Tom - I will be happy to share whatever I do with this. My main problem is my lack of musical knowledge so it's helpful to have my music teacher friend look this over. One thing that confused both of us is the output of the "RSLTNT" code on page 54. I see that you reproduced this in J as "resultant" but am unsure how the output, e.g. 3 2 1 3 1 2 3,:2 1 1 1 1 1 1 as the output from RSLTNT 5 3, is supposed to sound.
The book says of this output that the "...first line contains the same durations derived by the geometric method (the intervals between endpoints), and the second line shows the number of 'generators' simultaneously 'attacking' each duration." Looking at the diagram on page 55, I can follow how he generates the first line but am confused about the second line. If the number of generators for the first "3" is 2, then why isn't there a 2 for the last "3" as well? Is it because the beginnings of the two attacks are not on the same beat as they are in the first case? This seems like the sort of thing that might be more understandable if I could hear how this result sounds. Thanks for the code. I don't currently have an APL installed on my machine but it would be a good idea for working with this. Regards, Devon On Wed, Apr 22, 2020 at 5:48 PM Thomas McGuire <tmcguir...@gmail.com> wrote: > Devon, > > I believe I have only gotten as far as some of the Rhythm routines. The > rhythm code is based on work of Schillinger > (https://en.wikipedia.org/wiki/Schillinger_System < > https://en.wikipedia.org/wiki/Schillinger_System>} who developed a method > back in the early 1900s. Supposedly Benny Goodman, George Gershwin, and > Glen Miller were influenced by the method. Cybernetic Music seemed to > incorporate the rhythm in the routines for harmonizing a melody and counter > point. Those are the parts I haven’t gotten to (and the ones I was most > interested in). Much of my problem is that while I know some APL, I found I > had to code in APL at times to make sure I was producing equivalent output. > It was a pretty tedious process for someone who hadn’t used APL in long > time. > > If you push further in the text and code up some the routines, I hope you > will share. I would be interested in seeing how well they work. > > Tom McGuire > > > On Apr 22, 2020, at 2:22 PM, Devon McCormick <devon...@gmail.com> wrote: > > > > On Mon, Mar 30, 2020 at 3:18 PM Thomas McGuire <tmcguir...@gmail.com > <mailto:tmcguir...@gmail.com>> wrote: > > > >> For those of you interested in using J as an adjunct to lilypond or > other > >> such program: > >> > >> Making a few changes to the lilypond statements that get prepended and > >> appended to the notes generated (in my previous email on the subject). > You > >> can get lilypond to generate a midi file of the score: > >> > >> lilypondhdr =: ('\score{',LF);('\version "2.20.0"',LF);('\relative c'' > >> {',LF);('\clef treble',LF);('\time 3/4',LF) > >> lilypondend =: (('\layout {}',LF);('\midi {}',LF)),<'}' > >> 'lilymusic.ly' fwrites~ ; lilypondhdr,(LF,~ each > >> lilypondnotes,<'}'),lilypondend > >> > >> Basically adding the score tag and inserting '\layout {}’ and ‘\midi {}’ > >> causes lilypond to generate both a pdf of the score and a midi file that > >> GargeBand or other such program can play for you. When I generated > MusicXML > >> the musescore program could play the tune right from the score. > >> > >> Tom McGuire > > ---------------------------------------------------------------------- > For information about J forums see http://www.jsoftware.com/forums.htm > -- Devon McCormick, CFA Quantitative Consultant ---------------------------------------------------------------------- For information about J forums see http://www.jsoftware.com/forums.htm
