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We’ll attempt to describe a potential system which generalizes many of the points in Prusinkiewicz’ methodology; in a number of instances, we’ll jettison his ideas (such as reliance on a turtle interpreter) altogether. 10: A flowchart of a more general system, including decoupled musical and graphical interpreters, a score follower, and the potential for live performer interaction The system outlined above, which we’ll use as a starting point for exploring different interpretation schemes in the next chapter, contains a number of improvements over the previous system in terms of its flexibility.

Decrement the current pitch by 4 semitones then play a note. Increment the current pitch by 5 semitones then play a note. Decrement the current pitch by 7 semitones then play a note. Speed up note delta time one metric value. Slow down note delta time one metric value. 24: another instruction set for a musical parser With this parser, we have changed a number of things about how we interpret our string. Firstly, we’ve decoupled our timebase from the pacing of the string. Put more 47 simply, our parser now controls the amount of musical time between events, depending on whether events occur and on the current state of a variable (the “note delta time”, afterwards NDT).

As a result, our score is only 27 to 26, hardly a difference. The slowdown is further accentuated by the fact that the density of ‘+’ symbols and note-producing symbols is slightly skewed towards the beginning of the string, resulting in a sparser texture as we progress through the interpretation. Looking at the histogram of our ‘active’ symbols (‘F’, ‘G’, ‘Q’, and ‘Y’), we see that each is slightly more frequent than the next as we go down the alphabet, respectively. Just as with the statistics for our ‘+’ and ‘-’ symbols, this is a byproduct of the production rules, which may substitute one symbol more frequently than others.

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