Computer-aided composition

>Perhaps Marion can expound a little further on his
>techniques for exploring a wide variety of tunings (perhaps
>comparing them to algorithmic composition techniques?), and why
>he finds that JI systems are easier to explore in that manner.

There are two dimensions (at least) to this problem. One is
theoretical, and one is practical.

In the theoretical dimension, we have at our disposal a musical
instrument of infinite resolution. We are faced with the problem
of composing in a transcendental or irrational scale. We need to
decide that certain combinations of notes are acceptable, or
consonant, and others are not consonant. We know that factors
such as absolute pitch, volume, and harmonic content will affect
consonance, but for purposes of this simplified discussion, I
will ignore those.

There may be many valid ways of making this judgement, but
approximations of JI intervals are the usual. You will hear
phrase like "this interval is a little flat from the major
third". Judgements like this may be fine for humans, but are
far to general for a computer to understand. It takes a much
more precise definition to program a computer to make judgements
about harmony.

It is fairly easy to guess that 14983/10000 fairly closely
approximates the 3/2, but other situations are not so clear cut--
especially if we intend to sound 3 or 4 notes at the same time.
After all, the purpose of tempering is to introduce ambiguity
into the tuning so that intervals may be interpreted by the ear
in more than one way.

For example, we can take the ET approximation for the third, and
reduce it in steps to the JI third 5/4.

1259921/1000000
527253/418481
205415/163038
88992/70633
27431/21772
6699/5317
635/504
286/227
63/50
29/23
5/4

At each successive approximation, we are further from the
original note of the ET scale. So we have a trade-off between
accuracy to the original model, and simplicity of tuning. This
is a complex decision for only two notes, and if we make
different choices for different combinations of notes, which is
apparently what the ear does, then it is even more complex, and
what if we are to eschew this simple Euclidian series and opt to
only include 5, 7, or 11 limit numbers, or use some other
criteria altogether.

One can come up with thousands of JI scales that approximate any
irrational scale. For example, there is no single JI scale that
is generally agreed upon to represent the harmonic
characteristics of 12ET, surely the single most analyzed scale in
human history.

The purpose of tempering is to introduce ambiguity, and the
degree to which it is successful in its purpose is also the
degree to which it becomes difficult to analyze.

OTH, JI scales contain none of that kind of ambiguity. Each
combination of notes represents only one point on a gradient of
consonance, and can be interpreted only one way. Some may find
harmonies acceptable that others do not, but it is possible a
computationally straightforward index of consonance without
having to search a vast tree of possibilities.

Therefore, the space that must be searched by a heuristic
designed to measure consonance is almost infinitely smaller for a
JI scale than an irrational scale. LCM is the heuristic of
choice for me, but I think any of the others I have seen
discussed here would have the same characteristics.

In the practical dimension, one must also consider tuning
granularity. Since all present day electronic instruments use
digital oscillators, they have nearly exact accuracy, and great
stability, but, because tuning has not been an important design
criteria, they have poor tuning granularity compared to what
could be done with very little more cost and engineering.

In addition, the tuning characteristics of wavetable synthesis
are a function of the sample length. Tuning granularity may be
different for a piano or flute voice, or be a function of the
absolute pitch. Manufacturer's of such instruments do not
release the sample length data, so, when you use one of these
devices, you are buying pseudo-random tuning, unless you want to
reverse engineer their firmware, or measure the output with a
frequency counter while changing voices etc.

FM synthesis at least produces predictable tuning with a
published spec. But it is certainly not an implementation of
anything like infinite resolution. Tuning numbers can only range
up to 1024. I think tuning numbers of 10^10 are easily possible.
But the Sound Blaster can still produce an astounding number of
scales. For example, it can play some 72,000, 12-tone, five-
limit scales with more than 5 LCM60 chords.

For those who are into non-exact JI, or tempering, the tuning
characteristics of the chosen instrument introduce yet another
variable to further fuzzify computations required to evaluate a
particular combination of notes.
This is not to say that those computations can't, or shouldn't be
done, but it is a much, much harder problem than exact JI. For
exact JI, tuning variations do not exist, so they do not need to
be considered in the harmonic analysis.

I have done experiments in pure algorithmic composition where you
just program some machine, and then let it produce music. As a
matter of fact, in 1983, I built such a machine out of about 75
medium scale logic chips, and I still have it in my garage. I
gradually came around to the view that computer-aided composition
is much better.

I usually use a minimum chord set, and in many cases my
compositions are made up entirely of LCM60 chords, which means
the harmony is much simpler than most. If I want to use more
complex chords, I usually generate a more complex scale and still
use a minimum chord set. This seems to me to give better results
than using a maximally consonant scale, but choosing more complex
chords.

If you are interested in learning more about my approach to this
problem, you can ftp FasTrak from the
ccm/tuning/software/pc/fastrak directory at mills.edu. Even if
you don't have an IBM PC with a Sound Card, you might like to
read the on-line documentation. You will need a PC to unzip the
file though.

Marion

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Op donderdag 23 november om 20.30 u. is er in Muziekcentrum De IJsbreker,
Amsterdam een concert met de ongewone instrumentale bezetting van
trombone, cello en viool. Jan van Dijk schreef in 1951 een
31-toonscompositie hiervoor die na de premie`re niet meer is uitgevoerd.
Ook gespeeld wordt een werk van de Amerikaanse componist William York voor
dezelfde combinatie. Daar tussenin solowerken.
Voor het concert om 19.30 en daarna is in het Koetshuis de installatie
Wired Life van Rene' Uylenhoet te bewonderen en te beluisteren. Dit is een
"elektronicamuseale expeditie", samengesteld uit antieke elektronische
muziekinstrumenten, waaronder die van het Haags Gemeentemuseum.

Fulkerson Trio:
James Fulkerson (trombone)
Judith van Swaay (cello)
Marieke Keser (viool)

Programma:
Jan van Dijk - Concerto (31-toons) (1951), voor trio
Ton de Leeuw - Music for Trombone (1/4-toons) (1973/74)
Giacinto Scelsi - Divertimento 3, voor viool solo
Michael Vaughan - Aria (1/4-toons) (1991), voor bastrombone solo
Ljubica Maric - Monodia Octoicha, voor cello solo
Neeley Bruce - For Jim Fulkerson (1/4-toons) (1977)
William York - nieuw werk, voor trio

See also: http://www.netcetera.nl/ysagenda.html

On Thursday 23 November, 20.30 h. is in Muziekcentrum De IJsbreker,
Amsterdam a concert with the unusual instrumental combination of
trombone, cello and violin. Jan van Dijk wrote a 31-tone composition
for it in 1951 which was never performed again after the premiere.
Also a work by the American composer William York for the same combination
can be heard. In between are solo-works.
Prior to the concert at 19.30 and after is in the Koetshuis the
installation Wired Life, created by Rene' Uylenhoet to be seen and heard.
This is a "electronicamuseal expedition", put together from antique
electronic musical instruments, among which from the Municipal Museum in
The Hague.

Manuel Op de Coul coul@ezh.nl

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The cancelled Huygens-Fokker concert with the Fulkerson Trio has
been rescheduled on 12 December 20.30 h. in De IJsbreker, Amsterdam.

Programme:
Jan van Dijk - Concerto (31-toons) (1951), voor trio
Ton de Leeuw - Music for Trombone (1/4-toons) (1973/74)
Giacinto Scelsi - Divertimento 3, voor viool solo
Michael Vaughan - Aria (1/4-toons) (1991), voor bastrombone solo
Ljubica Maric - Monodia Octoicha, voor cello solo
Neeley Bruce - For Jim Fulkerson (1/4-toons) (1977)
William York - Strone '95 voor bastrombone, viool, cello

Jan van Dijk's lyrical work was the inducement to have this concert
and William York accepted the challenge to compose another work for
the same instrument combination. It uses fast ornamentations and
Scottish rhythms.

Manuel Op de Coul coul@ezh.nl

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On Sunday 14 January there is a concert in the Teylers Museum in
Haarlem which begins at 15.00 h. Bob van Asperen plays harpsichord and
Lucy van Dael baroque violin. It's a programme with Dutch music from
the 16th and 17th century. In appropriate tuning, no doubt.

Manuel Op de Coul coul@ezh.nl

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Op zondag 25 februari is om 15.00 uur in het Teylers Museum in Haarlem
een concert met Balinese Gamelan en dans door Gamelan Gong Kebyar en
het Gende`r Wayang ensemble Irama, met uitleg over de muziek en de
stemming. Er zijn in totaal 20 spelers en een danser. Wees tijdig
aanwezig want het aantal zitplaatsen is beperkt.

On Sunday 25 February there is a concert in the Teylers Museum in
Haarlem beginning at three o'clock with Balinese Gamelan and dance by
Gamelan Gong Kebyar and the Gender Wayang Ensemble Irama. Explanation
about the music and tuning will be provided. There are 20 players in
total plus one dancer.

Information about the Teylers Museum:
http://www.nedpunt.nl/teylersmuseum/hal.html

Manuel Op de Coul coul@ezh.nl

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On Thursday 25 April there is a concert in the IJsbreker in
Amsterdam with a microtonal programme, starting at 20.30 h.
The music is of one of the most colourful Spanish composers of this
time, Rafae"l Reina.
He is contrabass player and composer, studied in Madrid, Boston,
Cologne and India. His music is a unique combination of rhythms
from Kameroun, Nigeria and Guinee, flamenco, Indian melody lines and
Western compositional techniques.
The concert will be recorded by KRO-radio.

musicians:
Kim Young Hee, soprano
Jon Anderson, bassclarinet
Eelco Beinema, cello
Monica Germino, violin
Ananda Sukarlan, piano
Jose' Vicente, percussion, cond.
Lorenzo Ferrandiz, percussion
Jos Zwaanenburg, Indian flute, bassflute

works:
Lamento de la Tierra (1995)
La Noche Boca Arriba (1995)
Copula con un Cuerro Muerto (1994)
Renacimientos de Fin de Siglo (1993)

Manuel Op de Coul coul@ezh.nl

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On Thursday 17 October, 20.30 h. is in Planetarium Artis, Amsterdam a
concert in the IJsbreker Electronica series called Star Tracks.
It's not a part of the coming microtonal festival but of a series of
four concerts in the form of musical space travels. The name of the
first concert is Planetary Taxi and this is the programme:

Michel Redolfi Desert Tracks / Sudden Draft
Louis Dandrel Fene^tres sur ville
Iannis Xenakis Orient Occident
Philip Glass Koyaanisqatsi
Bernard Parmegiani De Natura Sonorum
Kaiapo Indianen music from central Brazil
Terry Riley new work

This is a coproduction with CIRM, Centre International de Recherche
Musicale in Nice. Terry Riley's work will be a world premiere and
broadcast live over the Internet from his own studio.

Manuel Op de Coul coul@ezh.nl

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Friday 7 February: NCRV Lunchpauzeconcert in De IJsbreker, Amsterdam.
12.30 h.

David Dramm, electric guitar & Ann La Berge, amplified flutes.
A programme with their own composed and improvised music.

"Het duo Dramm/La Berge heeft een eigen stijl ontwikkeld waarin de
dreunende ritmen van de post-punk met de formele elegance van het
minimalisme geconfronteerd worden. Door middel van experimenteel
gestemde instrumenten en virtuoze "extended technics" overschrijdt
deze muziek de conventionele grenzen. Het duo speelt zowel in jazz- en
rockclubs als in concertzalen."

Manuel Op de Coul coul@ezh.nl

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Friday 28 February, 20.30 h.
Grote Zaal Tropeninstituut, Amsterdam.
Serie Strijkkwartetten & Verrassende 'Violen', concert 5.
Shanghai Quartet: WeiGang Li & HongGang Li (viool), Zheng Wang
(altviool), James Wilson (cello).

Zhou Long Poems from Tang
Bun-Chin Lam L'Air du Temps
Ton de Leeuw Strijkkwartet nr. 2 (1964)

The last one is microtonal.

Manuel Op de Coul coul@ezh.nl

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On Thursday 13 March 20.30 h. in Muziekcentrum de IJsbreker, Amsterdam.
The concert will be given by a new microtonal ensemble: The Interval
Chamber. Members are Jose' Vicente (percussion and conducting),
Janice Jackson (voice), Eelco Beinema (cello), Jos Zwaanenburg (flute),
Ole Boekho/j (contrabass), Lorenzo Ferrandiz (percussion), Gustavo
Gimeno (percussion), Ernest Rombout (oboe), Ruben Sanderse (viola) and
Monica Germino (violin).
This ensemble, specialised in microtonal music and interested in the
influence of non-western classical music on contemporary western music,
has as its goal besides giving concerts, teaching masterclasses,
organising projects in cooperation with conservatories and stimulating
the building of microtonal instruments.
The programme is

James Wood Marsyapollonomachia for oboe and percussion (1987)
Giacinto Scelsi Stringtrio (1958)
Tan Dun Lament: Autumn Wind (1993, rev. 1995)
Rafael Reina Drag on ... Claustrophobia (1996/7)

Manuel Op de Coul coul@ezh.nl

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On Sunday 1 June 1997, Teylers Museum Haarlem, 15.00 h.:
A concert of lute music and demonstration of technique and tuning of
the lute. It will be given by musicologist and professional lutist
Willem Mook.

"Hij zal ondermeer demonstreren dat op de luit een zuivere middentoonstemming
kan worden bereikt, dat een luit in die stemming duidelijk resonanter en
voller klinkt en dat met name voor luit-solo repertoire uit de vroeg-
16e-eeuw de middentoonstemming zinvol is. Tenslotte zal hij bronnen
voor de luit bespreken die handelen over de stemming bij de luit. Voor de
pauze is de demonstratie, na de pauze is het concert."

Manuel Op de Coul coul@ezh.nl

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On Thursday 2 October 20.30 h. in Muziekcentrum de IJsbreker, Amsterdam.
Delphi Saxofoonkwartet: Ferdi Schukking sopraansaxofoon, Evert Hoedt
altsaxofoon, Roy Hovens tenorsaxofoon, Gerwil Kusters baritonsaxofoon.

The programme is

Ton de Leeuw Saxophone Quartet (1993)
Jan van Dijk Vier harmonisch-melodische intonatie-oefeningen
(1946)
Jos Zwaanenburg new work (premiere)
Anne La Berge new work (premiere)
Ryo Noda Murasaki no Fuchi (1981)
Sofia Goebaidoelina Duo Sonate (1977-1995)
Ronald Caravan Paradigms I (1980)
Rainer Bischof Nightwoods op. 23 (1988)

A microtonal concert organised by Huygens-Fokker. Jan van Dijk's work is
a 31-tone composition. The Delphi Saxofoonkwartet was founded by Gerwil
Kusters and has its current members since 1995. It's specialised in
music of Dutch composers specially written for saxophone quartet.

Manuel Op de Coul coul@ezh.nl



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I have Newt = Eye of Newt

Johnny Reinhard
Director
American Festival of Microtonal Music
318 East 70th Street, Suite 5FW
New York, New York 10021 USA
(212)517-3550/fax (212) 517-5495
reinhard@idt.net
http://www.echonyc.com/~jhhl/AFMM

On Tuesday 13 October 20.30 h. in De IJsbreker, Amsterdam:

Johnny Reinhard (bassoon and recorder)
t.b.d. (violin, viola, cello)
Dorien Verheyden (song)

The programme is

Luc Marcel Beach Glass
Johnny Reinhard I have newt
Johnny Reinhard Tresspass
Iannis Xenakis Embellie
Harry Partch Li Po songs
Liviu Danshamaniau Bas-soon

More information: http://www.netcetera.nl/ysbreker/agenda/1098agenda.html

Manuel Op de Coul coul@ezh.nl

On Mon, 14 Sep 1998, Johnny Reinhard wrote:
> I have Newt = Eye of Newt

Gee, and here I was thinking it was a clever double-entendre combining
Shakespeare with political commentary . . .

--pH http://library.wustl.edu/~manynote
O
/\ "Churchill? Can he run a hundred balls?"
-\-\-- o
NOTE: dehyphenate node to remove spamblock. <*>

On Tue, 15 Sep 1998, Paul Hahn wrote:
> On Mon, 14 Sep 1998, Johnny Reinhard wrote:
>> I have Newt = Eye of Newt
>
> Gee, and here I was thinking it was a clever double-entendre combining
> Shakespeare with political commentary . . .

'Course, I guess it still could be taken that way.

--pH http://library.wustl.edu/~manynote
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/\ "Churchill? Can he run a hundred balls?"
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