Flexatone HFP
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  • System Detail

System: Symbolic Composer

Authors

Description

Symbolic Composer 5.0 is the most powerful music molecular language available for computers, and it also includes the MCL Common Lisp interpreter that lets you extend and customize the composition functionalities. Symbolic Composer 5.0 totals over 1000 music algorithms, suitable for modern, dance, classic, electronic, ambient and experimental styles. The tonality system covers 300 microtonal world-music and theoretical scales, and all chords and scales used in the last 500 years of music history. Besides providing the composer a toolbox of traditional composition tools Symbolic Composer also enables the composer to explore advanced fractal and chaos mathematics to determine compositional elements. "Whether you are a student musician, professional composer or music educator it's likely that the MIDI sequencing and scorewriting play a significant part in your creative or academic activities. You need a system able to incorporate new developments without effecting your existing skills: that can be tailored to your requirements and respond to your project assignments: that will grow with you as your music grows: that can be as relevant in 10 years time as it is now. Symbolic Composer is such a tool", says composer and music educator Nigel Morgan (UK). Symbolic Composer 5.0 is a massive collection of computer music and research algorithms packed in an efficient music composition language and interactive development environment. It's rich music molecule dictionary enables the composer to extend musical capabilities in many ways: Generate fractal and chaos music with extensive set of functions. Define any elements of composition including MIDI controllers with algorithms. Model compositions with a comprehensive set of classic processors. Explore all scales and chords and apply music element libraries to efficient music regeneration. Extend musical vocabulatory with integrated Lisp-programming and build new extension modules for others to share. In Symbolic Composer MIDI data comes directly from the compilation of a program and not from interaction with multitrack-style recording and the limitations of your keyboard performance. This program can be made from midifile analysis, graphic and gestural visual processing, as well as interaction of function variables and expressions, all immediately available from the menus. Compilation to midifile is virtually instantaneous, and a score can be playing on your sequencer or scorewriting in seconds.

References

“With the development of electronic and computer music, multidemnsionality of sound representation turned out to be both natural and useful. But music goes beyond multidimensionality -- it is even more complex.”

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“Music is then no longer primarily conceived as a guide for premeditated emotions, but as the density of the possible relationships which first become actuality during production under the influence of chance, and which during performance are presented to the listener as sounds beyond any environmental associatiations, independent of bodily actions required to produce sounds...”

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“Composers are now able, as never before, to satisfy the dictates of that inner ear of the imagination. They are also lucky so far in not being hampered by esthetic codification -- at least not yet! But I am afraid it will not be long before some musical mortician begins embalming electronic music in rules.”

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“... and the hope of an extraordinary aesthetic success based on extraordinary technology is a cruel deceit.”

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“The characteristics of every sound depend on the way in which the sound was produced. Each art-form exploits its special production methods in order to endow the phenomena with unmistakable characteristics. Artistic economy demands that the means be appropriate to the end, and that the exploitation of the means be an end in itself.”

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“... the use of numerical machines no longer stands in need of justification. It is not a mystery. If there is a mystery, it is in the mental structures of music and not in the computers, which are only tools, extensions of the hand and the slide rule.”

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“... the individual and the society are deprived of the formidable power of free imagination that musical composition offers them. We are able to tear down this iron curtain, thanks to the technology of computers...”

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“The danger is great of letting oneself be trapped by the tools and of becoming stuck in the sands of technology that has come like an intruder into the relatively calm waters of the thought in instrumental music.”

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“The computing machine is a marvelous invention and seems almost superhuman. But in reality it is as limited as the mind of the individual who feeds it material. Like the computer, the machines we use for making music can only give back what we put into them.”

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“... but beware, technique can submerge the user: We must defend ourselves; it is good to use techniques, but we have to dominate them, to stay alert.”

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“The use of computers is the logical outcome of a historical development. It by no means heralds a new musical epoch; it simply offers a fast, reliable and versatile means of solving problems that already demanded solution. The person who writes the computer programme must bear the development of musical language up to the present in mind, and try to advance a stage further.”

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