structure. Has a colorful user interface, and runs on Macintosh.
Boomer Bag is a web repository of rhythmic and harmonic fragments. You can listen to the contributions, rate them and submit your own.
Here's a paper
(PDF) about using a chaotic algorithm to
automatically generate musical variations.
Richard Dobson and John Fitch have written a paper about their
with chaotic oscillators.
is a fairly useful package of routines for editing,
processing, and creating soundfiles. It also includes a
library of routines designed to make it easier to write C
programs to manipulate soundfiles. Paul Lansky wrote the
first version and uses it for most of his compositions.
is a composer and faculty member at UC Santa Cruz, known
widely for his Experiments in Musical Intelligence,
computer programs that can analyze a corpus of music,
identify signature features of the corpus and generate
new music exhibiting the same signatures. The effect
of digesting a composer's style and producing new works
mimicking that style can be eerie. While the programs
don't produce masterworks, even making middling Mozart
pastiches is a good trick. But Cope's real advance is
a better understanding of where style comes from, a
first step to effing the ineffible.
Yoko Ono's book Grapefruit, a collection of Fluxus-style instructions for music and art, has been reissued after 30 years out of print.
Tim thinks I should make a piece about the sounds
that telephones make when they ring.
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