Strasheela: Design and Usage of a Music Composition Environment Based on the Oz Programming Model

Constraint Programming Approach to the Problem of Generating Milton Babbitt’s All-Partition Arrays

“…Naturally, solving for A 1 makes finding a solution in A 2 more difficult as the number of available partitions is now fewer, and in fact, all 506 solutions to A 1 made A 2 unsatisfiable. We noticed, however, that certain partitions in these 506 solutions e.g., IntPart 12 (3,3,3,3) and IntPart 12 (4, 3, 3, 2) occurred far less frequently than others. It would be reasonable then to conclude that solutions in A 1 which contain the greatest number of these less frequently occurring partitions will make solving for A 2 more likely, as the fewer available partitions in A 2 now consist of a proportionally greater number of frequently occurring partitions.…”

“…Using our model and a method for dividing this matrix into smaller, sub-problems, we obtained a solution, which, we believe, is the first to be discovered automatically using a computer and differs from those found by composers. CP is a programming paradigm that has been successfully applied to the solving of various constraint satisfaction problems in music [3][4][5][6][7]. It seems natural then, that CP could be used in the problem we address here.…”

A Max Library for Musical Notation and Computer-Aided Composition

“…Constraints programming is a programming paradigm widely used for this kind of problem, and most systems for computeraided composition provide tools implementing it in some form, e.g., PWConstraints (Laurson 1993) in PatchWork, PMC (Anders and Miranda 2011) in PWGL, OMClouds (Truchet and Codognet 2004) or OMCS and Situation (Bonnet and Rueda 1998) in OpenMusic. At the extreme of this range, some software systems are entirely devoted to musical constraint programming, such as Strasheela (Anders, Anagnostopoulou, and Alcorn 2005).…”

“…The former has reached a high level of refinement and public awareness in the last decades, with professional-grade DSP algorithms nowadays widely available and used in an increasingly broad set of devices and applications, including mobile phones and embedded systems. The latter, on the other hand, seems confined to a small number of specialist software systems such as OpenMusic (Agon 1998), PWGL (Laurson and Kuuskankare 2002), Strasheela (Anders, Anagnostopoulou, and Alcorn 2005), or Common Music (Taube 1991). Moreover, DSP is used today to various extents in virtually any type of musical production, as well as many nonmusical contexts.…”

A new cloud computing architecture for music composition

“…Within this scope, some systems based on AI techniques have appeared to support the composition process. They include LISP programming (Taube, 1991), Case-based reasoning (Ribeiro et al, 2001), Genetic Algorithms (Moroni et al, 2000), restrictions (Henz et al, 1996;Anders et al, 2005), or ontologies and cognitive modeling (Alvaro et al, 2006). At first, all of them were stand-alone system.…”