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Chaos DJ project

Explore the use of chaotic mappings in music composition to create new and distinct compositions. Learn how to utilize chaotic mapping directly, strike a balance between cliché and unpredictability, and use the Lorenz attractor data for melodic variation. Discover how to break up chords for performance and represent different aspects of music. Dive into a world of musical genius by sampling from chaos!

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Chaos DJ project

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  1. Chaos DJ project Anna, Martin, Nini and Sean CSSS 2011, Santa Fe

  2. Dabby suggests that musicians can look for inspiration, such as melodic or harmonic innovations, in musical variations generated by chaotic mappings [1]. • We suggest that chaotic mappings can be utilized directly to create new and infinitely distinct compositions. • Use of the chaotic mapping provides an excellent balance between cliché and complete unpredictability. Motivation

  3. Midi theme CSVMIDI Machine readable text file for parsing Procedure I CHAOTIC SAMPLE Musical Genius!

  4. Sampling from Chaos • Import midi as CSV file • Create dataset of notes • Import Lorenz attractor data • Reduce trajectory data set down to 1500 data points • Use 3-dimensional Euclidean distance between point A and point B to determine next note sampled • Assign sampled notes to the pre-existing rhythmic structure Procedure II

  5. Performance A Theme A Chaotic Variation

  6. Unlucky initial conditions can be bad. Lower R values will also create more 'boring music' due to sampling procedures. The composition of the musical note dataset matters as well. • In this instance, we retain chords as a single rhythmic event, but already the variations reveal harmonic differences. Consider other improvements, such as the ability to break up pre-existing chords into constituent notes for performance. • This is only an example of using chaotic mapping to create melodic variation. We can use the various dimensions of the Lorenz attractor to represent different aspects of musicality: i.e. rhythmic or harmonic structure. Future Development

  7. [1] Dabby, Diana S. 1996. “Musical variation from a chaotic mapping”. Chaos 6 (2): 95-107. References

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