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Everything posted by torstenanders

  1. Dear Janusz, We were recently discussing potential microtonal support for Opusmodus. I understand that you suggested a representation based on 12-tone equal division of the octave (EDO) with free cent deviations as a flexible and generic solution. I agree that this could be a sufficient solution in the background, because all microtonal pitches, intervals, chords and scales can be specified that way. However, in my view it would be an insufficient solution as the only microtonal representation at the user-level, because it would be highly cumbersome. Imagine composing a
  2. This sounds like a stupid question, but what is the keyboard short-cut for stopping stopping snippet playback? I know that there is a short-cut given in the respective menu, but I cannot decipher that. I am on a Macbook. The first key is the cmd-key, but I don't find the 2nd key on my keyboard. (I was putting up with this for a while now, but I though now that this might be an issue for others as well.) Thanks. Best, Torsten
  3. Minor addition for clarity: split-lengths does not what I am after.
  4. Concerning general literature on algorithmic composition and spectral music consider the following book. It contains a nicely detailed article by Rozalie Hirs on Tristan Murail's use of OpenMusic for a specific composition, which Rozalie wrote while or after she was his pupil. Hirs, R. & Gilmore, B. (eds.) (2009) Contemporary Compositional Techniques and OpenMusic. Collection Musique/Sciences. IRCAM/Delatour.
  5. > If it’s Lisp expressions you’re commenting out, you can always prepend #+not Thanks, but I think added a block comment with M-# is more clear, as the comment is formatted as such... Torsten
  6. BUG: The name of the function changed, but the documentation was not updated! Torsten
  7. Dear all, Is it possible to split a given list of lengths (or omn) into sublists (bars) according to a given sequence of time signatures? That would be very useful for all sorts of operations. e.g., imposing a meter on unmetered music generated by whatever algorithm; metric shift where some note or rest is added at the beginning of a rhythm, but the metric structure is kept the same and all notes/rests move "to the right" as necessary etc. Here is an example of what such a function could do. ;; the hypothetic function gen-bar expects a list of time signatu
  8. Dear all, I am trying to find a way to quickly comment/uncomment text regions. I use such a features all the time in various programming environments, e.g., to add tests and then taking them out again... I cannot find such a feature in the Opusmodus programming editor (which seems to be CCL Hemlock). I checked the Editor Commands (under help), and http://trac.clozure.com/ccl/wiki/CocoaIde/KeyBindingsComparison (proposed in another forum entry), but without success so far. Is anyone aware of such a shortcut? I would be surprised if it does not exist... Thank
  9. Dear all, The rough outline of a melody can be described by a melodic contour, which sets the rough curve formed by the pitches of a melody without fixing the detail of all melodic intervals and pitches. Opusmodus allows controlling the melodic contour, e.g., with the function axis-plot in its Schillinger Inference function set. However, the documentation is a bit confusing as it seems to suggest that such functionality is offered only by its sibling axis-sub-plot. The function axis-sub-plot is documented to add more complexity to the result by dynamically displacing th
  10. Thanks for taking the time to respond. I now understand in principle that the keyword :closest sets only a single value at a time for any tonality. The documentation is not very detailed on this keyword, and I was (wrongly) assuming that both settings are used for a single tonality, so that always the closest chord/scale tone (either up or down) would be selected. Is there perhaps a way to express that always the closes chord tone to the given melody is selected, whether this means moving the input tone up or down? (Could be random if both distances are the same.) Also
  11. > The :closest is not a TONALITY-MAP function keyword, it is a keyword in the tonality-form Sorry, I now understand. T
  12. > The :closest is not a TONALITY-MAP function keyword, it is a keyword in the tonality-form I therefore first showed examples demonstrating the issue there. Best, Torsten
  13. Dear Janusz, I hope it is fine coming back to this thread after such a long time. Thanks for adding the :resolution argument to tonality-map (and also harmonic-path). You may consider mentioning the term "harmonic rhythm" in the documentation, because that is standard terminology, which can help users to more easily understand the purpose of this argument (I understand that the tonality is not necessarily a chord, but mentioning harmonic rhythm as an application example may still help. Best, Torsten -----------------------------------
  14. BTW: if the :add argument expects intervals only, then perhaps it should not allow for pitches as well, or at least to print a warning. The following can easily confuse users. (expand-chord '(f4 m :add d4 :row t)) => (f4 g4 gs4 c5)I understand that the d4 is translated internally into 2, but that is not quite obvious. The pitch d4 is an absolute pitch, after all, not an interval. Just a thought. Best, Torsten
  15. Dear Janusz, Thanks for taking the time to explain the :add argument in such detail. > The :add value is an interval number (not a pitch) of the tonality in question. I see -- this could be a bit more clear in the documentation. The result of the function EXPAND-CHORD makes now perfectly sense (except for the enharmonic change, but we already discussed that), however I still do not get the result of TONALITY-MAP -- the effect of adding pitches by expand-chord and tonality-map seems to differ! Here are all the chords with a single interval added as expanded by EXPAND-CHORD (apologies for
  16. Thanks! Unfortunately, TONALITY-MAP does not work with a chord progression, as in the example above. We established that already earlier in this thread (a series of tonalities is not a tonality). So, how to use :add likewise with TONALITY-SERIES to do the same with a harmonic progression? As I said, perhaps there is simply a bug in TONALITY-SERIES for that argument? Best, Torsten
  17. Dear Stephane, Thanks, respell does some enharmonic respelling, but only to avoid certain clashes in dense chords, AFAIK. However, it does not fix "wrong" enharmonic notation. Consider the following example, expressing a C-minor triad. Obviously, it should be notated with an eb, not ds, otherwise it is at least confusing for musicians, if not causing a wrong intonation. (respell '(c4 ds4 g4)) Any way to correct this triad, or to avoid wrong re-spellings of an originally correct spelling in general? Best, Torsten -- http://www.torsten-anders.de
  18. Dear Janusz, > This is how the microtone will be coded in OMN. So, this is planned for future releases. Thanks! If you are interested, I am happy to be part of design discussions, as I implemented similar features (automatic microtonal playback and notation) myself before. > We can use microtones in Opusmodus but they are not a part of notation. Yes, I understand that there is already some support of adding explicit tuning. However, from what I read so far, this is not integrated into the OMN language, and therefore the algorithmic potential of Opusmodus cannot be used. Best, Torsten
  19. More generally, is there a standard OMN way to express multiple staff lines beyond the abstract data type of a score? Thanks! Best, Torsten -- http://www.torsten-anders.de
  20. The subject says it all... Best, Torsten LENGTH-DIVIDE2 Documentation seemingly not updated (neither reference nor examples) after function has been changed for the argument :position. For example, the following example call throws an error (length-divide2 '(1 2 2) '(1/16) '(1/4 1/4 1/4 1/4) :type 'n :position 'e) > Error: There is no POSITION named: e. > Allowed POSITION: 'f (first) 'l (last) 'c (center) and '? (at random). BTW: Unfortunately
  21. Dear developers, Below I report another bug (or at least what I assume is a bug). Thank you! Best, Torsten LENGTH-ADJUST If arg value is below the overall length (duration) of the given phrase, then the result is nevertheless longer than the input, seemingly by the absolute difference. This corner case is not covered by the documentation, but for consistency it would likely be better to shorten the input sequence, if the given length value is shorter than the sequence. Examples: (length-adjust 3/4 '(q c3 e d3 e3 q
  22. Dear developers, Following up with my previous post: more generally, can users extend the OMN language, or is this planned in future? After all, it is impossible for a software designer to add every idiosyncratic music notation option some composer may be using (or which has been used in the past), but ideally (power-) users would be able to extend the language according to their needs. You are probably knowing better than me all those special notations that you are not yet supporting, and likely understand the need easily. Particular important would be additional expressions. Users would like
  23. Dear developers, Are you considering to support microtonal music at some stage? In particular, this would mean allowing for additional (or, even better, custom) accidentals in addition to the current b and s in the OMN language. Quartertones are already supported even by MusicXML and out-of-the-box by standard music notation software like Finale and Sibelius, so adding at least those would be welcome. For example, some ASCII microtonal music notations use | for quarter tone sharp (meaning and arrow upwards) and ! for quarter tone flat, but other characters could be used as well, if that would
  24. Dear Opusmusic developers, > an internal conversion to integers takes place, once the process is completed, the integers are converted back to pitches this is why ds4 becomes eb4 I noticed that some functions enharmonically respell pitches. Is there a way to switch this conversion off, or at least control the default integer->pitch transformation? After all, only in purely dodecaphonic music is ds4 = eb4. Best, Torsten -- http://www.torsten-anders.de
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