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http://www.iainmccurdy.org/csoundhaiku.html

Iain McCurdy is a real Csound guru, his work is always interesting and
intriguing to me, and his command of Csound and it's resources I always find
inspirational. To quote McCurdy from the email thread on the Csound mailing
list that brought this recent collection to my attention: "I think this sort
of thing is normally thought of as more SuperCollider territory, but Csound
is quite capable here also...".

Number "VI" is a real standout to me.

<http://www.iainmccurdy.org/csoundhaiku.html>There are certainly microtonal
and spectral features in these works...I'm intrigued by the idea of some of
these textures doing more 'targeted' scales like some of those under recent
discussion. In any event, I really enjoyed these textures. To me, they show
some of the possibilities of a command of a sonic imagination, electronic
music technique, and interesting algorithmic/generative procedures.

Of related note: this seems to be in the same universe as the
twitter-modelled "140 characters of SC code" SuperCollider contest:
http://supercollider.sourceforge.net/sc140/

...I bet McCurdy came across these and decided to implement related ideas in
native Csound code.
<http://supercollider.sourceforge.net/sc140/>
--
Aaron Krister Johnson
http://www.akjmusic.com
http://www.untwelve.org

[Non-text portions of this message have been removed]

🔗Caleb Morgan <calebmrgn@...>

"Haiku" is sort of an attractive but misleading analogy for a piece based on a
restricted number of lines of code, or what-have-you. In haiku, the
restrictions go directly to what meets the eye and ear. Here they are behind
the scenes, and abstract, also.

I prefer pieces where the outcome is chosen by the composer, not randomly (or in
any other way besides *humanly*) different each time. Since I'm not going to
listen to the piece five times, and it wouldn't sound five different ways anyway
because I'm listening to a recording, what I'm hearing is really the choice of
the composer. It's the choice of the composer, for better or worse. What does
the composer want? If the way the elements go together are no better or worse
in any given result, then the music is sort of indifferent.

caleb

________________________________
From: Aaron Krister Johnson <aaron@...>
To: tuning@yahoogroups.com; MakeMicroMusic@yahoogroups.com
Sent: Mon, May 16, 2011 1:28:44 AM
Subject: [MMM] interesting generative music

http://www.iainmccurdy.org/csoundhaiku.html

Number "VI" is a real standout to me.

Of related note: this seems to be in the same universe as the
twitter-modelled "140 characters of SC code" SuperCollider contest:
http://supercollider.sourceforge.net/sc140/

[Non-text portions of this message have been removed]

🔗Aaron Krister Johnson <aaron@...>

Caleb,

In my experience, it's no so easy to design procedures that produce
interesting results most of the time. Although there is variance, that
doesn't mean any given realization is uninteresting.

If the end result sounds interesting to me, whether or not a human ego was
involved is moot; although I understand your argument and tend to agree that
by far, non-algorithmic music is much more interesting. However, I also find
something attractive to both the idea and sometimes the sonic results of
removing the human ego from the equation. But, paradoxically, the human can
never be removed altogether; someone has to figure out what maps to what
musical parameter in a given algorithm, so there's always a chance a given
procedure is more musically relevant to some parameter than to another. Thus
the art of such design lies in the success of such choices.

There's also the possibility that you are prejudiced by reading about the
piece's construction before encountering it as sound--pretend it was
traditionally composed--then what would you think? Some people have
preferred algorithmically generated Mondrian paintings to the real thing,
according to Douglas Hofstadter.

AKJ
On May 16, 2011 6:58 AM, "Caleb Morgan" <calebmrgn@...> wrote:
> "Haiku" is sort of an attractive but misleading analogy for a piece based
on a
> restricted number of lines of code, or what-have-you. In haiku, the
> restrictions go directly to what meets the eye and ear. Here they are
behind
> the scenes, and abstract, also.
>
> I prefer pieces where the outcome is chosen by the composer, not randomly
(or in
> any other way besides *humanly*) different each time. Since I'm not going
to
> listen to the piece five times, and it wouldn't sound five different ways
anyway
> because I'm listening to a recording, what I'm hearing is really the
choice of
> the composer. It's the choice of the composer, for better or worse. What
does
> the composer want? If the way the elements go together are no better or
worse
> in any given result, then the music is sort of indifferent.
>
> caleb
>
>
>
> ________________________________
> From: Aaron Krister Johnson <aaron@...>
> To: tuning@yahoogroups.com; MakeMicroMusic@yahoogroups.com
> Sent: Mon, May 16, 2011 1:28:44 AM
> Subject: [MMM] interesting generative music
>
>
> http://www.iainmccurdy.org/csoundhaiku.html
>
> Iain McCurdy is a real Csound guru, his work is always interesting and
> intriguing to me, and his command of Csound and it's resources I always
find
> inspirational. To quote McCurdy from the email thread on the Csound
mailing
> list that brought this recent collection to my attention: "I think this
sort
> of thing is normally thought of as more SuperCollider territory, but
Csound
> is quite capable here also...".
>
> Number "VI" is a real standout to me.
>
> <http://www.iainmccurdy.org/csoundhaiku.html>There are certainly
microtonal
> and spectral features in these works...I'm intrigued by the idea of some
of
> these textures doing more 'targeted' scales like some of those under
recent
> discussion. In any event, I really enjoyed these textures. To me, they
show
> some of the possibilities of a command of a sonic imagination, electronic
> music technique, and interesting algorithmic/generative procedures.
>
> Of related note: this seems to be in the same universe as the
> twitter-modelled "140 characters of SC code" SuperCollider contest:
> http://supercollider.sourceforge.net/sc140/
>
> ...I bet McCurdy came across these and decided to implement related ideas
in
> native Csound code.
> <http://supercollider.sourceforge.net/sc140/>
> --
> Aaron Krister Johnson
> http://www.akjmusic.com
> http://www.untwelve.org
>
> [Non-text portions of this message have been removed]
>
>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>

[Non-text portions of this message have been removed]

🔗aum <aum@...>

🔗Daniel Forró <dan.for@...>

🔗Caleb Morgan <calebmrgn@...>

Thanks for good answer, Aaron. Actually, the snippet I listened to *did* sound
good.

Caleb

________________________________
From: Aaron Krister Johnson <aaron@...>
To: MakeMicroMusic@yahoogroups.com
Sent: Mon, May 16, 2011 12:22:33 PM
Subject: Re: [MMM] interesting generative music

Caleb,

In my experience, it's no so easy to design procedures that produce
interesting results most of the time. Although there is variance, that
doesn't mean any given realization is uninteresting.

[Non-text portions of this message have been removed]

🔗aum <aum@...>

🔗lobawad <lobawad@...>

Yes your Mondrian piece is a real pleasure to listen to. In historical context your sine-wave based works remind me of a certain Russian school including Artemiev, but at the same time quite different. Do you have visuals with your live Supercollider work?

--- In MakeMicroMusic@yahoogroups.com, aum <aum@...> wrote:
>
> Hi Daniel,
> thanks for listening, I´m glad you like it.
> I think I should consider lengthening these pieces, I have more comments
> like this. Few week ago I performed this (generated using SuperCollider
> in real time): http://www.uvnitr.cz/mg/flex/flex10.html
> It was about 20 minutes long, I was asked to make it two times longer, too.
> Best
> Milan
>
> On 05/17/2011 06:18 AM, Daniel Forró wrote:
> > Very nice piece with zen purity, I like a lot. It could be two times
> > longer...
> >
> > Daniel Forro
> >
> > On May 17, 2011, at 4:31 AM, aum wrote:
> >
>