"D" == David Psenicka dpsenick@uiuc.edu writes:
D> Many of these settings use a "beat" as a measurement, so D> changing the beat value to 1/8 can drastically alter the D> output--Also, the :max-tuplet-dur and :min-tuplet-dur settings D> do seem to get in the way often (these settings and related D> ones have come quite up a few times)--on my TODO list now is to D> find ways to replace some of the ones that impose hard limits D> with more flexible + intuitive settings (any suggestions are D> welcome!).
Suggestions might come when i get more into this tool, but isn't (fomus ... (list (fomus ...) (fomus ...))) a start towards this?
"Intuitive settings" - sounds like 'musical' concepts: eighth, sixteenth, triplet-sixteenth etc, no?
If the above structure allows for local settings of such parameters (and adding local offset-times inside!) it would mimick cmn's 'section, which is a very convenient level to work with.
(fomus :global-settings '(...) (fomus :off 0 :local-settings '(...) (load "A.fms")) (fomus :off 8 :local-settings '(...) :events (generate-random-events :dur 12)) :output-file "B-overlap.fms") (fomus :off 15 :local-settings '(...) (load "C.fms")))
How could the voice-leading algorithms handle abutted sections like this?
D> I'm about halfway through implementing a "preferred-tuplet-dur" D> setting at the moment, but am thinking now that a "preferred D> duration" shouldn't be tied to beat values but change D> dynamically with the context (meter, rhythm, etc.)... A few D> other settings (and internal variables) rely on beat values D> which I think should be changed eventually.
I find more often than not i use measures as a container which spans a certain place in time, not necessarily with any 'metric significance as such, especially when multiple rhythmic voices/layers are running alongside each other. All choices fomus makes towards musical logic are very useful as long as they can be overridden or made explicit at the local level (= note).
Which classes to start to look at to make a 'measure class?
-anders