Abstract

The motivations of the author for creating a new program with his partner Vincent Lesbros are explained—technical necessities (mostly connected with problems of live performance) love for counterpoint and for (poly-)modal, atonal and experimental music. The formalization of musical parameters and their organization of this program is explained. Special attention is given to time, which is structured independently for each voice, and to automatic modifications of melodic patterns. A concise description of some of Metro 3’s tools and special algorithms follows.

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