Tagged with music

Abjad: an open-source software system for formalized score control

The Abjad API for Formalized Score Control extends the Python programming language with an open-source, objectoriented model of common-practice music notation that enables composers to build scores through the aggregation of elemental notation objects. A summary of widely used notation systems’ intended uses motivates a discussion of system design priorities via examples of system use.

Abjad: an open-source software system for formalized score control

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Discrete Time 1-bit Music

This paper covers theoretical bases of 1-bit music composition. Boolean algebra is introduced as the foundation of 1-bit music. Several models of 1-bit sequences are presented: deterministic models in the form of phasors and Xenakis sieves, and stochastic models in the form of finite state machines.
Music composition patterns (sequential and parallel composition, 1-bit counterpoint, modulation, hierarchies) are also discussed.

Discrete Time 1-bit Music: foundation and models

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8 impulse generators + 4 MIDI player pianos

Premiered April 30, 2010 in Miller Theatre, New York.

Fonoptera: from Greek, fono “sound” + pteron “wing”, or “sounding insect”.

Fonoptera is a word that my good friend Gildardo Cruz-Rojas invented many years ago as we were brainstorming for a name for a music society. Because the piece follows along the lines of the Tepozchiquilichtli (metalic cidadas) etudes, I decided “Fonoptera” would be a great name for the piece.

The piece is for eight home made 1-bit instruments and four “deaf” MIDI pianos. The 1-bit instruments are build out of dot matrix printheads, wood, plastic caps and wire. All twelve instruments are controlled by a single computer or micro-controller.


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This is an analysis of Xenakis’s percussion piece Psappha. I focus on the statistical properties of the data and the derivation of finite state machines. Sieves are briefly discussed to introduce Xenakis’s composition method and serve as a point of reference and comparison for the stocastic machines derived.

Xenakis’ Psappha

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Octopus: an 8 channel electret microphone device to be used in the performance of “La espiral quebrada” [Mvltiplexor III], for spatially diffused solo flute.

I built the 8 channel power supply + preamp based on these schematics and it works pretty well for a home made device.

Pulpo mic

Tagged Translations es

Cuepatlahto and Lascaux: Two approaches to the formalized control of musical score

Cuepatlahto and Lascaux are two systems for the formalization and transcription of musical score. Developed independently, both systems implement a set of modules, classes and procedures written in the Python programming language as higher level wrappers around the LilyPond open source system for automated music engraving. In this article we discuss the background and motivations to our work, introduce the components and workflow of both systems, and provide examples of both systems operating on numeric “seed” input together with the musical score produced as output.

Cuepatlahto and Lascaux: Two approaches to the formalized control of musical score

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Hierarchical Music Structure Analysis, Modeling and Resynthesis

I approach the problem of inductive modeling of high level musical structures from a dynamical systems and signal processing perspective, focusing on motion per se independently of particular musical systems or styles. The point of departure is the construction of a state space that represents geometrically the motion characteristics of music. I address ways in which this state space can be modeled deterministically and ways in which it can be transformed to generate new musical structures.

Hierarchical Music Structure Analysis, Modeling and Resynthesis: A Dynamical Systems and Signal Processing Approach music-structure-modeling

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