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Additional info for Applications of Generative String-Substitution Systems in Computer Music [PhD Thesis]

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What begins as a monophonic line quickly grows to a density of 16 pitches by the sixteenth beat. It then collapses back to a two-note line, increasing again to 16 and then 27 notes on the 24th and 32nd beat. This increasing density is reflected in the shape above, as is the distance between polyphonic lines and clusters (which increase over every growth-collapse cycle) and the contrary motion of the lines (explicit in the entire pattern, but most obviously traced in the outer voices of the clusters).

HCI researchers and developers, whether working within industry, academia, or from the point-of-view of independent software and hardware developers, are constantly grappling with ways in which ergonomic events generated by a human are to be mapped to corresponding actions by a computer (Johnson, 1997). A number of standard theories for HCI mapping exist, ranging from experimental research done at Xerox PARC to the Human Interface Design (HID) standard developed over the years by Apple Computer.

We can now look at some internal mapping strategies, with the goal of transcoding information from Lindenmayer systems into musically useful material. What follows are some examples of ways to take the symbolic information contained in a Lindenmayer string and extract a musical texture that somehow retains some of the interesting features of the string as musically coherent phenomena. Event-literal symbolic mapping As we mentioned in the last chapter, the typical strategy for generating a musical texture from a Lindenmayer string has been to rely on the spatial information generated from a turtle graphics interpreter to generate a suitable musical mapping.

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