Very nice!  I would be interested in learning more about your coding process for this.

Csound

This piece was composed on my Samsung Galaxy S4 telephone, using the Csound6 app for Android. This recording of the piece was made on my laptop because the telephone struggles with both rendering to audio, and writing to soundfile. The piece is interactive, and gives the performer some control over the timbres of the rich sounds in the piece.

Drone - IV - 1377971544

Made using the Chowning FM instrument in Csound.

Cgeil (2001)

Night-shining clouds, seldom seen, happening in late Summer evenings, when the angle of the earth allows the reflected sun rays to make these clouds visible. They are possibly made up of ice crystals high up in the atmosphere, beyond the ordinary clouds. Just as they indicate the radiance of a hidden sun, the sonic nebulae in this piece reflects the various shades of an audio source that is finally revealed at the work’s end.

Noctilucent Clouds (master)

Il Mirto e la Rosa

Examples of a few custom wavetables. They are created algorithmically within Csound. The first section features harmonic & inharmonic partial wavetables, the second uses a single wavetable derived from noise (random numbers). With both sections there are no filters used or any modifications except some reverb - it's straight wavetable playback. There is slow random modulation of the fundamental pitch on some of the noise table notes, via the instr, but all other amp/freq mod that can be heard are inherently generated by the tables.

Custom wavetables example (see description)

Harrier

Merganser

Oriole

Invisible Ocean

Fixed medium, stereo, 8 minutes 20 seconds.

Telamon is Greek for "enduring" and is an epithet of Atlas, the Titan who upholds the celestial spheres (not the Earth) as punishment for siding with other Titans in their war against the Olympian gods. Herakles got Atlas to fetch the golden apples of immortality from the garden of the Hesperides, his daughters, by offering to hold up the sky in his place. But Herakles tricked Atlas into holding up the sky again by saying he needed to fold up his cloak as a pad for his shoulders, then running away, so as far as I know, Atlas is still holding up the sky from embracing the earth, and through this enormous punishment opening up a space for human life and consciousness.

This piece is one of a cycle inspired by the great sculpture in the Naples museum of antiquities showing a weary, haunted Herakles resting on his club, with the three golden apples held behind his back.

This piece was composed on my Android tablet using the Csound6 app. The score was generated using a recursive iterated function system written in Lua. The system operates both on notes, and on chords, using the K, Q, and T operations of neo-Riemannian music theory. In essence, tne computer generates a triadic chord progression with a major/minor duality that is not "tonal" in the strict sense, but makes many of the same moves as tonal music. The chord operations are performed using my ChordSpace software, based on the work of Dmitri Tymoczko and of Thomas M. Fiore and Ramon Satyendra.


Telamon

Live performance of Penance at New River Studios 2 Nov 2016.

Algorithmically generated samples and real-time signal processing.

Penance

Fm Test

The opening track from Glassworks by Philip Glass rendered in Csound.

Opening by Philip Glass rendered in Csound

I composed this piece algorithmically using a recurrent iterated function system operating on notes, times, instrument assignments, and chords.

I rendered the piece entirely in Csound using a variety of instruments by me, and by other people and adapted by me. The instruments are all direct synthesis, there is no sampling or processing of recorded sound.

The entire piece, including the Csound orchestra, is a C++ program.

Blue Leaves 4e

This is, believe it or not, a variation on Mozart's musical dice game of 1787, only composed by random numbers of repetitions of each bar on six separate tracks as in Terry Riley's "In C", plus on top of that I have applied a diatonic 7th chord harmony with random (but directed) root progressions and random modulations generated using the new Scale class in my CsoundAC library for algorithmic composition using Csound. All sounds are synthesized by Csound. The music theory behind the software was inspired by Dmitri Tymoczko and elaborated by myself.

Cellular version 3

I've recently discovered (at long last) the music of Danish composer Per Nørgård. He developed a compositional techniques based on what he called the "infinity series", which is a simple formula for developing a series of numbers based on an interval such as a minor second. The series takes the initial interval and then slowly expands upon it both upwards and downwards in pitch, getting broader in scope as it progresses. This idea can be used to generate melodies, rhythms, or other aspect of a composition.

I decided to try playing around with this, but applying it to microtonal intervals, using Csound and a Python script to generate the Csound score according to the series. I ended up with this brief study, which takes the first 256 terms of the series and applies it to three of my favorite intervals simultaneously:
 - 9/8 (major whole tone from the 9th harmonic)
 - 11/8 (unidecimal tritone,from the 11th harmonic)
 - 7/4 (septimal minor seventh, from the 7th harmonic)

The starting tone (240 Hz) plays throughout the piece as the other notes unfold above and below it. I used sine waves processed with a touch of tanh distortion to add a slight amount of harmonic content.

Csound and Python source code: https://github.com/DaveSeidel/music-src/tree/master/infinity-study

References:
 - https://en.wikipedia.org/wiki/Per_N%C3%B8rg%C3%A5rd
 - https://web.archive.org/web/20071010091253/http://www.pernoergaard.dk/eng/strukturer/uendelig/uindhold.html

Infinity Study

In my spare time I have fun creating some electronic music …

Telamon

Michael Gogins

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