Music and Distributed Programs

2001

As a consequence of the Human Genome Project, there has been an explosion of primary DNA sequencing data available on the internet. Five years ago, we envisioned a type of computer-generated music that would take cues for its musical parameters directly from the physiological ones present in DNA. The first paper, Musical Synthesis of DNA Sequences, was presented and published at the Sixth International Symposium on Electronic Art, 1995 in Montreal; and XI Colloquio di Informatica Musicale, 1995 in Bologna. This updates our recent work.

Artificial Life, 2020

This article introduces GeMS, a system for music composition informed by synthetic biology. GeMS generates music with simulations of genetic processes, such as transcription, translation, and protein folding, with which biological systems render chains of amino acids from DNA strands. The system comprises the following components: the Miranda machine, the rhythmator, and the pitch processor. The Miranda machine is an abstract Turing-machine-like processor, which manipulates a sequence of DNA symbols according to a set of programming instructions. This process generates a pool of new DNA strands, which are subsequently translated into rhythms. GeMS represents the musical equivalent of amino acids in terms of rhythms, referred to as rhythmic codons. This enables the rhythmator to convert DNA sequences into rhythmic sequences. The pitch processor generates pitches for such rhythmic sequences. It is inspired by the phenomenon of protein folding. The pitch processor considers orientation...

2020

In the present work we present a methodology for teaching the basis of the genetic code through music composition, with the aim to combine science and arts learning. The project was carried out by 155 students, the so-called MARGA Consortium, with ages comprised between 10 and 17 years from different public schools located in the Principality of Asturias, Spain. The different groups generated 8 different music works using a short genetic sequence obtained from the human notch1 gene, receptor of mutations leading to chronic lymphocytic leukemia.

In this article, we study the creation and perception of pictures and melodies as the result of the interaction of distributed agents. In some complex systems, one can see the elaboration of global patterns by the interaction of distributed local entities. Following first abstract painters such as Kandinsky or Klee, and Gestalt theories of perception, one may also consider that pictures are composed and perceived as the result of the interaction of sets of colored graphical elements. In a similar way, one may consider that music is the result of the adequate composition of distinct sounds and that it is perceived as the interaction of sets of musical elements. In this article, we develop the idea somewhat further and show how we can take advantage of it to create computer-generated artworks. Computer-art projects such as The Garden of Chances and Mutations have been designed using these principles, and rely on a versatile multiagent platform dedicated to the real-time visualization of complex data streams.

2011

We outline the global control architecture of genomes. A theory of genomic control information is presented. The concept of a developmental control network called a cene (for control gene) is introduced. We distinguish parts-genes from control genes or cenes. Cenes are interpreted and executed by the cell and, thereby, direct cell actions including communication, growth, division, differentiation and multi-cellular development. The cenome is the global developmental control network in the genome. The cenome is also a cene that consists of interlinked sub-cenes that guide the ontogeny of the organism. The complexity of organisms is linked to the complexity of the cenome. The relevance to ontogeny and evolution is mentioned. We introduce the concept of a universal cell and a universal genome.

The philosophical implications of generative music vis-a-vis its cultural reception, whether it constitutes an attempt at a technological recovery of a metaphysics of presence and the death of the composer

"This paper proposes a systemic theoretical model of music that combines art, science and humanities in order to describe music as an emergent system that arises from society. The model relies on chaos, complexity and systems theories. The theory also draws upon Meyer’s concept of musical style, Jan’s memetics of music and Capra’s definition of life as a combination of structure, process and organization. The paper addresses questions such as: what are the relationships between music and society? How is music related to psychological systems? Does music evolve? Is music a living system? The paper aims to lay the groundwork for a unified theory of music, cognition and evolution, defining music as a complex living dynamic adaptive system, and explaining how music can emerge from nonlinear interactions among psychological systems within society. The paper initially defines some relevant concepts (e.g. dissipative structures, autopoiesis), then provides the basics of music systems theory. Afterwards, it describes the relationships among music, psychological systems and society, and clarifies why music might be regarded as a living system. The theory provides a simple theoretical framework that elegantly and concisely explains several musical processes, such as music performance, learning, composition, style, creativity, analysis, and evolution."

2000

The present work proposes a model for a Multi-Agent System capable to deal with music. We believe that many Computer Music problems could be approached through such a Musical Multi-Agent System. Our proposal is based on a community of agents that interact through musical events (MIDI), simulating the behavior of a musical group. As a case study we have implemented a rhythmic accompaniment system. "Listening" to each other, the agents were able to play their instruments in synchronism.

We will explain in this article the implementation of a model of autonomous agents in the MAX / MSP 1 environment. This implementation was made in the framework of the development of a real-time installation, the " Traces " project. This implementation afterwards gave place to a reflection on the use of a certain category of models in musical composition. 1 © Cycling74&Ircam, http://www.cycling74.com. 2 Let us not forget that we are speaking about computers with a determinist Von-Neumann's architecture, what excludes all other architecture such as that of networks of neuron, or the very recent molecular computers and quite other architecture which can manage "fuzzy" information. This voluntary exclusion is due to the only reason that the great majority, otherwise the totality of available machines on the market, at this time have only a Von-Neumann.

Dataoverflow / insat press, 2022

This article is mainly based on the book " This is your brain on music " by Daniel J. Levitin, and slightly on the work of Oliver Sachs. I tried to imbued it with a personal touch but at the end of the day I'm just standing on the shoulders of giants and I would be remiss if I didn't urge you to go back to the source, where you would find the real deal. When air becomes music : An example of how biology deals with data