![]() Themes are created with respect to a set of parameters that put boundaries on rhythm and pitch data. The actual conversion to real MIDI note data comes when the pitches are processed through the tonality controls. All pitches selected are with respect to a generalized seven-note scale. A separate module, the arranger, can act as a general overseer and control the other modules through a command sequence.Īn initially confusing aspect is that the composing algorithms do not directly generate customary note data. There are five main components in the music generation process: theme generation, theme/variation selection, accompaniment generation, tonality controls and performance controls. ![]() Provision is made for receiving control MIDI input on a separate channel from that used to play along with the program. Other controls come in from the ST keyboard, or optionally via MIDI keyboard input. Many changes are made with the mouse by clicking on some of the myriad onscreen buttons. Along the way, you can control virtually every aspect of the composing and performance processes, either as preprogrammed control sequences or in real time. The core idea of Tunesmith is to generate a single monophonic phrase of music (theme) based on user-specified parameters and develop it, with five derived accompaniment parts, into six-part output music. T format: readable print, clear writing, plenty of illustrations and an index. Several help screens can be accessed through the Help button, even while the program is pumping out music. Standard GEM is bypassed for proprietary screen and mouse routines that run very quickly. This means that you must reboot twice: once to restore the ST and turn off (or delete) the offending programs and a second time to actually load Tunesmith. A real pain, however, is that it locks out your computer if it detects any desk accessories (other than the Control Panel), memory resident programs or RAM disks. It can be backed up or installed on a hard drive but you must insert the master disk in drive A during the initial load. T program, Tunesmith uses key disk copy protection. I've come to feel quite at home having my ghostly collaborator kick in some ideas when my own muse deserts me.Īs is typical for a Dr. T's multi-program environment (MPE) and seamlessly trade musical parts back and forth with the Keyboard Controlled Sequencer (KCS). In its current format, Tunesmith can generate musical themes and derive accompaniments or variations based on your own music or as a performing instrument of sorts. ![]() Parameters for the six output voices are at the screen bottom.Īs good as its predecessor was, Tunesmith surpasses it by both extending the original concepts and adding numerous new features. Theme and variation generation are at the top. This program took on legendary proportions after being endorsed enthusiastically by synthesist Jan Hammer, who bought a C64 system just to run the Algorithmic Composer as a front end to his $80,000-plus Fairlight Series III sampler/sequencer. ![]() The original version was part of the Algorithmic Composer program from Dr. Even Mozart wrote a series of short sketches where the order of performance was determined in real time by rolling dice.Įnter Tunesmith, a second-generation algorithmic composing program, developed by Jim Johnson, that can assist with both music creation and performance. The idea is not new to the computer age selecting notes with respect to star charts was one of John Cage's approaches. The algorithms can apply to the actual note selection, music performance or both. The basic idea involves constructing musical parts according to a set of predefined rules (even picking random pitches still counts as a rule). Synthesizing sounds from first principles, remapping MIDI note and controller information in real time and editing sequencer data to create special effects are all instances where the computer is an integral part of the creative process.Īlgorithmic composing is one of the best examples of using computers in a musically creative setting. The end result could be achieved by hand if needed the computer acts mainly to improve ease of use for the operation rather than contributing to the musical process.Īn altogether different situation occurs when software approaches are used to produce music or effects that could not be done in any other way. Some classic examples are sequencers, patch editors, echo effects and scoring programs. A number of MIDI software programs have been designed as replacements for musical equipment or standard operations.
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