By DuBois R.L.
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Additional resources for Applications of Generative String-Substitution Systems in Computer Music [PhD Thesis]
In the next chapter, we’ll explore some different strategies for encoding and interpreting musical information as symbols for use in L-systems. We’ll also explore 24 different mapping strategies, taking advantage of the flexibility inherent in the grammar model to show some interesting uses of string-substitution as a compositional tool. 25 3. Mapping and Rewriting Schemes Now that we’ve explored some of the basic principles and features of Lindenmayer systems, as well as a few of the ways in which the systems are commonly visualized, we can look into possible ways in which we can use the data from L-system interpreters to generate and interpret musical information.
Are seldom included as the main component of a production rule, with one important exception noted below. As a correlate, the primary ‘active’ symbols in the turtle parser are seldom ignored by the production rules entirely, though there are cases where this happens. 6 This is assuming, of course, that we want our musical output to in some way sound like it could have come from an L-system. If we’re simply “mining” our data to generate interesting numerical material that we can translate into music, the task of making the self-similar metaphor musically salient becomes much less important.
Depending on the color of each tile, as well as the color of its neighbors, the tile on the row below is either black (‘B’) or white (‘W’). 17 40 This L-system traces the shape of a well-defined fractal pattern known as the Sierpinski triangle (Sierpinski, 1916). It features obvious characteristics of organizational self-similarity, as well as a continuous series of mirrored bifurcations in the pattern (creating the illusion of lines splitting apart and moving away from one another in contrary motion).
Applications of Generative String-Substitution Systems in Computer Music [PhD Thesis] by DuBois R.L.