A MIDI sequencer that widens access to the compositional possibilities of novel tunings

2012

We present a new Dynamic Tonality MIDI sequencer, Hex, that aims to make sequencing music in and across a large variety of novel tunings as straightforward as sequencing in twelve-tone equal temperament. It replaces the piano roll used in conventional MIDI sequencers with a two-dimensional lattice roll in order to enable the intuitive visualization and dynamic manipulation of tuning.\ud \ud In conventional piano roll sequencers, a piano keyboard is displayed on the left side of the window, and white and black note lanes extend horizontally to the right, into which a user can draw a sequence of notes. Similarly, in Hex, a button lattice is displayed in its own pane on the left side of the wi…

Tuning continua and keyboard layouts

2008

Previous work has demonstrated the existence of keyboard layouts capable of maintaining consistent fingerings across a parametrized family of tunings. This paper describes the general principles underlying layouts that are invariant in both transposition and tuning. Straightforward computational methods for determining appropriate bases for a regular temperament are given in terms of a row-reduced matrix for the temperament-mapping. A concrete description of the range over which consistent fingering can be maintained is described by the valid tuning range. Measures of the resulting keyboard layouts allow direct comparison of the ease with which various chordal and scalic patterns can be fin…

Spectral tools for Dynamic Tonality and audio morphing

2009

Computer Music Journal Spectral Tools for Dynamic Tonality and Audio Morphing William Sethares sethares@ece.wisc.edu, Department of Electrical and Computer Engineering, University of Wisconsin-Madison, Madison, WI 53706 USA. Andrew Milne andymilne@tonalcentre.org, Department of Music, P.O. Box 35, 40014, University of Jyvaskyla, Finland. Stefan Tiedje Stefan-Tiedje@addcom.de, CCMIX, Paris, France. Anthony Prechtl aprechtl@gmail.com, Department of Music, P.O. Box 35, 40014, University of Jyvaskyla, Finland. James Plamondon jim@thumtronics.com, CEO, Thumtronics Inc., 6911 Thistle Hill Way, Austin, TX 78754 USA

Isomorphic controllers and Dynamic Tuning: invariant fingering over a tuning continuum

2007

Andrew Milne, William Sethares, and James Plamondon *Department of Music University of Jyvaskyla Finland andymilne@tonalcentre.org **Department of Electrical and Computer Engineering University of Wisconsin-Madison Madison, WI 53706 USA sethares@ece.wisc.edu †Thumtronics Inc. 6911 Thistle Hill Way Austin, TX 78754 USA jim@thumtronics.com Isomorphic Controllers and Dynamic Tuning: Invariant Fingering over a Tuning Continuum

New tonalities with the Thummer and The Viking

2008

In this paper we explain the theoretical background of Dynamic Tonality using the Thummer, a new musical interface, and The Viking, a software synthesizer written especially for it. Dynamic Tonality is a musical audio routine that allows for novel tunings and enables the user to relate – to an arbitrary degree – these tunings with the partials of their notes. The Viking features Dynamic Tonality and works with any MIDI instrument, but when paired with the Thummer (or another two-dimensional interface) it creates a system of fingering invariance across chords and tunings. Thus, the Thummer and The Viking render non-standard tunings more physically, pedagogically, and aesthetically accessible.

A psychoacoustic model of harmonic cadences

2009

A psychoacoustic model of harmonic cadences: a preliminary report

2009

This report presents a psychoacoustically derived computational model of the perceived distance between any two major or minor triads, the degree of activity created by any given pair of triads, and the cadential effectiveness of three-triad progressions. It also provides statistical analyses of the ratings given by thirty-five participants for the "similarity" and "fit" of triads in a pair, and the "cadential effectiveness" of three-triad progressions. Multiple regressions show that the model provides highly significant predictions of the experimentally obtained ratings. Finally, it is argued that because the model is based upon psychoacoustic axioms, it is likely the regression equations …