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By DuBois R.L.

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Extra resources for Applications of Generative String-Substitution Systems in Computer Music [PhD Thesis]

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With our simple musical mapping, we immediately get results out of this feature in the form of a static underlying harmony that increases in complexity and persists throughout the succession of chords. 15: our harmonic L-system mapping broken up into two staff systems. The lower system only shows those notes that persist from generation to generation. Looking at the music above we can clearly see a constant harmony emerge from our mapping of the system. By measure five, curiously, we’ve generated what one could describe as a Db major 7th chord (with the leading-tone in the bass).

Let’s look at how we came to that decision. Generation 5 of our L-system has 117 symbols in the string. 26: statistical breakdown of the symbol frequencies in our L-system We can find out a few things about how our musical mapping will play out just by looking at these numbers. For example, the fact that there are roughly twenty percent more ‘+’ symbols than ‘-’ symbols in our string indicates to us that if we bind a complementary mapping to those two symbols, the ‘+’ will gradually dominate the mapping.

By treating some members of our Lindenmayer alphabet as metadata, however, we can achieve some very interesting results. 17 Parametric symbolic mapping (metadata) The mapping strategies we’ve considered thus far have dealt with an L-system string as a directly evaluated stream of events, evaluated in series or simultaneously. Symbols in our Lindenmayer alphabets are unlinked except in the rather trivial sense that 42 they follow one another either in time, pitch height, or another mapping scheme we might devise to generate a stream of musical information.

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