Explorations in the generative control of notes and rhythms, scales and modes — from human to algorithmic gesture
Composer Giuseppe Tamborrino uses computer tools not just for timbre, but also for the production of events in deferred time or in real time. This idea forms the basis for generative music — examples of which can be found throughout music history, for example Mozart’s Musical Dice Game.
In his research, Tamborrino carries out this process in various ways and with different software, but the goal is always the same: the generation of instructions for instruments — which he calls an “Electronic score”.
Here’s an example from one of his generative scores:
As part of the process, Tamborrino has always designed in a certain degree of variability, using different stochastic or totally random objectives to speed up the process of abstraction and improvisation that, once launched, are invariant. Often, though, this way of working resulted in small sections that he wanted to cut or correct or improve.
This motivated him to use Kyma to pursue a new research direction — called post-controlled generative events — with the aim of being able to correct and manage micro events.
This is three-step process:
- A generational setting phase (pre-time)
- A performance phase, recording all values in the Timeline (real time)
- A post-editing phase of automatic “generative (after time) events
Tamborrino shared some of the results of his research on the Kyma Discord, and he invites others to experiment with his approach and to engage in an online discussion of these ideas.