Pulse confidence is what we strive for or refer to as a “rockin song”. Compositional economy is a relatively small subject’s capacity to sustain a relatively large narrative. Like a miser crone withjust a little genius stash of money spent in jsut the right way to make it through the long month.
“Unpulsed” in this software is when music timespans form no periodic/repetitive patterns.
THis program perhaps exposes the limits of mathematical utility in perception of complex rhythms by our sensuous bias. Expectation of events in the future is related to metric reguarity, and of course pulse confidence…right? Stream segregation- discerning the various layers, poly rhythmic intelligibility?
Pulsed versus Unpulsed
Rhythmic is on pulse continuos stream events connected to previous gestures in a recognized recurrence or patterned repetition
Compound melody: tonal twists to rhythmic stints
Racking melodies upon each other or one particularly sophisticated ratio collection that filters down to our ears as separate parallel identities of time speed.
expectancy : i think i know whats happening next
wait for it wait for it -|*(+)*|- yeah!
metric reinforcement
Unpulsed has four or more main windows of interface culminating in a time line for note output from these daunting probabilty algorythyms, and you can fine tune visually!!!! I find the radial explorer to be the multitudinously interesting environment for visual interaction with probability. I commend the visualization window as a method of casting light upon probability and its interrelations. Turning off a high probability de-cloaks subtler lower probabilities allowing them to reemerge and positional possibilities.
At first I wanted to use this interface as a more direct DJing environment where the program auto compiles a random set sample of its current state every measure, and changes you make in real time tinker with the eventuality of beat and cadence. It seemed to be rhythmically. I have trouble understanding the depth of interaction I have with the variability of the sound but find it strange that an arbitrary random sampling mix down is the closest the composer gets to directly designing patterns in unpulser.
The world unpulse is somewhat of a conundrum. A rhythm that you can’t hear in the sound doesn’t quite qualify of a rhythm. I guess one part of designing this software was confronting the limits of perception of design/ratio for the human ear using a spectrum cross range of truly obscure periodics. 3 7 9 13, odds seems more outlandish and less nested versus the ever reliant evens.
I wonder about the relevance of this rhythmic output to pitch. Im note sure how Ben has integrated melody divining to a system that seems to function specifically for rhythm. bt I’m sure Im just missing a drop down menu setup procedure. But again I wonder how these time rations could be directly or relevantly transferred to pitch ratios for the whole composition or wandering per step dauduling through possible scale motions.
I found this article and computer software instructive to be of an abstract content I rarely encounter and found difficult to reflect up in this writing in my normal intellectual capacity. The drop down menus of arcane quasi major scales coupled with the deep nested commentary regarding steps 1 2 3 4 or 1:1 1:2 1:3 1:4 and various forms of a and a’ to be confusing but also highly fascinating. I doubt my mind could form a coherent grasps of all specifics of the notation sequence facets. I just feel music without language much more specific than screaming and yowling; perhaps singing along on occasion to a syncopated jig.