A dead cell comes to life if it has exactly three live neighbours. The cells' states are updated simultaneously and in discrete time.
Each cell takes two states, live and dead. Computer Music Journal, 11(4), 13-29.In the late 1960s British mathematician John Conway invented a virtual mathematical machine that operates on a two-dimensional array of square cell. Government Printing Office, 1951): 36-38. Germond (eds.), Monte Carlo Method, National Bureau of Standards Applied Mathematics Series, 12 (Washington, D.C.: U.S. Various techniques used in connection with random digits. Upper Saddle River, NJ Boston Indianapolis San Francisco New York Toronto Montreal London Munich Paris Madrid Cape Town Sydney Tokyo Singapore Mexico City: Addison-Wesley. Writing interactive music for video games: A composer’s guide. Cambridge, UK New York: Cambridge University Press. Algorithmic composition: paradigms of automated music generation. Agent-based computing from multi-agent systems to agent-basedmodels: a visual survey. Mohri, M., Rostamizadeh, A., & Talwalkar, A. A-life for music: music and computer models of living systems. Experimental Music (New York: McGraw-Hill, 1959 re-printed Greenwood Press, 1979) Mathematical games: The fantastic combinations of John Conway’s new solitaire game “live.” Scientific American, 223, October, 1970. Proceedings of EvoMusart 09 – European Conference on Evolutionary Computing, Tubingen, Germany, pp. The Evolution of Evolutionary Software: Intelligent Rhythm Generation in Kinetic Engine.
Hidden structure: music analysis using computers.
Three models for the description of language. Cellular automata in generative electronic music and sonic art: a historical and technical review. “An experiment in musical composition.” In S.M. ANZIAM Journal, 48, C188–C202.īrooks, F., Hopkins, A., Neumann, P., Wright, W. Some long-period random number generators using shifts and xors. The Markov Process as a Compositional Model: A Survey and Tutorial. Automated Composition in Retrospect: 1956-1986. Finally, I propose a compositional tool design based in modular instances of algorithmic music generation, featuring stylistic interactive control in connection with an audio engine rendering system.Īmes, C. For each model, I evaluate rule-based strategies for interactive music transformation using parameters provided by contextual gameplay situations. Starting with music generation, I examine conceptual implementations and technical challenges of algorithmic composition studies that use Markov models, a-life/evolutionary music, generative grammars, agents, and artificial neural networks/deep learning. While algorithmic note-by-note generation can offer interactive flexibility and infinite diversity, it poses significant challenges such as achieving human-like performativity and producing a distinctive narrative style through measurable parameters or program arguments. Some of them are complemented with rules and are assigned to sections with low emotional requirements, but support for real-time interaction in gameplay situations, although desirable, is rarely found. Generative principles such as single-seed design have been occasionally applied in game music scoring to generate material. However, it mainly uses prerecorded music sequences that reappear and are easy to recognize throughout gameplay. This approach provides a higher variety through re-combinatorial properties of music tracks and also a responsive and interactive music stream. Excessive repetition caused by low interactivity in music sequences through gameplay has been tackled primarily by using random or sequential containers, coupled with overlapping rules and adaptive mix parameters, as demonstrated in the Dynamic Music Units in Audiokinetic’s Wwise middleware. In this article, I review the concept of algorithmic generative and interactive music and discuss the advantages and challenges of its implementation in videogames.
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