VART3459 - Production Strategies Journal 3

Week 3 - 

Academic paper on Meshuggah:

• Re-casting Metal: Rhythm and Meter in the Music of Meshuggah
• JONATHAN PIESLAK
• Music Theory Spectrum
• Vol. 29, No. 2 (Fall 2007) (pp. 219-245

"In the first section of this essay, I examine rhythm and meter in Meshuggah’s music from 1987–2002, which is based on three specific techniques: large-scale odd time signatures, mixed meter, and metric superimposition. Scholars like Mark Butler, Walter Everett, and David Headlam employ models for the rhythmic analysis of pop-rock music based on ideas of meter, hypermeter, and metric dissonance developed by Harald Krebs and William Rothstein. These methods provide a useful framework for my discussion of Meshuggah’s music during this period.

....

This type of metric superimposition, or overlay, characterizes many Meshuggah songs and is articulated typically through the instrumental texture, where the guitars, bass, and pedal bass drum are based on a large-scale odd time signature and mixed meter while the cymbals (or some other instrument of the drum set, usually a hi-hat) maintain a steady quarter-note pulse that expresses a symmetrical hypermetric structure."

Creative AI: Computer composers are changing how music is made: http://www.gizmag.com/creative-artificial-intelligence-computer-algorithmic-music/35764/

Euclidean rhythms:

Euclidean sequencer in browser: http://www.groovemechanics.com/euclid/
Euclidean sequencer for Raspberry Pi: http://xavierriley.co.uk/neutron-accelerators-and-drum-machines-with-sonic-pi/
Euclidean sequencer in MaxMSP + Python: http://pattr.ru/rhythm-happy-failure.html
Euclidean sequencer in Ruby: http://blog.noizeramp.com/2008/10/26/rhythm-generation-with-an-euclidian-algorithm/

Factoring, Euclidean algorithm and rhythms: http://bbolker.github.io/math1mp/notes/week5A.html

Algorhythms: Generating some Interesting Rhythms: http://www.maths.usyd.edu.au/u/joachimw/talk2.pdf
MATHEMATICAL INVESTIGATIONS INTO RHYTHM: http://vrs.amsi.org.au/wp-content/uploads/sites/6/2014/09/Adam_Rentsch_AMSI_report.pdf

Algorhythms:Sonic Journeys and Emergent Patterns in Rhythmic Music: http://www.eca.ed.ac.uk/sites/default/files/documents/news/Algorhythms_Dave-House.pdf

Bjorklund Algorithm Python Script: http://brianhouse.net/files/bjorklund.txt

Euclidean Rhythm Generator using only MaxMSP (No Externals/Abstractions): https://cycling74.com/forums/topic/using-euclideanbjorklund-algorithm-for-rhythm-generation-purely-in-max/

Acreil post ia gearsluts:

https://www.gearslutz.com/board/electronic-music-instruments-electronic-music-production/777371-generative-evolving-drum-patterns-2.html

It's helpful to link multiple Euclidean patterns in series, and also to have a different counter/divider driving each part so you can get polyrhythms.

I've tried a lot of other ways to automatically generate drum patterns; mostly it ends up sounding like a train wreck. I even replaced the pattern ROM chip in a Korg KR-55B with a salvaged EPROM from something or other. The results weren't really compelling.

Another reasonably useful thing you can do is take a 16 (or whatever) step pattern and partition it into 4 parts. You can program a number of complete patterns and switch between them independently for each 4 step section. This is nice if you want some "variation within pre-determined limits". You may want to treat this differently for each sound.

Possible Non algorithmic (hand sequenced Polymetered + Polyrhythmic examples)

Using the 3 reference tracks as a basis to create a new track.

Start with simple rhythmic marker (ae @ flex) create polymetering (meshuggah) incorporate vocal structures (md + p73) analyze speech patterns and transpose to rhythm? <audio to midi>