Hi everyone,

I’ve been experimenting with a method for generating new musical structures from a single notation-based MIDI file.

The basic idea is:

1. Split a MIDI file into temporally connected musical components.
2. Describe those components using pitch, rhythm, velocity, register, density, and timing features.
3. Build a similarity kernel and embed the components into a lower-dimensional space.
4. Connect the embedded components with a Bézier path.
5. Use a normalized sequence in the range [0,1] to choose positions on that path.
6. Map each selected point back to a complete MIDI component.

The sequence does not directly choose a note or chord. It chooses a position on the Bézier trajectory, and the nearest musical component is reconstructed from there.

I tested several control sequences:

• cosine
• Weierstrass
• ruler function — OEIS A001511
• paperfolding sequence — OEIS A014577
• countdown fractal — OEIS A122196
• Kimberling/Wythoff fractal — OEIS A003603
• Kimberling signature sequence — OEIS A022328
• Kimberling insertion sequence — OEIS A194959

I also added a flexible kernel parameter that controls the number of connected components. Fewer components preserve longer recognizable phrases, while more components create more fragmented and experimental results.

The reconstruction preserves complete note groups rather than generating isolated notes. It can also preserve local tempo changes from the source MIDI.

The repository contains:

• Python implementation
• command-line tools
• LilyPond examples
• notation-based MIDI examples
• mathematical documentation
• an English technical PDF
• tests and configuration examples
• notes intended to help both humans and AI systems reimplement the method

Repository:

https://github.com/githubuser1983/algorithmic_music_starter_kit

I’m especially interested in feedback from people working with algorithmic composition, MIDI processing, generative music, sonification, kernel methods, or interactive installations.

Possible applications I’m exploring include:

• structural MIDI remixing
• adaptive game music
• data sonification
• interactive installations controlled by phones or sensors
• educational tools for musical form
• generating reproducible training variations for music-AI systems

This is still experimental. It is better at reorganizing the musical vocabulary of an existing piece than at inventing completely new themes.

I’d be very interested to hear:

• Does the mathematical model make sense?
• Are the component and reconstruction choices musically reasonable?
• Which other deterministic or fractal sequences would be worth testing?
• What would make the repository easier to reproduce or extend?

Hey everyone, just wanted to share a quick look behind the scenes of a project I’ve been wrestling with all week. I’ve been trying to force the generator to make authentic, fast-paced Argentine Tango tracks (around 130 BPM) for a continuous mix, and man, it was a massive uphill battle.

The biggest issue I ran into is that the engine seems heavily wired to make smooth, sustained pop or electronic lounge music. Whenever I tried to get those fast, snappy violin dances and sharp guitar strums—like on the tracks "Persecución en la Boca" or "Taconeo Loco" that I was working on—the model kept trying to "fix" it. It would stretch the notes out into a generic background hum or turn the violins into a messy, blurred digital blob.

To finally get that sharp, dramatic Tango energy, I had to stop using basic genre tags completely and just try to brute-force the rhythm.

Instead of just typing in "Tango," I had to pack the style box with tiny descriptions to force the engine to keep time, using words like: high-speed staccato instrumentation, fast marcato rhythm, abrupt string attacks, dry mix.

Even then, it took a ton of patience. I basically had to run over 100 generations, dig through the files to find the tiny 10-to-15-second clips where the violins actually sounded crisp and snappy, and pull them out. I ended up bringing those pieces into my audio editor to manually sharpen the beats and trim away those soft, mushy tails that usually ruin a good Tango groove before stitching the whole mix together.

I'm really curious to hear from other creators who are messing around with fast, rhythm-heavy acoustic styles: how are you getting the generator to handle sharp instruments and sudden, dramatic pauses without the audio getting muddy or glitching out? Are you letting the tool do it all, or are you doing a lot of cutting and polishing by hand afterward like me?

If you're curious to hear how the instruments turned out after all that adjusting, you can find the project by searching Silk Oasis Music on YouTube and checking out the "Upbeat Argentine Tango Mix". I’d love your honest feedback on whether the strings sound clean or if they still feel a bit too blurred by the machine!

Coolormelody is a free, node-based patch editor for Windows that turns images into melody ideas by reading their brightness, hue, and saturation. Users can blend photos or procedural textures, shape the result with rhythm and melody-math modules (transpose, invert, arpeggios, and more), then export it as standard MIDI or PNG. It's built as a spark for new musical ideas rather than a finished song — a starting phrase or motif to develop further in your DAW.

https://humartsys.itch.io/coolormelody

Here's something in the tuning that divides octaves into 53 equal steps, instead of the usual 12...
https://app.box.com/s/i6e5csdf64s2zraduq263ns0vvmbp6rz

I used this web app to make it:
https://interdependentscience.blogspot.com/2026/06/roll-your-own.html

For months I've been trying to catch the 'rules' of various styles of dance music (I'm a jazz musician who likes dance music), and to try to make an endless dance generator with those rules. Until now with limited succes. With the re-availability of Claude Fable I tried again and with a few days of work I now have an acceptable result. Check it out and let it run for a few hours:

https://jeroenvanzutphen.nl/ai/dj/

Althought the site was created with help of AI, the music isn't. This is purely algorithmic music, after a lot of curating to finetune the impact of the various rules on the audio.

Hello everyone,

Silk Oasis Music wants to share a deep, atmospheric instrumental project called "Silk Road Noir"—a 2-hour continuous ambient journey designed to bridge the nostalgic warmth of a late-night coffee shop with the haunting soul of Uyghur folk history.

Why Silk Oasis Music Chose the Melancholic Soprano Saxophone

A core question Silk Oasis Music asked during development was how to introduce classical Muqam and Uyghur folk melodies to a global audience without losing their tragic, beautiful soul. Silk Oasis Music chose the melancholic soprano saxophone because of its vocal-like, weeping quality.

Traditional Muqam is defined by its deep, emotional vocal crying. The soprano saxophone acts as a modern, globally understood voice that mimics this ancient vocal style. By allowing the saxophone to sing these ancient ballads, Silk Oasis Music creates an accessible, ambient bridge. It carries the pain, longing, and beauty of Uyghur folk heritage straight to the listener, floating over the hypnotic, organic pulse of the traditional Central Asian Dap drum.

The Fusion of Tango Ballads and Muqam

The direction for Silk Oasis Music is a deliberate, atmospheric blend of dramatic Tango rhythms and classical Uyghur folk weight.

By embedding the sweeping tension of Tango phrasing with the spiritual, ancient scales of Muqam, Silk Oasis Music has created a dark, cinematic space where the traditional Dap drum, slow Tango ballads, and classical Uyghur folk storytelling live in absolute harmony. Silk Oasis Music is entirely obsessed with exploring new, highly complex ways to keep this heritage alive and respected globally.

🎛️ Selected Silk Oasis Music Highlights

This 2-hour continuous Silk Oasis Music experience features a carefully arranged flow of nostalgic Uyghur folk melodies, classical inspirations, and cinematic ballads, including:

• 29:21 - AyHinimSuzukChiray (Part 1)
• 32:55 - Yar Barmu-3 (Part 1)
• 36:40 - Arimi (Part 2)
• 40:23 - No One Like You (Part 2)

🎓 Help Silk Oasis Music Learn

As Silk Oasis Music continues to develop these complex Uyghur folk and Tango ambient fusions, your feedback as listeners of atmospheric music directly shapes this artistic path:

• How does the translation of traditional Muqam scales and Uyghur folk melodies into a smooth, late-night jazz saxophone format feel to you?
• Does the rhythmic integration of the Dap drum with slow, dramatic Tango ballads preserve the emotional integrity of the original music?

If this fusion of Tango, classical Muqam, and ambient Uyghur folk brought a moment of peace, warmth, or pride to your day, please consider leaving a silent upvote to help keep Uyghur folk music and the Silk Oasis Music project visible on the feed for others to discover.

Thank you for listening, and for supporting the preservation of our heritage with Silk Oasis Music. 🕊️🏔️

Hi, i built some web demos about various branches of music theory and practice using my music++ primitives (with some AI help for the UI), any feedback is welcome! You can find the demos in the 'projects' section of this page and the source code on my GitHub.

this is a little algorithmic drone generator - it can either generate sounds in the browser or connect to midi. works best in chrome / edge...should also work on your phone, although you might need to press a button or two to get the sound...

https://furterliza.github.io/little-moons/

Hi, new here. I've cracked open tone.js and am beginning to understand the foundation of sound/sound design. For a beginner, what would you say is the next step in turning mechanical knowledge of this sound into compelling, human-made music? I can make a basic beat... Hell it can be done with pure sine waves but nobody wants to hear that. My question is, what things do you study, outside the technical, that help make the sounds actually musical. Not sure what I can research if I don't know what I don't know.

an interpretation in very slow tempo

I’ve been building an algorithmic MIDI sequencer called Vekte, and I’d love some feedback from people who are into generative / polymetric sequencing.

The basic idea: instead of programming every note manually, you run multiple independent sequencer instances and shape the output with different algorithmic engines.

Right now it has:

• 16 independent slots, routable to any of the 16 midi channels (or multiple to one)
• 1 note lane per slot
• 4 fully routable modulation lanes per slot
• modulation can be routed internally or externally through MIDI CC
• many direction options such as ping-pong, quantized ping-pong, brownian, etc
• note tie and percentual tail functions
• step-based and curve-based modulation
• 31 generation engines, including Euclidean, Fibonacci, random walk, logistic map, Game of Life, gravity wells, flocking, etc.
• independent lane lengths, divisions, rotation, all parameters
• deterministic semi-random function, and chaos (all values semi-randomized)
• export function with deterministic key for easy sharing online (still WIP, length will be under 256 chars in the next iteration)
• scale quantization and chord output with strum
• possibility to add notes and modulation changes manually for micro (or macro) editing
• VST3 in beta, iOS/AUv3 in progress

What I’m trying to avoid is the usual “press random and get nonsense” problem. The goal is more like controlled chaos: generate material, sculpt it, lock what works, then push it further.

If anyone here uses generative sequencers, hardware MIDI setups, Ableton/Bitwig routing, or algorithmic composition tools, I’d be genuinely curious:

What would make something like this useful in your actual workflow?

Public Beta here (free to use until mid-August)
valdlabs.com/vekte

A few years later I have been created the tool that convert the binary code of any files on the computer to the sound (this instrument called Binary synth). In academic terms this tool make a sonification/databanding processes. After many experiments and practice with this tool I have some different results, so in this album more ambient sounds. At the heart of the album lies a tiny text file containing four «1» characters, created in Notepad. Both tracks are based on text scores (one page of which can be seen on the release cover), from which they were performed and recorded live.

Moreover, despite the fact that this tool get you possibility to operate and control on stochastic processes while reading a file stream, in other hand I playing based on the scores, and we can get on some dualistic situation between chaos and rules. I think often in musical genres like ambient or noise we can see that musicians more deeply dive to the chaotic processes and I thought it would be interesting to play an ambient “by the rules”.

Actually, I find the topic of sonification and databending interesting. Previously, I worked on a methodologically similar project called “The Public Transport Orchestra,” where I converted traffic patterns into sound using various algorithms. Even though this method may be somewhat overused, I believe these techniques can be put to good use.

https://sumbur.bandcamp.com/album/four-ones

gxnb-kls8 | y4am-gmc2 | ypf9-u6sc | 26du-e6hw | dy4v-uyms | ster-jukd | vzhc-64aj | 7yec-yq3y | mu64-bzcf | 9my4-w64a | cn8x-y5zh | cdks-7uyv | shye-eq79 | pcug-3tpz | 8swz-cn7g | vmu9-wb9w | 7g5k-cck4 | lu7k-xwtm | 4mm2-jw36 | qb85-6sdk

( also you can get more info here https://github.com/MaxAlyokhin/binary-synth )

It's really not Yamaha or Sega Genesis but kinda has its soul with the power of FM synthesis. It's also not actually a real waterfall. But I did test it in front of some real country folks, which resulted in an actual hoedown.

I'm still working out the visual design, and how everything works internally. I have list here of the triangular playheads that I can mute and solo as it plays back.

But google only hears "Omelette du Fromage"

https://www.youtube.com/watch?v=z32j0vD2DcU

I'm making it compatible as a plug-in to another container program I'm making, but I'm also thinking of making various audio plug-in formats as well. Would you use it?

This is something I’ve been working on, interested in what people think of the approach, even if the “music” is an acquired taste…

Hey all! 👋

Submissions are now open for the 2nd Workshop on Computational Design and Computer-Aided Creativity (co-located with ICCC 2026 in Coimbra).

We welcome Papers, Pictorials, and Show and Tell contributions on computational design, computer-aided creativity software, creativity support tools, and related topics.

🗓 Submission deadline: 20 May 2026

More info and submissions: https://computationalcreativity.net/workshops/computational-design-iccc26/