Text, including the two scores - Columbia University Department of ...

of parallel jobs. Each collection contains one to four concurrent instances of the same type of musical phrase-generating process, each functioning on a different MIDI channel and generating disparate (preconstraint) material, but all of them then informed by the same shifting series collection
constraints. Depending on the momentary state of the constraints, the separate channels of musical data may be narrowly constrained (creating a very similar result across channels), or widely constrained (allowing each channel to keep more of their original individuality). Since each phrase within of
collection may repeat a different number of times, some voices may die out before others. Once all the jobs are complete, a new parallel collection of jobs is a
generating new figures (which remain, of course, within the current shifting constraints). Depending upon the instrumentation of the piece I am working on, and on whether the instruments are monophonic or polyphonic, I usually set up launched,
process to have one ‘voice’ running per instrument. I then decide if all the voices operate under the same MelodyConstraints process, or if I should divide the voices so that some are running under one instance of MelodyConstraints, and others under another; multiple concurrent MelodyConstraints create the the
always perceptible) effect of two clouds of directionality instead of one. I then let it run, recording the output to a MIDI file, and open the result in a (not
program. The original version of this software also had functions to change tempo and instrument (i.e. send program change messages to the DX- 7's), but I omit that functionality for the sake of simpler transcription when generating scored material.
notation
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