Most recent work: Tiger Lily and Phyllorhyza use Euterpea for score-level generation. Tiger Lily also features some human-made parts while Phyllorhyza is a generated score with human performance of some of the parts. In each case the score was generated in fragments (typically larger than 4 measures each), which were put together in a DAW and rendered using virtual instruments (Kontakt, Iris 2, etc.).
Playlists on SoundCloud:
Algorithmic Compositions Using Kulitta
The following compositions use various versions of an automated composition system that is now called Kulitta. Kulitta is the subject of my dissertation and uses Euterpea for certain musical representations and handling of MIDI input/output.
- Tandava (November 2016). Algorithmic composition using Kulitta to generate percussion and piano. I then arranged everything at a high level, combining direct Kulitta output with audio manipulations of the same sections.
- Tourmaline (October 2015). Composed in a text editor using Kulitta as an algorithmic composing tool using custom grammars and foreground algorithms. Tourmaline was rendered to audio using Cakewalk Sonar X3 and Kontakt.
- Vesicularia (January 2015). Composed in a text editor using Kulitta as an algorithmic composing tool. The first half was created using a non-harmony-based Probabilistic Temporal Graph Grammar (PTGG) for melodic motion. The resulting scores were rendered to audio with one digital and one analog synth with ring modulation. The second half was created using a harmony-based PTGG more like those from my dissertation and rendered with digital synths.
- Piano Etude (June 2014). PDF Score with performance annotations. Composed by Kulitta and performed by me. The code for this composition is in PianoComposition.lhs within the Kulitta version 1.1 implementation download (see this page for a download link).
- Monadic Algorithmic Composition Example #3 (August 2013).
Four-voice classical example using the same system as above.
- Monadic Algorithmic Composition Example #2 (August 2013).
Another example from system as above. This example uses more standard jazz harmonies.
- Monadic Algorithmic Composition Example (June 2013). This is an example of output from a recent system I’ve worked on in my research. The same system can produce more traditional-sounding output, but it can also be used for more texturally interesting and modern sounding work like this example. For comparison, earlier implementations of this system produced “Random Number Seed 6 in C-Minor” and the untilted jazz example further up in this list.
- Real-Time Interactive Music with Kulitta (page) (March 2013). This page gives a brief overview and example recording for an interactive, music-making system I have built with Euterpea.
- Untitled Jazz Example (March 2013). PDF score. Demonstration of my current research: algorithmic composition with generative grammars and new chord spaces.
- Random Number Seed 6 in C-Minor (May 2010). PDF score.
Algorithmic composition and performance from my research.
- Prelude (May 2010).
Algorithmic composition using Euterpea’s MIDI interface. Soundfonts used in the recording are the Merlin Vienna woodwinds.
Compositions Using Euterpea
Some excerpts of older compositions using Euterpea and Kulita in various ways. Full versions of these pieces are linked in later sections.
Compositions Using Euterpea for Score-Level Generation
- Phyllorhyza (2018). Largely algorithmic work resulting from experimentation with mutation agorithms for chords and melodies.
- Tiger Lily (2018). Partialy algorithmic work using pattern-based generation with Euterpea.
- 33rd and 5th (2018). Algorithmic work using pattern-based generation with Euterpea.
- Dot Matrix (2018). Algorithmic work using pattern-based generation with Euterpea. Kulitta features on hand drums later in the piece.
- Blue Lambda (2017). Partially algorithmic composition using techniques described in this blog post.
- Descent (2009).
Microtonal aspects of this composition were generated with Euterpea. MIDI does not support microtones by default, so Euterpea was used to carefully add pitch bend events to simulate microtonal scales.
- Stochastic Ozonolysis (2008).
The opening section and percussion were created in Euterpea using a version of the L-Systems described in The Haskell School of Music.
Compositions Using Euterpea’s Signal Processing Framework
These compositions were created completely in a text editor using Euterpea’s signal processing framework and other features. Sound was generated by compiling and running the programs.
- Midges, Midges! (May 2011). Experimentation with some more complicated synthesizer interfaces, although all are still constructed from some combination of a square wave, triangle wave, sine wave, white noise, and bandpass filters. Aside from the use of random numbers in the “midges” synth (you’ll know it when you hear it), the compositional elements are all hand-written/coded.
- A, B, C#, F#, G, G# (November 2010).
Uses signals and is largely algorithmic in the 2nd half. The keys used are based on the intervallic pattern [2,2,5,1,1] (for example: A, B, C#, F#, G, G#) and its modes.
- Ideophone (July 2010).
Uses signals and some algorithmic composition.
- Felis (June 2010).
Uses signals with some algorithmic composition in the opening/middle.
- Poem for a Sine Wave (May 2010).
Uses signals and is largely algorithmically-composed by an early version of Kulitta.
Compositions Using Euterpea-Based Virtual Instruments.
All of the following compositions are notated in a MIDI editor and utilize soundfonts (sf2 files), some of which are created from Euterpea output.
- Squishy Sines (July 2013).
Written for the Sonic State’s Limitators Challenge. All instruments were created using Euterpea-generated samples loaded into DropZone in Cakewalk Sonar X1. The samples were generated using sine waves in various ways.
- Ferns and Frontal Lobes (February 2012).
The opening instrument is algorithmically controlled and uses Euterpea’s signals. The bass is also algorithmically generated.
- Brodmann Area 4 (August 2011).
Using the same Euterpea-based instruments as Brodmann Area 7.
- Brodmann Area 7 (June 2011).
The opening PVC-like instruments and bass kick are sf2s created from Euterpea samples.
- Temporal Lobe (April 2010).
Uses some soundfonts (sf2) created from Euterpea samples. The Euterpea-based soundfonts provide the clock sounds (ticks and chimes).
- Fantasy for Bottles (Jan 2010).
Uses soundfonts (sf2) created from Euterpea samples (single note wav files produced using signals). The MIDI was composed by more standard means and recorded with environmental effects (reverb) from a Creative Labs Audigy 2ZS card.