Version 1
: Received: 8 March 2023 / Approved: 9 March 2023 / Online: 9 March 2023 (14:13:14 CET)
How to cite:
Tavares, T.; Fornari, J.E. Playing Algorithms: Finite State Machines with Datapath in Music-Domain Visual Languages. Preprints2023, 2023030182. https://doi.org/10.20944/preprints202303.0182.v1
Tavares, T.; Fornari, J.E. Playing Algorithms: Finite State Machines with Datapath in Music-Domain Visual Languages. Preprints 2023, 2023030182. https://doi.org/10.20944/preprints202303.0182.v1
Tavares, T.; Fornari, J.E. Playing Algorithms: Finite State Machines with Datapath in Music-Domain Visual Languages. Preprints2023, 2023030182. https://doi.org/10.20944/preprints202303.0182.v1
APA Style
Tavares, T., & Fornari, J.E. (2023). Playing Algorithms: Finite State Machines with Datapath in Music-Domain Visual Languages. Preprints. https://doi.org/10.20944/preprints202303.0182.v1
Chicago/Turabian Style
Tavares, T. and José Eduardo Fornari. 2023 "Playing Algorithms: Finite State Machines with Datapath in Music-Domain Visual Languages" Preprints. https://doi.org/10.20944/preprints202303.0182.v1
Abstract
Music-domain visual programming languages (VPLs) have shown to be Turing complete. However, the common lack of built-in flow control structures can obstruct using VPLs implementing general-purpose algorithms, which harms the direct use of algorithms and algorithm theory in art creation processes using VPLs. In this article, we show how to systematically implement general-purpose algorithms in music-domain visual languages by using the Finite State Machines with Datapath computation model. The results expose a finite state machine and a set of internal state variables that walk paths whose speed can be controlled using a metronome ticks and whose path depends on the initial conditions of the algorithm. These elements can be further mapped to music elements according to the musician's intentions. We demonstrate this technique by implementing Euclid's Greatest Common Divider algorithm and using it to control high-level music elements in an implementation of Terry Riley's In C, and to control audio synthesis parameters in a FM synthesizer.
Keywords
Algorithmic Composition; Finite State Machine with Datapath; Pure Data; Max/MSP; Paradigm Shift; Sound Synthesis Control
Subject
Arts and Humanities, Music
Copyright:
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
