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hujairi

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Everything posted by hujairi

  1. Hello, For example, any of the links listed here: http://www.smartdatacollective.com/bernardmarr/235366/big-data-20-free-big-data-sources-everyone-should-know I've just been looking at different sonification approaches taken by different electronic musicians/media artists, and was just curious to see it would be possible to get a data load in the form of tables and import them into Opusmodus, and then transform the data into integers or intervals, and from there, start manipulating the results even further. In my last attempt to compose in Opusmodus, I took a poem and used the different "text" functions, which are actually quite fun to play with. It would be nice to see which languages are possible and which aren't. I need to explore these matters a little more. Hasan
  2. I am curious to know whether anyone has managed to use external large data sources to generate results within Opusmodus? Any examples such as using APIs from something such as Twitter on other online large data sources be it weather or financial stock data would be interesting. I'd like to see how different data sources could also be utilized/transformed within Opusmodus. Thanks.
  3. I just completed working on a new piece for two 25-string Kayageums (Korean zither-like instrument somewhat similar to the Japanese Koto). All the composition was done within Opusmodus but the coding is a little messy. I hope in my next project to clean up the code a little. During process of composition, I especially liked how Opusmodus can translate text material into different data. For this piece, I used two of the earliest examples of avant-garde poetry from Korea written by Yi Sang (1910 - 1937) that are included in his "Crow's Eye View" 15-poem series. I created the pitches through extrapolations from the texts and by setting the tonalities to the Nando-Kyemyonjo mode and one of the Tcherepnin Nine-Note Scale modes (both of which are in the Opusmodus modes library). The lengths of pitches and rests were partially extrapolated from the text and then developed subtly through use of the gen-length function. Aside from the tonalities, I also must admit that the ambitus features made it easy to ensure that the notes I played were within the range of the instrument I am working with, which allowed me to play with the limits of the sounds (especially the low register notes). The sounds used in this recording is a midi realization using Madrona Lab's Kaivo plug-in running through Ableton Live 9.
  4. Wow.. why didn't I think of that..! Thanks for your help!
  5. Hello, I've been facing some trouble related to exporting xml. Since I've generated OMN code in different places, I've pasted all the OMN code into one page and tried to export the results but received the following error message: I've tried to turn the code into notation and it worked within Opusmodus. However, exporting xml is problematic. I don't even have the option to export MIDI. I have attached the OM file for your reference. I've also pasted the code itself below. I would really appreciate any help I could get on this: (((-w) (-q eb3 tie e tie t - q bb1 tie s tie) (h bb1 -) (-w) (-w) (-e -t s f2 -t s. eb3 -t bb2 -s. e.. bb2 -q -t) (-q.. s fs4 -e. s bb1 -q) (-q s f1 - s. eb4 - s f3 s. -e. s f3 -t) (-s s. f3 -t s fs3 - e gs0 tie t -q.. s. fs2 tie) (z^e. fs3 f e fs2 mf tie t - e.. bb3 -t s gs3 -h) (-q z^e. f3 f e gs0 mp tie t - s bb0 mf - e gs2 mp tie t -q_t) (-h_e. e eb3 eb2 tie t -) (-h_e. s eb3 - e f2 tie t -) (-q.. s fs3 -e s. eb3 -q_t) (-e. s eb3 -e_t s eb3 -t e.. bb2 f -s. e. bb2 mf tie) (q_e.. bb2 -q.. s bb2bb3 f -t) (s fs3 mf e eb1 tie t -h -q -t) (-s e f1 tie t eb1 -q -e.. q eb1 tie t -) (-h -e s. fs1 -e. s. eb1 tie) (e.. eb1 -q.. s fs1 -t s. gs1 -t bb1 s. gs1 tie) (z^t gs1 s fs2 f s. eb1 mf -t s eb1 -e s. fs1 - t fs2 - s. eb2 -t e.. bb2 -t) (e. eb2 s fs2)) ((z^t gs1 s fs2 f s. eb1 mf -t s eb1 -e s. fs1 - t fs2 - s. eb2 -t e.. bb2 -t e. eb2 s fs2) (z^t gs1 s fs2 f s. eb1 h -t f2 eb1 -e s. fs1 - t fs2 - s. eb2 -t e.. bb2 -t e. eb2 s fs2) (z^t gs1 s fs2 a1 s. eb1 h -t f2 eb1 eb2 s. fs1 - t fs2 - s. eb2 -t e.. bb2 -t e. eb2 s fs2) (z^t gs1 s fs2 a1 s. eb1 h -t f2 eb1 eb2 e fs1 - t fs2 - s. eb2 -t e.. bb2 -t e. eb2 s fs2) (z^t gs1 s fs2 a1 s. g1 h q f2 eb1 eb2 e fs1 - t fs2 - s. eb2 -t e.. bb2 -t e. eb2 s fs2) (z^t gs1 -q_s fs2 a1 s. g1 h q f2 eb1 eb2 e a4 - t fs2 - s. eb2 -t e.. bb2 -t e. eb2 s fs2) (z^t eb1 -q_s fs2 a1 s. g1 h q f2 q. eb2 e a4 - t fs2 - s. eb2 -t e.. bb2 -t e. eb2 s fs2) (z^t eb1 -q_s fs2 a1 q_s g1 h q f2 q. eb2 e a4 - t fs2 - s. eb2 -t e.. bb2 -t e. eb2 s fs2) (e. eb1 -q_s q a1 q_s g1 h q f2 q. eb2 e a4 - t fs2 - s. eb2 -t e.. bb2 -t e. eb2 s fs2)) (e. eb1 -q_s q a1 q_s g1 h q f2 q. eb2 e a2 s e. g1 q_s f2 f2 e. f1eb1 a1f2 e a1 q_s a2g2 e. a1f2 h_s a2a1f2eb1eb2cs2 e. a2cs2 q eb1a1g1 q.. eb2a2f2 q_s eb2cs3a2g1f2 eb1a1g1cs3 q eb2cs3a2g1f2a1eb1 eb1a1g1cs3 h_e a1a2g2g1f2cs2cs3 q_s eb2f2eb3g1a2 f1eb1a2cs3f2 e a2eb1cs2g1f2a1 s g1f2g2a2eb2a1 e. f1a1eb1a2cs2 q eb2eb1 e. eb1 q. a2f2) (q. f1a1eb1a2cs2 q eb2eb1 e. eb1 q. a2f2) (q. f1a1eb1a2cs2 eb3 eb2eb1 e. eb1 q. a2f2) (-q eb3 eb2eb1 e. eb1 q. a2f2) (-q eb3 tie e. eb1 q. -) (-q eb3 tie e eb1 q. -) (-q eb3 tie e tie q. -) (-q eb3 tie e tie t -) ((-w) (s bb1 tie q tie -t eb3 e tie q tie -) (-h bb1) (-w) (-w) (-t -q e.. bb2 -s. t bb2 - s. eb3 -t s f2 -t -e) (-q s bb1 -e. s fs4 -q..) (-t s f3 -e. s. f3 s -s. eb4 -s f1 -q) (s. fs2 tie -q.. t gs0 e tie -s fs3 -t s. f3 -s) (-h s gs3 -t e.. bb3 -t fs2 e tie z^e. fs3 f) (-q_t t gs2 mp e tie -s bb0 mf -t gs0 mp e tie z^e. f3 f -q) (-t eb2 mp e tie eb3 -h_e.) (-t f2 e tie -s eb3 -h_e.) (-q_t s. eb3 -e s fs3 -q..) (e. bb2 mf tie -s. e.. bb2 f -t s eb3 mp -e_t s eb3 -e.) (-t s bb2bb3 f -q.. q_e.. bb2 mf) (-t -q -h t eb1 e tie s fs3) (-t eb1 q tie -e.. -q t eb1 e f1 tie -s) (s. eb1 tie -e. s. fs1 -e -h) (s. gs1 tie t bb1 - s. gs1 -t s fs1 -q.. e.. eb1) (-t e.. bb2 -t s. eb2 -t fs2 -s. fs1 -e s eb1 -t s. eb1 s fs2 f z^t gs1 mf) (s fs2 e. eb2)) ((s fs2 e. eb2) (e. fs2 -q_s eb2) (e. f2 -q_s q)) ((e. eb1 -q_s q a1 q_s g1 h q f2 q. eb2 e a2 s e. g1 s_3e f2 e_3q s_3e f1eb1 e_3q a1f2 e. a1 a2g2 e a1f2 q_s a2a1f2eb1eb2cs2 e. a2cs2 h_s eb1a1g1 e. eb2a2f2 q eb2cs3a2g1f2 q.. eb1a1g1cs3 q_s eb2cs3a2g1f2a1eb1 eb1a1g1cs3 q a1a2g2g1f2cs2cs3 eb2f2eb3g1a2 h_e f1eb1a2cs3f2 q_s a2eb1cs2g1f2a1 e_3q g1f2g2a2eb2a1 s_3e f1a1eb1a2cs2 e eb2eb1 s eb1 e. a2f2 q eb1 e. a1 q. g1)) ((s eb1 e. a2f2 q eb1 e. a1 q. g1) (s eb3 e. a2f2 q eb1 e. a1 q. g1) (s eb3 q. e3 q eb1 e. a1 q. g1) (e eb3 q. e3 q eb1 e. a1 q. g1)) ((q_s e2 pp e eb1 q. e2 q g1 p s b2 q. e2 h bb1 q.. g1 q_s fs2 h b2 mp e. d2 -q_s h_s g1 h e2 q.. fs2 e bb2 mf q. e2 q_s g1 h b2 q_s e2 q bb2 f s b1 q_s d2 q.. e2 eb1 s g1 g1 ff - q b1 q_s bb2 e h fs1 e eb1 fff -s h bb1 q_s g1 e2 -s q. b2 d2 q.. gs2 ff h_e fs2 q_s bb1 q.. b2 s b1 e2 f - eb1 h_s e2 s g1 q b2 e e2 h eb3 mf q_s g1 e. e2 h_s c2 e gs2 q b1 mp s e2 q. g1)) ((e. eb1 fff -q_s q a1 q_s g1 h ff q f2 q. eb2 e a2 s f e. g1 q_s f2 f2 e. f1eb1 a1f2 mf e a1 q_s a2g2 e. a1f2 h_s a2a1f2eb1eb2cs2 mp e. a2cs2 q eb1a1g1 q.. eb2a2f2 q_s eb2cs3a2g1f2 eb1a1g1cs3 p q eb2cs3a2g1f2a1eb1 eb1a1g1cs3 h_e a1a2g2g1f2cs2cs3 q_s eb2f2eb3g1a2 pp f1eb1a2cs3f2 e a2eb1cs2g1f2a1 s g1f2g2a2eb2a1 e. f1a1eb1a2cs2 q eb2eb1 ppp e. eb1 q. a2f2 e. eb1 fff -q_s q a1 q_s g1 h ff q f2 q. eb2 e a2 s f e. g1 q_s f2 f2 e. f1eb1 a1f2 mf e a1))) in-line score.opmo
  6. I've been developing a new composition over the last few weeks and have really been happy to make use of the "workspace" feature in OM. By putting all my files into the same workspace, I have been able to traceback carefully over all the steps I have taken. However, I've noticed today that my workspace keeps freezing (I would have to wait a very long time to be able to click anything or type in anything) whenever I want to add anything new. I noticed that OM was using most of my laptop's 8GB RAM, so I started removing some of the files from the workspace hoping that it would make the program run smoother. Nothing changed after I did that. However, when I created a new workspace with only a few of the previous files, it seemed to run better. Does anyone have any advice on best practice when it comes to using the workspace feature without taking up too much RAM? I'm running OM on a macbook pro retina (2013). Thanks.
  7. Many thanks. I am happy that I am slowly starting to understand the possibilities of Opusmodus. I hope to continue learning and improve my work. Thanks once again.
  8. This is my first attempt at composing using Opusmodus. It is a rewrite of a piece I had composed last year that connects the Korean Chongganbo notation system with an approach of generating tones (within the ambitus of certain Korean instruments) and rhythms loosely based on the serial approach. In this version, I ended up taking the MIDI data from Opusmodus and sent it to Ableton Live, for which I used samples of two electric guitars and two synthesizers. This piece in its first version was written for 2 Kayageums, 2 Geomungos, and Live Electronics. In the second version (from which this piece is extracted), I changed the instrumentation to 2 Geomongos. I've attached the original (graphic) score I created for the first version, and from which I also used the tones in the second version. In this composition, Opusmodus helped mainly in arranging the sections, and in generating rhythms based on a range of white and gaussian noise (sometimes using the extreme and triangle options, as well). It also made it very easy to manipulate the evaluated results to better fit what I had in mind. score1.pdf
  9. Any Opusmodus users running OS X El Capitan? How is it?
  10. Dear Janusz, Many thanks for this. I will suggest some instruments and give their ranges. Oud is a little problematic only because it is not built in a standard way and the tuning of the instrument is different depending on school/country/region. I guess that means there would need to be several types of different Ouds (and different musicians use instruments with different string numbers). I personally play on a seven string Oud.
  11. I'm curious to know if there is any way to contribute to the list of instruments as found under ambitus-instrument? I often compose for Oud and Korean traditional instruments, and it would be nice to find other instrument templates that are ready to work with.
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