A variety of perspectives about noise serves as a framework for the development of structures and techniques in the composition of 2458208, for ensemble and electronics (2018). Thinking about noise promptly reveals its paradoxes. Noise may present itself opposed to concepts like signal or pitch. Noise can be seen as the genesis and backdrop of all there is. But how do these concepts reflect on the practical problem of creating a musical work? This text offers a personal perspective, along with the discussion of software tools and techniques, illustrated with code examples.
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My master's thesis.
With the issues of human-machine interaction in the compositional process as a background, the present dissertation follows three simultaneous vectors: (a) a portfolio of some of the music that I wrote in the past two years, in which I applied (b) a set of computer-assisted algorithmic composition tools that I developed synchronously in that period of time, following (c) a reflection on the underlying concepts, presented here monographically. A library in Common Lisp stands out among the tools, including functions to perform simple combinatorics with large pitch collections and to the exploration of geometric properties observed in rhythmic and tonal cycles, as well as a program to manipulate audio using Markov chains. The written music—which is an integral part of this work—is simultaneously the point of departure and the point of arrival for the research path that I followed.