A Computational Composer's Assistant for Atonal Counterpoint

Author(s): David Evan Jones

Source: Computer Music Journal, Vol. 24, No. 4 (Winter, 2000), pp. 33-43
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/3681553
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David Evan Jones
Music Department A Computational
Composer's Assistant
University of California
Santa Cruz, California 95064, USA
dej@cats.ucsc.edu
http://arts.ucsc.edu/faculty/Jones for Atonal Counterpoint

Every pitch in rigorous common-practice tonal Polito, Daida, and Bersano-Begey 1997) or in spe-
counterpoint (for instance, a Bach fugue) is subjectcific contemporary styles (Hunt 1974; Bell 1995) in
to definable constraints in a matrix of at least two that CPA itself provides no specific harmonic or
dimensions: the melodic and the harmonic. In a melodic information about the counterpoint to be
strict canon, for example, each pitch forms a part generated. While CPA does facilitate a chromatic
of a thematic pattern that recurs elsewhere in the rather than a diatonic approach to melodic transpo-
texture, while that same pitch functions to define sition and to harmonic control, every individual
or to embellish a related series of harmonies. Six- melodic and harmonic element in the counter-
teenth-century composers such as Palestrina and points produced by CPA is specifically composed
Lassus and 20th century composers such as or closely constrained by the user. Rather than re-
Bart6k, Stravinsky, and Schoenberg have con-placing the function of the composer, CPA is de-
structed counterpoints according to very differ-signed to assist the composer in developing the
ent-but equally rigorous-melodic and harmonic composer's own coherent matrix of melodic and
constraints. Owing to the dual harmonic/melodic harmonic elements.
constraints on each pitch in any closely-controlled Typically, the user composes and enters a con-
modal, tonal, or atonal style, independent contra- trapuntal sequence of notes consisting of one to
puntal lines which align to form coherent harmo- six given lines. The user then defines, by means of
nies often appear to be felicitous solutions to explicit
a harmonic, melodic, contrapuntal, and tex-
complex set of simultaneous equations: discover- tural constraints, the remaining lines needed to
ies as much as creations. complete the desired counterpoint. CPA begins by
Counterpoint Assistant (CPA), a composer's as- creating and testing all possible combinations of
sistant program written in Macintosh Commonthese given lines and computed lines-lines whose
LISP (MCL), is a mathematical tool for discovering constraints the user has specified. These combina-
such solutions-albeit by an indirect empirical tions often number in the tens of thousands. Com-
method (Jones 1993). CPA is designed to reveal binations of lines (i.e., counterpoints) that do not
transpositions and temporal offsets of user-created meet all of the linear, harmonic, contrapuntal, and
melodic lines that can be superimposed to meettextural constraints provided by the user are elimi-
user-specified constraints on harmony, texture, and nated; only those that meet all of the user's con-
counterpoint. While some music theorists havestraints are returned as output. The output may
elaborated the complex relational and generative consist of zero to hundreds of counterpoints, de-
structures that underlie what appear to be rela- pending upon the constraints provided by the user.
tively simple contrapuntal systems (Morris 1995),While CPA can be adapted for use in diatonic or
the simpler empirical approach implemented inquasi-tonal counterpoint, the program is designed
CPA is an attempt to facilitate the exploration of using
a a fully chromatic harmonic and melodic ma-
much wider range of contrapuntal relationshipstrix that suggests freely atonal, serial, or post-se-
specifically for use in composition. CPA differs rial composition. While the program allows
from programs which automatically generate coun- computations of long sections, CPA is designed for
terpoint in 16th-century style (Schottstaedt 1984;intensive and detailed manipulation of shorter seg-
ments of material-segments the length of a
Computer Music Journal, 24:4, pp. 33-43, Winter 2000 phrase or a short subsection that can serve as
? 2000 Massachusetts Institute of Technology. "building blocks" of larger compositional units.

Jones 33

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Figure 1. 1-6 given-lines Figure 2. 1-6 gen-lines
are possible. are possible.

-GIVEN-LINE Window ____ ____ ____ ____ ___ -LINEWINDO

et ISET P ST

Using the Program

As shown in the screenshots in Figures 1-6,

cal materials are entered
tioninofCPA usingtransp
offsets, a prim
music font in which rhythmic
patterns isvalues
not are ex-
illustr
pressed in step notation. (Complex
Gen-lines mayrhythms
be off
micallyof
produced by using multiples augmented
a stated pulsei
Musical materials may be entered via the com
("sub-polyphonies"). F
puter keyboard or a MIDI interface.
group. The box Output
betwe m
be either played using QuickTime
voices Musical
is checked to In
f
ments or saved as a text or MIDI file. line group) with fixed
lationships among th
Use of the program generally proceeds in the fol-
lowing sequence. First, the user enters 1-6 givenoffsets and augmenta
lines. Given lines are composed by hand in fixed permost gen-line in t
rhythmic relationship to one another. Given lines gen-lines in the grou
are entered by the user in the given line window specified, and these m
(see Figure 1) and interpreted by the program as grouped into one or m
specific rests and pitches (not as relational melodic
All computed lines an
intervals). All given lines appear exactly as en- duced by the program
tered, untransposed and rhythmically unaltered,tions,
in rhythmic offset
all counterpoints produced by the program. gen-lines and gen-line
Second, the user enters 1-6 generative lines or group is combined w
(gen-lines) . The gen-lines and their transpositions,
other computed or giv
rhythmic offsets, and rhythmic augmentation pat- number of voices spec
terns strictly define the computed lines to be pro-of counterpoints to be
duced by the program. In the example shown instraints. Within this f
Figure 2, the gen-lines are identical to the givennations of computed li
lines in Figure 1, but this is not required: gen-lines
The third step in usi
may be freely composed. Gen-lines are entered as
define or recall a har
pitches. However, they are interpreted by the pro- monic template strict
gram as a set of melodic intervals that will be off-allowed at any given
set to each of the starting points within the rangewhich includes even a
specified by the user, transposed to each of the tical chord will not b
pitch levels specified by the user, and transformed harmonic template is
into each of the rhythmic augmentation patterns voice chords (pitch cl
specified by the user. The interface for specifica- called by the user. Te

34 Computer Music Journal

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Figure 3. Harmonic tem- Figure 4. Global/contra-
plate (incomplete). puntal constraints.

EAICh:
ava
35 2 yort
3s45 5s 6s w/Vectors:* * ** * 1 N

notes sounding sim

current scope of th
Chords are entere
~~~~~ ran~
(see Figure 3) as spe
terpreted Tot
by therp
that may be realiz
vertical ordering a
transposition. (Un
or forbidden via t
straints window, s
collections are not
inversions except,
As shown I l in Figur
Us I te tha t Lt
tered in the harm
particular pitches
Most users develo
formally, but for
searches for interv
plexes (Forte 1973
For the fourth ste
and contrapuntal c
global and contrap
Figure 4
implemented in C
voices in output" i
and the computed
("Max. simultaneo
counterpoint is lim
notes, the "Total n

Jones 35

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unlimited. (Counterpoints involving more than six ping, limits on parallel intervals, etc.) when com-
voices may be computed, but no counterpoints bined with the given lines. This screening is also
with more than six simultaneous notes will be re- computationally inexpensive and further reduces
turned as output.) the number of counterpoints which must be
Limits on the maximum number of simulta- screened harmonically.
neous pitches at any step, on the minimum num-If more than one computed line or group is re-
ber of n-note chords in the final counterpoints, andquired to complete the total number of voices in
on the number of solo notes (unharmonized notes) combination with the given lines, the successful
allow the user to control the density of the desiredcomputed lines/groups are combined with one an-
other (and with the given lines) in all possible
texture. If, for example, the user specifies six total
voices but allows only three simultaneous pitches combinations to form counterpoints. These coun-
at any step, the voices must be distributed less terpoints are tested to determine whether each
densely. (This must, of course, be made possiblecounterpoint meets the specified textural con-
by the user in the specification of offsets.) straints (number of simultaneities, numbers of
The program also permits the specification ofsolo notes) and contrapuntal constraints (parallel-
some other constraints, as shown in Figure 4. ism, voice-crossing, overlapping among computed
lines). The counterpoints are also tested to deter-
mine whether each forms chords specified in the
Sequence of Computation harmonic template at each metric step. Because
the number of possible counterpoints increases at
On the basis of the harmonic template and the an extremely high rate as the number of individu-
given lines, the program creates a list of all pos- ally successful computed lines increases, this rep-
sible two- to six-note chords possible at each mo- resents the computationally most expensive
ment of the counterpoint. (The number of chord aspect of the program.
voices considered is the minimum of the follow- At this point, the counterpoints meeting all user
ing: the total number of voices, the maximum constraints are returned. They can be algorithmically
number of simultaneous pitches at any step, and sorted according to a variety of criteria presented in
the program's maximum of six.) the Sort Window (see Figure 5). Each counterpoint in
Next, CPA transforms each gen-line and/or gen- the output can be viewed, played, revoiced, and
line group into a set of specific computed lines manually
and sorted in the Play window shown in Figure
computed line groups (melodic pitches) according 6. The output can be saved as a MIDI file or as a text
file which also contains all settings used in generat-
to user-specified offsets, transpositions, and rhyth-
mic augmentations. The program then determines ing the output.
which of the individual computed lines/groups can
be combined with the given lines to form a chord
(or fit within a larger chord) specified in the har-Example Applications
monic template at each and every metric step. By
eliminating at this stage those individual com- As noted above, vertical chords in CPA are limited
puted lines/groups which at some step cannot to pitch class collections specified by the user.
combine with the given lines to create a permitted Voicings of these chords cannot be constrained in
chord, the program reduces the number of combi-the current version of the program. In auditioning
nations (i.e., multi-voice counterpoints) which and assessing the output returned by CPA, users
must be screened via a computationally more ex- must be prepared to invert the vertical order of
pensive test later on. voices of individual counterpoints. Entire counter-
CPA then determines which of the individual points are often transposed and otherwise varied
computed lines/groups meets the user-specifiedwhen concatenated to form larger compositional
contrapuntal constraints (voice-crossing, overlap- sections.

36 Computer Music Journal

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Figure 5. Non-destructive Figure 6. Example of
sorting. counterpoint displayed in
PLAY window.

S1. Fvsst hurmns pset tslsues -3 prlepsrotbN to lstth.

Ffli:Ba - a - 4 i- 5 be . ntohords
Q 2. Fevet hermase lslrvaS elssee (te).
Q3. Fuurt *10r2 0m50405 IC: 0 2 06 4 ~ 5 ~ 6
Q4. Fevnsd hmrmnkl mbtervel:
QPI aN2 Q N2Q .mS QNSQgP4
45 Q P5 Qm G Q Gm6 IQ Q H7
QS. Fewet pitch .el.s.
6. Least pe rlelsaneg. (St inet IN HESIATE repeatd utes.)
o 7_ ievWt "rle" .ni. .
8. Shertet ewreul lngtlh,
Sand mEVEWSE (retrsgrade)

Figure 5

CP2 SSRTDATA:O 0 Chamel vi oeoatl crnd piano

z..o.I Iar~crtl~, rs$$~ills qslW

A ljAl
L..L.L. -

..:] "t_]ml.,,l].8 00_ i ! |Figure 6

Jones 37

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Figure 7. Forming larger
musical patterns.

Etude
1 Allegro 3 5 7
Eng. Hn.

Clarinet

Bassoon

9 11 13

Figure Themes can also be constructed

7 in additive nota-il
proachtion as in the beginning ofto the musical example in c
the single
Figure 9, in which three pairs of voices enter in
the first
canon. (The opening canon of Figure 9 is a revoiced
11
and two
and metered extension of the output ge presented in
grade)Figure 6.) The same computation revealed other
prod
ments in
canonic relationships for b
use elsewhere in this piece.
chromatic
In practice, I have found it best to combine freely
duce the output
the from CPA with intuitively composed p
terns counterpoint towere
produce a variety of textures. Fig-
shape the
ure 10 is an excerpt from my composition Firefile l
A denser
Variations (Jones 1993b) for solo piano. Other ex-t
six-voice
amples can be found in my compositions Fugue c
duced main
State (Jones 1993c, 1993d) for flute and harpsichord
and From Ashes (1997) forand
posing, two pianos.
computatio
These score examples represent a few of the lin-
two 5-note
ear/harmonic constructs currently of interest to
three me as a composer.
paire Because each user defines all
retrograde
linear and harmonic constraints, however, the pro-
lated gram can
figur
adapt to a variety of chromatic, atonal,
clarinets
or serial styles. 1

38 Computer Music Journal

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Figure 8. Using gen-line Figure 9. Using additive
groups. rhythms.

Oboe I 4wI I I II1~I I - -'------q-~-------

.9 ~ ~P Ti i. 3i~.
Oboe2 fA2I ~ ~ V~lFI '

n ~fp 2c
Clar I

Clar23

lmf

Bsni 2

Figure 8

-~~ >

Oboe2 2k

Clan 2

la 2 e q

mf>

mf f -m
Figure 9

Jones 39

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Figure 10. Combination of
intuitive and
algorithmically produced
counterpoint.

INTRO FIREFILE VARIATIONS David Evan Jones

3
f?',n VARIATION I
= ca. 136-148 = Tempo IPano VARIATION I
r, -- - tr freely

I' 1 ?

a IP

fairly A strict Deme time

r...r3-- 3 , ,

Smmpfo

J =ca 116 = Tempol

Lyrical, Reflective

rI
-". eoco ce c. I I
-~mp

I1I

Spp

T I- --1 = L I I ,
3 33
: I Io I
3 33p
I.I

k.t lI ,"'- I I ,I II 1 "

40 Computer Music Journal

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 Table 1. Sample range of data points produced by Equation 1
a=1 a=2 a=3 a=4

100 00 49
b,= 200 200,25 9,9000 :,:i _ i-:i i iii iiiiila Br:::?-??. ?.:' ''? ii ?'?:
b =':i~ 500'l'~i~~'i~i 500i iii i iii i . :i~ iii?'------:--( ~--:':--:' :':: : :;-''li', ::.' i ; : it.1 -- .ii:?:, i, i. :i~i: :: :-::

Overview and Strategies for Use a!

To reiterate, CPA begins with all counterpoints

defined by the user's given lines and gen-lines and
progressively filters these combinations by com-
where the exclamation point denotes the factorial
(b! (a-b)!1
operation. Here, a is the total number of computed
paring them strategically (in the most efficient lines/groups defined by all gen-lines, offsets, trans-
way) to the harmonic, linear, contrapuntal, and positions, augmentations, while b represents the
textural constraints provided by the user. The pro- number of computed lines/groups the program
gram returns only those counterpoints which meet must produce to complete each counterpoint (e.g.,
all of the user's constraints. While the initial com- the total number of voices in each final counter-
putation removes the lines that do not comply point minus the number of given lines). The total
with users' constraints, the non-destructive filter-
nymber of combinations (N) is reported in the pro-
ing performed in the Sort Window (see Figure 5) cess of computation; if the number is impracticably
can be used to sequence the output according to large (see Table 1), the computation can be aborted,
several additional criteria without eliminating anyand the constraints adjusted and recomputed.
counterpoints. Finally, the Play Window (see Fig- For example, if the user enters two individual
ure 6) is designed to allow the user to see and hear gen-lines, both with offset ranges of -2 to 1 (four
the notated counterpoints and to select individual offset points), and both with transposition ranges
counterpoints from the remaining output. of A2 through G#3 (12 transpositions)-each with
only one augmentation pattern-the total number
of computed lines/groups defined at the outset is
Limiting the Number of Tested Combinations 96 (a = 4 offset points x 12 transpositions x 2 gen-
lines/groups = 96). This number can often be sig-
The art of using CPA is the art of defining and pro- nificantly reduced by the pre-screening of
gressively refining the constraints to produce a usefulindividual lines before the combinations of lines
result. First attempts at using the program often pro- (counterpoints) are formed; see "Sequence of
duce far too many results. To avoid this problem, it Computation" above. (Note that the total number
may be useful to understand the ways in which im- of computed lines/groups would be the same (96)
practicably large numbers of combinations are pro- if the user had specified 2 sets of grouped gen-
duced and the ways in which they can be avoided. lines rather than 2 individual gen-lines.)
The number of combinations N that must be The variable b in Equation 1 is found by sub-
tested by the program is tracting the number of given lines from the user-

Jones 41

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defined total number of voices in each counter- tremely inexpensive computationally (compared,
for example, to harmonic testing).
point. If gen-lines are grouped, this number is fur-
ther divided by number of lines in each group. For
example, if the total number of voices in each
Developing Complex Counterpoints Incrementally
counterpoint is set to 4, and the user enters 2 given
lines and several individual gen-lines (no groups),
the number of computed lines/groups required inAnother efficient approach is to construct multi-
each counterpoint equals 2, because b = 4 (total voice counterpoints incrementally, in layers.
number of voices) - 2 given lines yields 2. When constructing a texture of several voices, it is
occasionally more efficient to begin by computing
(Note that if the user had entered groups of gen-
lines, each consisting of 2 gen-lines, the number of example) a three- or four-voice texture. The
(for
required lines/groups would equal 1, because b user
= (4 can then select a few of the resulting counter-
voices - 2 given lines) + 2 lines in each gen-linepoints as given lines for the computation of tex-
group = 1.) tures with six voices or more.
As suggested in these examples, the use of gen-
line groups is an efficient way to develop counter-
points with a large numbers of voices because Entering Only a Structural Outline of Given Lines
these groups reduce significantly the number of
combinations that must be tested by the program. Passing tones, neighbor notes, and/or other pitches
Table 1 gives a range of data points produced not
by to be subjected to specific harmonic con-
Equation 1. straints may be omitted from the given lines and
In Table 1, a represents the number of neededgen-lines and replaced either by repeated pitches
lines or groups, and b represents the total number
representing the prevailing harmony at that point
of computed lines or groups. The shaded areas of or by rests. By these means, users can select which
the chart above represent impracticably large pitches to evaluate harmonically and which to ig-
nore. (See Chapman 1981 for a discussion of the
numbers of combinations to be tested. The testing
of more than approximately 20,000-30,000 combi- use of passing-chords in atonal contexts.)
nations generally produces results too numerous
(and too loosely controlled) to be useful. The exact
threshold of impracticality, however, depends Extents and Limitations
upon the particular inputs (lines and constraints)
and upon the user's goals and strategies. CPA was designed to address a compositional
problem found at the root of all pitched counter-
point: the matrix of linear and harmonic elements.
Controlling the Density of the Final Texture The program addresses this specialized problem
intensively but does not attempt to address the
An efficient way to focus a computation is to ways in which the output will be used in a com-
closely define the desired density of the voices pleted
in composition. This generalized approach has
the final counterpoints by means of the global con-allowed the program to be useful to composers
straints in the global/contrapuntal constraints with diverse harmonic and textural goals.
window (see Figure 4). Setting narrow constraintsIn order to facilitate the analysis of every
on the maximum number of simultaneous pitches chord produced by the contrapuntal lines,
at any step, or on the number of n-note chords in rhythms are specified as multiples of an underly-
the output, or on the number of solo notes in theing pulse. When used in this chord-by-chord
final counterpoints will not decrease the number manner, the approach can be compared (concep-
of combinations which must be tested, but these tually but not stylistically) to a first species (1:1)
approach in that all allowable chords must be
constraints are tested first and their testing is ex-

42 Computer Music Journal

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specifically authorized by their inclusion in the References
harmonic template. As suggested above, how-
ever, some users may wish to use CPA to limit Bell, M. E. 1995. "A MAX Counterpoint Generator for
their given lines and gen-lines to structural out- Simulating Stylistic Traits of Stravinsky, Bartok and
lines by omitting ancillary (non-harmonic) notes.other Composers." Proceedings of the 1995 Interna-
tional Computer Music Conference. San Francisco:
Just as first species counterpoint can often form
the structural basis for more elaborate formal
International Computer Music Association, 495-496.
Chapman, A. 1981. "Some Intervallic Aspects of Pitch-
structures, composers may find it useful to em- class Set Relations." Journal of Music Theory
bellish or develop by hand the linear/harmonic 26(2):275-290.
systems revealed by CPA. Other users may wishForte, A. 1973. The Structure of Atonal Music. New Ha-
to produce counterpoints of greater rhythmic ven, Connecticut: Yale University Press.
complexity by using additive rhythms as mul- Hunt, M. F. 1974. "RANDHIND: a FORTRAN program that
tiples of the underlying pulse. By these and othergenerates two-voiced exercises according to the rules
means, composers may finesse the stark and lit- stated in Paul Hindemith's The Craft of Musical Compo-
eral division of harmonic and melodic dimen- sition, Book II." Ph.D. diss., Washington University.
sions implemented in CPA. Jones, D. E. 1993a. "Counterpoint Assistant." Proceed-
In conclusion, I would like to elaborate upon ings of the 1992 International Computer Music Con-
ference. San Francisco: International Computer
the irony contained in the name of the program.
Music Association, 50-52.
In the United States, the acronym CPA refers toJones, D. E. 1993b. "Firefile Variations" for solo piano
Certified Public Accountants. This acronym is se- (score). American Composers Editions, New York.
lected to remind users that CPA (Counterpoint Jones, D. E. 1993c. "Fugue State" for flute and harpsichord
Assistant) is simply a mathematical tool, and that(score). American Composers Editions, New York.
the user-not the accountant - is responsible for Jones, D. E. 1993d. "Fugue State." Audio CD recording.
assessing the value and appropriate disposition of Ocean City, New Jersey: Musical Heritage Society
513988A.
the output.
Jones, D. E. 1997. "From Ashes" for two pianos (score
American Composers Editions, New York.
Morris, Robert D. 1995. "The Structure of First-Specie
Software Availability
Canon in Modal, Tonal and Atonal Musics." Integra
9:33-66.
CPA runs on Macintosh PowerPC computers. A Polito, J., J. M. Daida, and T. F. Bersano-Begey. 1997.
fully functioning demonstration version of this "Musica ex Machina: Composing 16th-Century Cou
program can be downloaded from http:// terpoint with Genetic Programming and Symbiosis."
arts.ucsc.edu/faculty/jones. The program itself is The Sixth International Conference on Evolutionar
free. The Macintosh Common Lisp (MCL) kernels Programming. Berlin: Springer-Verlag, 113-124.
required to run an unlimited version of the pro- Schottstaedt, W. 1984. "Automatic Species Counter-
gram, however, must be purchased from Digitool point." Stanford Technical Report Stan-M-19.
(www.digitool.com), makers of MCL. The author
is in no way affiliated with Digitool and receives
no commission.

Jones 43

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