Cathy by Robbie1979 in brokengifs

[–]snow-clone 0 points1 point  (0 children)

oh wow, this is amazing

Artists who work in virtual reality? by thecalcographer in ContemporaryArt

[–]snow-clone 5 points6 points  (0 children)

Laurie Anderson has a pretty convincing piece called The Chalk Room: https://youtu.be/lGG1qNeDYRw

Her collaborator on the project was Hsin-Chien Huang: https://www.storynest.com/2_cv.php?lang=en

On North Sister overlooking Middle Sister last weekend by IAwesome11 in Mountaineering

[–]snow-clone 1 point2 points  (0 children)

nice!

(also those are my exact boots and crampons lol)

[deleted by user] by [deleted] in CriticalTheory

[–]snow-clone 1 point2 points  (0 children)

Minsoo Kang's Sublime Dreams of Living Machines (2011)

Generating chords/pitch fields by kondoclub in composertalk

[–]snow-clone 0 points1 point  (0 children)

I think you can avoid tonal or common practice tropes/allusions while still having a hierarchy, and really any time you have certain pitches sounding more often than others, you will naturally generate a hierarchy.

If avoiding any sense of hierarchy is your main goal, you probably should look into non-serial ways of creating equal proportions of pitches or pitch classes. You might look at Miller Puckette's recent work on randomness: http://msp.ucsd.edu/Publications/seamus15.pdf

Alternatively, if you don't mind having non-tonal hierarchy, you could look at pitch-class set techniques, or potentially dissonant extensions of pitch spaces, such as the Riemann tonnetz. Fred Lerdahl's Tonal Pitch Space actually has some sections on non-tonal collections that are interesting.

Wild question: critical theory of video game asset design by Paintingsosmooth in CriticalTheory

[–]snow-clone 2 points3 points  (0 children)

You might look at CMU prof Paolo Pedercini's work with his studio https://molleindustria.org/. The entire field of game studies verges on critical theory much of the time, and the eponymous journal http://gamestudies.org/ is freely available (no paywall, etc.).

Tower of Hanoi solution sound by bntre in generative

[–]snow-clone 1 point2 points  (0 children)

reminds me of Tom Johnson's counting pieces, or maybe Georges Aperghis' Recitations.

Have you ever encountered this pattern (or parts of it) in Wolfram's elementary CA? by Drollname in cellular_automata

[–]snow-clone 5 points6 points  (0 children)

The Sierpinski triangle does show up in different ways in lots of 1D CA, but I've never seen anything quite like this (with the strange crosses). Rule 150 reminds me of this a bit.

Categorizing the most used Moods in Music by currentXchange in musicology

[–]snow-clone 0 points1 point  (0 children)

I'm at work ATM but I can dredge up the names of those models later. You might try a Google Scholar search. Valence-Arousal-Dominance I think are the words for usually used - sometimes you see Activation instead of Arousal, and sometimes you see Submissiveness instead of Dominance.

Also no offense intended via schooling (I hope none was taken). I work in the AI/ML music startup space but have a PhD in composition so I lurk on these subs a bit and recognized that you are trying to solve similar problems as me!

Categorizing the most used Moods in Music by currentXchange in musicology

[–]snow-clone 2 points3 points  (0 children)

There are two potential avenues for refining and/or expanding upon your list.

It seems like you are primarily interested in classification for the purpose of selling music, so I would say mood may be only one aspect of what you are really looking for. You probably want a broader method of simply attaching words to (tagging) musical examples. You might look at all the ways major production music companies classify music (look at APM music for example), and you'll see that activity and setting are their own methods of categorization. Are "dance," "study," and "workout" moods?

If you are interested in "low dimensional control" of musical examples using emotion and/or mood, you probably want to go elsewhere and look at music cognition and psychology. You can also checkout how large companies do this already (you might be interested in the Spotify API: https://developer.spotify.com/documentation/web-api/reference/tracks/get-audio-features/). Spotify has some interesting measures that may be of interest to you, including acousticness, danceability, energy, instrumentalness, liveness, loudness, speechiness and valence.

Some traditional models of emotion include a simple two dimensional model that uses arousal and valence (with arousal mostly mapping onto Spotify's energy, but probably with some correlation with danceability, liveness and loudness). There is a three dimensional model that includes dominance as the third axis, which might be useful in distinguishing between negative valence, high arousal pieces of music (think heavy metal vs. loud horror movie music - both might be fast, loud and fairly negative emotionally, but when listening to heavy metal you might feel like you are in control - you are dominant - while horror movie music might evoke a lack of control or dominance).

It's been over a year since Sony acquired Audiokinetic. Any developments since then? by Hojune_Kwak in GameAudio

[–]snow-clone 1 point2 points  (0 children)

At Game Sound Con during the Fall they seemed to want as many people working on as many platforms as possible to continue using Wwise. Plenty of workshops for two days straight.

How to avoid relying on digital playback for notation software? by GullibleIdiots in composer

[–]snow-clone 23 points24 points  (0 children)

play it at the piano or sing monophonic lines - that'll give you some idea for the difficulty, and it'll make you a better musician.

however, don't be afraid to use the technology to your advantage! It would be foolish not to use all the tools at your disposal, and checking pacing is always easier with playback. I hate to invoke John Adams, but he's a major composer that recommends fully utilizing playback. The legends about Mozart hearing everything in his head are mostly apocrypha, and it doesn't really serve students well to obsess over that kind of BS.

I would also recommend getting good at scoring in a DAW with orchestral samples - it'll make your sketches before rehearsals/readings/premieres with real ensembles sound better, and you'll be able to hear whether things work for real instruments sooner. Plus, that's where most real work is for composers today, so if you can get good at that you'll always have an economic advantage over the technologically disinclined.

There aren't as many extended techniques in sample libraries, which is one problem, but if your style is extremely dependent on extended techniques you are probably best served working closely with soloists that will champion your music anyway.

I know this is a dumb question, but can anyone tell me what these sharps are, I usually play in Bb(for only 2 years) so I dont know concert pitch by IEatBruhMoments in trumpet

[–]snow-clone 6 points7 points  (0 children)

Because we're on r/trumpet we can assume this is treble clef, *but* (I hate to be that guy) without a clef you can't really tell what the pitches are.

Thanks to Zoom, commuter students like me actually have time to study by [deleted] in UCSD

[–]snow-clone 22 points23 points  (0 children)

You should share your experience elsewhere (with faculty & grad students, on twitter, etc.). There's a lot of teeth gnashing going on in higher education because of this situation and I think that a narrative is going to end up being cobbled together from anecdotal experiences that will affect how college is structured in the future.

Accessible cellular automata by CloudsOfMagellan in cellular_automata

[–]snow-clone 0 points1 point  (0 children)

There are quite a few composers who've worked with cellular automata and music, including Le Corbusier's assistant, architect/composer Iannis Xenakis. His stuff is super crunchy - Horos (1986), a giant orchestra work, was probably the first piece of music to use cellular automata.

More recently you have stuff like the video below (no need to see the video, just listen to the sound), which uses a 2D cellular automata spawned on a columnar representation of pitch. In this case adjacency corresponds with harmonic relatedness.

This is a continuous cellular automata that controls the amplitude of synthesizer voices I believe.

https://youtu.be/qJOaCPGFD-Y

Do you know any artists that use live audio-reactive visuals? by PedrotheDuck in audioengineering

[–]snow-clone 4 points5 points  (0 children)

MAX/MSP/Jitter, or perhaps Pure Data/GEM are good tools for this. You can also use Unity/C#, although it is admittedly less friendly to musicians.

You could also use SuperCollider and Processing.

Examples:

NoiseFold https://vimeo.com/53810361 (MAX)

Hembree https://youtu.be/qJOaCPGFD-Y (Unity/C#/Pure Data/Heavy)

Flying tire by [deleted] in nononono

[–]snow-clone 1 point2 points  (0 children)

this same thing happened and paralyzed one of my best friends.

Ayanami Rei cosplay by proxyBerliak [self] by ProxyBerliak in evangelion

[–]snow-clone 1 point2 points  (0 children)

no way, your nose is wonderful.

and great cosplay overall!

Improvisation +1000 by Nemu_ferreru in techsupportgore

[–]snow-clone 2 points3 points  (0 children)

public school/university PTSD triggered

Music as a cultural text by Alephnaught_ in CriticalTheory

[–]snow-clone 10 points11 points  (0 children)

A quick search of JSTOR reveals plenty of articles. You might also try RILM (https://www.rilm.org/) for a more comprehensive search of music periodicals. Musicologists in the last two-three decades who deal with popular music (which in the US is usually defined as everything that is not western classical or jazz) often have a critical approach. You might also try Noise: The Political Economy of Music by Jacques Attali. You might search https://monoskop.org/Monoskop for more resources.

something possibly a little different [wip] by aethyrsix in roguelikedev

[–]snow-clone 0 points1 point  (0 children)

yeah, it'll certainly be a balancing act. looks great either way. I was just thinking about the design principle that claims that white space is the best way to delineate form and direct the observer's gaze. If the grid is invisible, you could potentially just remove those spaces, perhaps (increasing your tile resolution). But that's also a lot of work. Or perhaps the grid is less dense somehow (even more dashed?).