George Perle’s Twelve–Tone Tonality: some developments for CAC using PWGL

This paper presents a description and some developments on Perle’s theory and compositional system known as Twelve-Tone Tonality, a system that, because of its characteristics and fundamentals, is currently associated with Schoenberg dodecaphonic system. Some research has been made in the last few decades in order to develop his model in a Computer Assisted Composition (CAC) environment. After some efforts in order to analyse these prototypes, we realize that in general they were discontinued or outdated. A three-scope proposal is so outlined: Firstly, to simplify the grasp of a system that presents an easily understandable starting premise but afterwards enters a world of unending lists and arrays of letters and numbers; Secondly, to present the implementation process already started using PWGL [1] (see Laurson, 1996; Laurson, 2003; Laurson, 2009). Finally, the model is applied in a short original compositional work, and it is presented and analysed emphasizing the standpoints properties of the system. Some further considerations were made regarding the continuity of this project where the construction of a dedicated PWGL library of Perle’s model reveals a pre-compositional necessary tool. PWGL software was selected due to its specific fitting features: it is based on Common Lisp - perfectly powerful and suitable to process lists of integers — and it is specialized in CAC

Symmetrical and geometrical cycles in twelve-tone composition: developments toward a new model

The development of a pre-compositional model is proposed in this study based on two systems with two design perspectives: Schoenberg's Serialism and Perle's Twelve-Tone Tonality (from now on TTT). Schoenberg's perspective reveals a linear design where the set has functions like those of a motive; on the other hand, Perle's design result in harmonic simultaneities based on symmetric cycles. The authors propose a model for 12-tone composition that assumes an interactive approach between the horizontal and the vertical statements toward a new pre-compositional system based on geometrical and symmetrical issues. This model is being implemented in PWGL for Computer Aided Composition (CAC) in order to assist the extrapolation of the Motivic/Harmonic fundamental requirements of the model. Finally, the empiric outcome produced in the form of musical composition was analyzed, although not presented in its entirety in the scope of this paper.info:eu-repo/semantics/publishedVersio

OMChroma: Compositional Control of Sound Synthesis

International audienc

Musical Representation of Sound in Computer-Aided Composition: A Visual Programming Framework

International audienceThis article addresses the problem of the representation and creation of sound by synthesis in the context of music composition, as seen from the computer-aided composition (CAC) perspective. An important theoretical basis of this work is the concept of computer modelling, discussed in relation to the notions of sound representation and music composition. Modelling sound as a signal is extended to the musical domain by considering as an alternative modelling composition as an activity that aims to produce sounds. The visual programming paradigm is adopted for the representation and conception of the composition models, and therefore for the musical representation of sounds. A composition framework dedicated to electro-acoustic music and sound synthesis integrated in the OpenMusic CAC environment is presented. Temporal issues are also discussed and are the object of specific developments

Sonifying Urban Rhythms: Towards the spatio-temporal composition of the urban environment

This thesis is concerned with the composition of the urban rhythms generated by urban design and planning. It recognises the temporal limitations of the graphic urban masterplan, with its tendency of being static and singular in the composition of urban experience. Thus it proposes the integration of rhythm into the urban design and planning process, with the aim to improve the temporal quality of urban design. In order to represent these urban rhythms, as designed in the graphic masterplan, we propose their sonification. A Sonified Urban Masterplan (SUM) tool was developed, allowing the sonification of multiple layers of maps (raster or vector images) along a number of paths of interest. An urban sonic code was then developed in order to map the relevant graphic urban parameters into sound parameters. This sonification strategy was applied to the city of Paris as a case study, producing a sonified set of maps whose composition could be ‘listened’ to over time. Temporal issues concerning human movement, transport infrastructure, activity distribution, and the structuring of urban form and design elements could be represented and heard. We then investigated the potential of the SUM tool as a design and planning tool. We explored how sound could be used to inform the composition of urban form in both time and space, in order to generate the urban rhythms we may desire to experience. Thus through the integration of sonification in urban design and planning, this thesis permits the spatio-­‐temporal representation and composition of urban form. It allows urban designers and planners to compose future urban rhythms and improve the temporal quality of our urban environments. Furthermore, the potential of this tool in other fields has also be recognized, for example in music and the composition of multi-­‐layered open graphic scores

Aural exploration of post-tonal music theory: an automatic musical variations generator in MAX

Algumas tendências na música post-tonal são consideradas muito "cerebrais" ou "crípticas" e ha- bitualmente acabam por ser incompreendidas ou rejeitadas pelo público geral e alguns músicos profissionais. Como um esforço para superar a resistência a estas linguagens musicais, criei uma aplicação interativa no MAX que permite improvisar utilizando a teoria de conjuntos de Allen Forte. Então, em de vez de serem forçados a fazer muitos cálculos aritméticos de cor antes de poder tocar uma idea musical atonal, os músicos podem instantaneamente ouvir as qualidades sonoras de um pitch class set com só tocar um acorde simples no teclado MIDI para gerar vari- ações instantáneas de um gesto musical tocado anteriormente. Um processo de design interativo foi feito e os resultados, conclusões e reflexões durante as diferentes etapas do trabalho mostraram a relevância da teoría musical utilizada e a sua relação com técnicas de satisfação de constrangi- mentos nos processos de composição musical.Some tendencies in post-tonal music are regarded as very "cerebral" or "cryptic", and usually are misunderstood when not rejected by the general public and some professional musicians. As an effort to overcome resistance to this languages, I designed an interactive application in MAX that allow to improvise using Allen Forte's set theory. So, rather than being forced to do a bunch of arithmetic calculations by heart before play a single note, musicians can hear instantly the aural qualities of determined pitch class sets by playing a simple chord in a MIDI keyboard to generate variations of a previously played musical gesture. An iterative design process was carried on, and the results, conclusions and reflections during the different stages of the work showed the relevance of the music theory applied and its relation to constraint satisfaction techniques in music composing processes