PYTHON SCORE is a Python script for Csound score generation and processing. With it you will compose music easily and efficiently. No computer should be without one! This effort has been weeks in the making, if you disregard the 10+ Continue reading
In 1969, American composer James Tenney wrote For Ann (rising), one of the earliest applications of gestalt theory and cognitive science to music. (source: wikipedia). The auditory illusion heard in the piece is achieved by layering multiple rising sine waves. Continue reading
Utilizing the computer music language SuperCollider, Ballora translates data sets into audio. In this TEDxPSU talk, he discusses the potential role data sonification plays in understanding the natural world.
Photo by Carbon Arc. Licensed under Creative Commons. First, I want to welcome aboard Jean-Luc Sinclair. As part of his NYU Software Synthesis class, he has graciously decided to share the articles he is writing for his students. His first Continue reading
I. Musique Concrete and the emergence of electronic music Musique Concrete is nothing new. It was pioneered by Pierre Schaeffer and his team in the early 1940’s at the Studio d Essai de la Radiodiffusion Nationale, an experimental studio created Continue reading
Overheard at 2:00 and Anniversary in Black Rock City. fork{{play{SinOsc.ar(0.2*WhiteNoise.ar*1943+1932)*EnvGen.ar(Env.new([1,0.4,0],[0.05,2],-4),2,1,0,1,2)};15.wait}!inf} // 2:00 Anniversary
There is definitely a Zen thing to composing in 140 characters or less. This next tweet features the Bohlen-Pierce scale. fork{loop{play{f=_*3.pow(17.rand/13);e=EnvGen.ar(Env.perc,1,0.3,0,1,2);PMOsc.ar(f.([438,442]),f.(880),f.(e))*e};[1/6,1/3].choose.wait}}
During my aggressive push to learn as much as possible about SuperCollider over the weekend, I ve translated an earlier Csound etude of mine into SC code that generates a sequence in real-time using a Markov chain. I ve come away with Continue reading