Tim Mortimer asked:
> Particularly in the case of silence. For example (that pops immediately to
> mind), Are your voice leading algorithms operating along similar lines to
> the Athena ones Mike?

Not at all. My voice-leading algorithms are based upon the work of Dmitri 
Tymoczko, see for example 
http://music.princeton.edu/~dmitri/sciencearticle.html. I believe that some 
theorists, including Tymoczko, Clifton Callender, Ian Quinn and others, are 
initiating a revolution in music theory comparable to that of Riemann, who 
created what we now call "functional harmony."

The new theory views chords as points in a space with one dimension per 
voice, and chord progressions and voice-leadings and motions within that 
space, which actually is an orbifold. An orbifold is a space in which an 
equivalence relation exists or, in other words, distances along one or 
another dimension are not infinite, but reflect from or wrap around a 
specific distance, a modulus. In pitch-class space, the obvious equivalence 
relation is the octave, and its modulus (in MIDI note numbers) is 12. There 
are several important equivalence classes in music theory....

I presented a paper about this at the New Orleans ICMC, and you can find a 
PDF of my paper online at http://ruccas.org/pub/Gogins/icmc2006-mkg.pdf, as 
as a more recent paper that describes the specific operations implemented in 
CsoundAC at http://ruccas.org/pub/Gogins/music_atoms.pdf.

This approach has several advantages, not the least of which is that 
voice-leadings can be computed efficiently. That is because almost always, 
the musically best voice-leading between two chords is the shortest path 
between them in this orbifold.

Regards,
Mike

Yes I was hoping you might say something like that! ; )

couldn't remember the word "orbifold" at the crucial moment.

Awesome Michael. I'm very much looking forward to checking this out.


Michael Gogins wrote:
> 
> Tim Mortimer asked:
>> Particularly in the case of silence. For example (that pops immediately
>> to
>> mind), Are your voice leading algorithms operating along similar lines to
>> the Athena ones Mike?
> 
> Not at all. My voice-leading algorithms are based upon the work of Dmitri 
> Tymoczko, see for example 
> http://music.princeton.edu/~dmitri/sciencearticle.html. I believe that
> some 
> theorists, including Tymoczko, Clifton Callender, Ian Quinn and others,
> are 
> initiating a revolution in music theory comparable to that of Riemann, who 
> created what we now call "functional harmony."
> 
> The new theory views chords as points in a space with one dimension per 
> voice, and chord progressions and voice-leadings and motions within that 
> space, which actually is an orbifold. An orbifold is a space in which an 
> equivalence relation exists or, in other words, distances along one or 
> another dimension are not infinite, but reflect from or wrap around a 
> specific distance, a modulus. In pitch-class space, the obvious
> equivalence 
> relation is the octave, and its modulus (in MIDI note numbers) is 12.
> There 
> are several important equivalence classes in music theory....
> 
> I presented a paper about this at the New Orleans ICMC, and you can find a 
> PDF of my paper online at http://ruccas.org/pub/Gogins/icmc2006-mkg.pdf,
> as 
> as a more recent paper that describes the specific operations implemented
> in 
> CsoundAC at http://ruccas.org/pub/Gogins/music_atoms.pdf.
> 
> This approach has several advantages, not the least of which is that 
> voice-leadings can be computed efficiently. That is because almost always, 
> the musically best voice-leading between two chords is the shortest path 
> between them in this orbifold.
> 
> Regards,
> Mike
> 
> 
> 
> 
> Send bugs reports to this list.
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
> csound"
> 
> 

-- 
View this message in context: http://www.nabble.com/silence-tf4786598.html#a13698393
Sent from the Csound - General mailing list archive at Nabble.com.

Now if i throw in a casual remark about 'generating morse code like /
obsessively non replicating but self similar / "lumpy" rhythms' do you have
anything to say about that?



Tim Mortimer wrote:
> 
> Yes I was hoping you might say something like that! ; )
> 
> couldn't remember the word "orbifold" at the crucial moment.
> 
> Awesome Michael. I'm very much looking forward to checking this out.
> 
> 
> 

-- 
View this message in context: http://www.nabble.com/silence-tf4786598.html#a13698534
Sent from the Csound - General mailing list archive at Nabble.com.

Michael Gogins wrote:
> 
> 
> The new theory views chords as points in a space with one dimension per 
> voice
> 
> 
> 
> Send bugs reports to this list.
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe
> csound"
> 
> 
very very interesting, not only in a computer music perspective, but also in
a pure compositive perspective

-- 
View this message in context: http://www.nabble.com/silence-tf4786598.html#a13704928
Sent from the Csound - General mailing list archive at Nabble.com.