Figure 1.1: The scope of the research presented in this thesis. Figure 2.2: Example of a simple rhythm, ‘3 against 4,’ using the Schillinger method. Got Rhythm Variations'*! [75, 439], and in Gershwin’s opera, and largest composition, Porgy and 10w the AAJM. patternVary module varies a pattern, outputting triggers from the nearest beat in the ‘base’ i-o-i. Figure 5.5: The decision-making process used by each AAIM. rhythmGen voice choosing new i-o-i values and outputting triggers. AAIM.rhythmGen voice to its own, user-defined, sequence (see Fig. 5.8). sists of a series of ‘1’s and ‘0’s, either a note-on or not). Each voice of the AAJM.patternVary i tion of loop playback: Figure 5.12: Variations of a sample using the AAJM.loopVary ‘reverse’ method. Figure 5.13: Variations of a sample using the AAJM.loopVary ‘retrigger’ method. AAIM.loopVarymodule retriggering a segment. much like a DJ “scratching” a record. Again the user set variable determines the chance of the Figure 5.14: Variations of a sample using the AAJM.loopVary ‘jump’ method. length (see Fig. 5.14). second, ‘jump size,’ variable sets the maximum size of these jumps as a percentage of the sequence Figure 5.15: Demonstration of how the AAJM.melodyVary module converts input of pitch anc trigger type pairs into a melodic line (using the nursery rhyme ‘Mary had a little lamb’). Figure 5.16: Demonstration of how the AAJM.melodyVary module maps the list of ‘Available Pitches’ onto the list of ‘Actual Pitches’ to create new versions of melodic lines. orithm maps each note of the ‘actual pitches’ onto the nearest pitch in the‘actual pitches’ (see Fig Figure 5.17: Demonstration of the modal mapping method used by the AAIM.melodyVary module. Figure 5.21: Example of the AAIM.melodyVary ‘retrograde’ method note in the sequence a rhythmic value of one base i-o-i (see Fig. 5.23). Figure 6.2: The interface used to control “There is pleasure...” during live performances. ensuring a clear referent throughout. [he ‘vamp’ section (see Fig. 6.3) acts as both the beginning and ending of the piece, and an took such a minimal approach was to maximise the possibilities for improvisation, while still which themselves usually only contain harmonic progressions and melodic lines. The reason is then repeated and followed by the final bar, forming another call and response phrase. The notes during the first 4 bars, and once every 3 or 2 quarter notes during the final bar, echoing the previously mentioned diminution and augmentation of the chord durations during the ‘vamp’ Figure A.1: The AAIM_system window on load Figure A.2: The AAIM Setup window on system load A.0.1 Getting Started/General Tips e Use the AAIM_Setup window (see Fig. A.2) to load the three main modules of the Although each of the modules have individual interfaces, the AAIM_system performance in- of all audio output from the system. on labelled “Recorder” which opens a patch that allows recording patch, and the AAIM Setup patch (see Fig. A.2). There is also but- (see Sec. A.1.6) for each. ”° Variations.’ This allows swift changes between a wide variety of system states. A.1.1 AAIM.rhythmGen The patternVary algorithm is used for playing and manipulating drum machine style patterns notes will be inserted regardless of the other factors!!!) on the extent of the variations (i.e. if the value is 0 no additiona: window (see Fig. A.11 and Sec. A.0.2). This value is the final word Figure A.11: patternVary performance interface on AAIM System main window methods. The particular method used is chosen using the drop down menu in the AAIM_Setup automatically assigned to an individual voice. the system will attempt, and fail, to treat other files as audio files!!!) and each sample will t Figure A.17: Global interface used for AAIM.samplePlayer2 A.1.2.6 AAIM.samplePlayer2 samples). voice being mimicked in the playback of all of the other voices. gles correspond to turning on/off an individual voice. the sample loaded beneath the controls for that individual voice. Each of the tog- Figure A.28: Waveform section the AAIM.looper interface allows selection of a specific section of the sample (see Fig. A.28). controls pitch changes during playback (see Fig. A.31). to create variations of the melody. step was a rest) Figure A.43: Interface for AAIM.synth Figure A.44: Envelope section of AAIM.synth interface. Figure A.45: FFM section of AAIM.synth interface. or using the various standard manipulations described below. The upper section of the interface creates the initial sequence (see Fig. A.48). The number box Figure A.51: Presets section of the AAIM.polgonInterface [he AAIM.polygonInterface patch (see Fig. A.50) allows interpolation between n presets or
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