1 warbles
warbles
Warbler
The composition is structured in two parts and a finale. In the beginning, a
constant warble is introduced, which was created through granular synthesis. The
main structure of the composition is then heard: background arpeggiation and the
main melody. In part one, this structure is heard via tibetian bowl and
vibraphone. This structure continues onto part two, but the instrumentation
changes to an FM instrument background and piano melody. The rhythm for the
melody and the chord arpeggios for both parts were chosen randomly from a list
of times and chords. The composition then comes together with a chorale of
chords. At the very end, the constant warbles come together in unison with the
last chord and gradually fade away.
2 moonlit reverie
Moonlight Reverie
Marcos
Cool beat with four simple components: Clarinet model, FM, Hi-hat one-shot, and
Kick one-shot. Created completely through Nyquist, using score-gens for all
components.
3 cloud pad 142bpm
Cloud Pad 142bpm
Jack Liu
A fast but pastoral tune using old-school synthesized sounds.
4 kannu
15-322 Project 7
On the first line: the title of your composition.
Eye
Unknown
After that: your program notes. You may use LaTeX syntax if you want to include
any formatting. Keep your notes to a maximum of 200 words.
I made a composition using Nyquist that mixes granular and FM synthesis,
patterns, and physical models. Inspired by one of my favorite songs, I built on
its melody to create a unique musical piece. I started with granular synthesis
to add texture, then used FM synthesis to give the sound more depth and
variation. Patterns helped shape the rhythm, making the music flow smoothly and
guiding the listener through different sections. Physical models added realistic
instrument sounds, making it feel authentic and warm. The composition has both
uplifting and energetic parts, balancing calm moments with exciting ones to keep
the listener interested. This mix of techniques and melodies makes the
composition a captivating and emotional musical journey. I used both Nyquist and
Audacity, Nyquist for the base music pieces and Audacity to bring it all
together.
5 call me on the ow
"Call Me On The CW"
Motivation for this work came about while learning about Morse code and "CW"
(continuous wave) modulation. I learned that it is far more effective to learn
audibly. Operators do not log and decrypt symbols. Rather, they listen for the
sounds of letters and for the sounds of words. When listening to CW
transmissions, I felt that there was a musical nature to the patterns. I
decided to try to make music from Morse code.
During this thought process, I heard a song on the radio that fit well into this
theme. A local Pittsburgh musician, Norman Nardini, released "Call Me On The
Telephone" in 1993. This struck me as especially poignant considering the song
is clearly in reference to landline phones, yet coincidentally, 1991-1992 is
when the first digital cellular phone specification was released (2G). 2G was
the beginning of the end of landlines.
I attempted to create a composition that bridged morse code, CW, landlines,
digital cell phones, and computer music. A sort of timeline of the technology
of electronic communication. The Morse code (and its subsequent corruptions)
that you hear were created from the text of the lyrics of the original song, and
then merged with the song.
Note on slides:
I have created two slides. They are intended to be displayed in order, each for
one minute (2 minute composition). I have inluded a PDF of each slide, but I
have also included a .pptx file that contains both slides and has built in
timing to change the slide at the ~1min mark.
6 a first listen
A First Listen
Nikolai Stefanov
The goal for this composition was to tell a story about a robot being created,
hearing music for the first time, and trying to replicate it. The beginning is
the sounds of the robot being constructed and coming alive. The robot then steps
outside to hear a soft guitar melody that it first tries to mimic the guitar to
various success then adds to it. However, like the person who created this song,
the robot doesn't really know what it's doing, but it tries anyways :)
7 a glass room
A Glass Room
Arthur Kajiyama
I wanted to create a piece that begins peacefully accompanying a nice view.
However, this serenity fades into something electronic and untraditional. Thanks
for listening.
8 echoes of solitude
"Echos of Solitude"
Philip Liu
"Echos of Solitude" is an R&B / Neo Soul beat that captures the feeling of being
a teenager and feeling alone in today's world. With its grooving rhythm and
heartfelt melodies, it speaks to the emotions of young people trying to find
their place in a fast-paced, digital society.
The music reflects the longing for connection in a world filled with
distractions, reminding us of the universal experience of loneliness. Through
its soulful sound, "Lonely Echoes" invites listeners to pause and reflect on the
importance of self-discovery and finding meaningful connections in our lives.
Genre: R&B / Neo Soul
9 algorithmic blues progressions
Algorithmic Blues Progressions
Tristan Ohler
Please enjoy this combination of a random blues generator and a human
accompanist! The composition generated was made after approximately 30
Iterations and then the accompaniment was generated afterwards. All sounds
Were sung or made by the artist and then modified by the computer. Also note
While some of the sounds are not random, the very off-putting sounds are all
random
And intentionally sounding weird and the point of this composition was to find
The rare areas of overlap and thus harmonization between randomness and a human.
10 alvi’s lullaby
Alvi's Lullaby
Alvaro Luque
I was inspired by the music of C418 for the video game "Minecraft". Minecraft is
easily my favorite video game of all time, and the music always hits me with
such a profound sense of nostalgia and peace that brings me back to childhood. I
tried my best to re-create the feelings and ambience of the game's music using
only sounds generated from Nyquist as a challenge. Every sound you hear was made
in Nyquist using a variety of techniques that we learned in class like fm
synthesis for the synths, physical models for the clarinet lead, and a ton of
different patterns and effects. I hope you enjoy :D !
11 a peaceful death
A Peaceful Death
J. L
In 2022 winter, covid exploded in my country and I had to stay in the hospital
all day and night long to take care of one of my family member (fortunately he
recovered!). All I hear is heart beat monitors. Life is so fragile.
A short clip about death. It's not always the end...
12 this is a dream
This is a Dream
Kaan Gucyetmez
I aimed to create a hypnotic/psychedelic techno track. I used vocal samples from
The Office using Nyquist, which was the inspiration for the title of the track.
The main melody and synth are also created using Nyquist. I then added extra
elements and polished them using Ableton.
13 synthetic wind
Synthetic Impressions
Lambda
A short composition; all the sounds are solely generated by the Nyquist
programming language. The piece begins with a bombastic opening - the horn tone
is simulated with FM synthesis. The following rapid clarinet section was created
in large part with pattern generation and was primarily inspired by Chopin's
Winter Wind piano etude. After a short pause, the dissonant piano chords serve
as an abrupt transition into a more subdued melody formed of sounds generated
with VOSIM; voice-simulation sound synthesis has a very distinct timbre,
contrasting with the more traditional musical tones used earlier in the piece.
14 nymar sounds from a bergquist’s conversation
Sounds from a Conversation
Nymar Bergquist
"An intimate glimpse of a couple who get lost in an intelligible conversation
while trying to express their love for each other". Created using granular
synthesis and other Nyquist techniques. A tribute to my girlfriend <3. (Also a
reference to Swedish film director Ingmar Bergman's film "Scenes from a
Marriage")
15 le1000 miles
Le1000 Miles
byronj
We know LeBron likes to mess up song lyrics. But it turns out that he has a
broad range of musical talents that most people are unaware of—especially when
it comes to his favorite song.
In order to realize the composition, I found a version of "A Thousand Miles"
with noisy, rich sound so that I could perform effective cross-synthesis. I also
found some clips of LeBron's voice that I could incorporate as well; I chose
some well-known ones to better represent his character. I also figured out all
the pitches and durations of the notes in "A Thousand Miles" so that I could
have instruments play them. I mixed my composition in Audacity, seaming the
different parts together and normalizing the audio and converting to stereo for
the final result. I also used oscillators and envelopes in Nyquist to add
vibrato and fading/amplitude control when necessary.
Nyquist programming techniques used:
Spectral cross-synthesis.
Physical models.
Pattern generation.
Sampling.
FM synthesis.
16 coral
Coral
Jonathan Frantz
As I was composing this piece, it reminded me of the color of coral. Hope you
enjoy it!
17 disorder
Disorder
Satoshi Nakamoto
I lack experience in composition and performance, so I find it difficult to
create beautiful pieces. I have decided to go the other way and create a song
full of chaos and disorder. I combined various techniques and used less
harmonious chords to achieve this effect.
18 the soprano songbook
The Soprano Songbook
Joe Green
Embark on a journey through the soaring soprano melodies. This medley is a
glimpse into the evolution of the bel canto songbook, tracing its path from
opera to operetta, and finally to musical theater. Following a caricaturistic
voice claiming "Italian is the proper language for opera," Mozart opened the
medley with his iconic "Batti, Batti, o bel Masetto" (1781) and "Der Hölle
Rache" (Queen of the Night aria, 1791), establishing a lasting tradition of
serious German operas. Entering the golden age of opera, we hear some of the
most haunting, dramatic melodies including Verdi's "Amami Alfredo" (1853),
Puccini's "O mio babbino caro" (1918), and Wagner's "Liebestod" (1863). As the
landscape shifts, French influence brings a lighter, more comedic tone,
exemplified by Bizet's "Habanera" (1875) from "Carmen." Yet, it's Vienna that
beckons us back, where the French opera comique inspired the birth of operetta -
enter Lehár's "Lippen Schweigen" (1924). As the whimsical operettas started to
find their place in American, musical theater was born on Broadway. Songs like
Rodgers's "You'll Never Walk Alone" (1945) highlight the enduring magic of the
soprano voice on the stage.
19 untitled
(untitled), 2024
Anonymous
A piece improvised by two musicians on a cafe's old upright piano, only
remembered by a damaged and incomplete recording.
20 rogue
Rogue
Hadrien Helfgott
PROGRAM NOTES
Having made a very heavily Nyquist-based Grad Term Project, I decided to attempt
to convince Pr. Cortina and Pr. Donahue to let me create my final composition in
my favorite DAW instead. After relentless negotiations, weeks of hypnosis and
the promise of several real estate properties, they finally accepted under one
condition. For each of the 4 techniques I would have coded in Nyquist (I chose
FM Synthesis, Granular Synthesis, Vibrato and Bit-crushing), I needed to find a
way to implement them from the DAW.
The composition you're about to witness is the result of these experimentations.
The goal was to create a perfect blend of orchestral, cinematic soundtrack-like
music and very synthetic, sometimes 80's-inspired, computer music sounds. This
proved very challenging in terms of overall coherence and mixing, and a way I
found to tie everything together was to create a clear progression, almost like
a story in the composition. I hope you like it!
The image I used for the visualiser is an artwork by Jorge Jacinto, I found his
work online and it looks awesome!
21 zen
Zen
"Anonymous"
The main idea of my composition is Zazen (Zen Meditation), which is basically a
quiet type of Buddhist meditation done in a sitting posture like the lotus
position. The work describes the inner mind scene of Zezen. The work can be
divided into three parts. The first is the beginning part, where you can hear
the tense environment that represents a person's just beginning Zen. We then
proceed to the second stage where you can hear many different layers of
instruments and combinations. This represents the person fighting against his
worries and concerns, or you can understand it as the evil side of himself.
Thus, it can sound complex and chaotic at this stage. Finally, we go to the
final stage where stuff starts to return to normal and you can hear rain drips
in the end to show that everything has returned to peace. Throughout the work, I
used pouring rain as the background and the traditional Chinese instrument
"Erhu" to suit the topic of buddihism.
22 the past
The Past
Edison Aviles
This composition aims to combine the use of drums, piano, mandolin, and some
Nyquist techniques to create a jazz-like song. Enjoy!
23 chill
Chill
Anonymous
A Nyquist rework of a deep house demo. Just close your eyes and let the music
take you somewhere.
Side note: I hope for the notes this works as that was the original motivation
behind my demo as well. I know it's not a lot but it encapsulates everything
that I was going for from a listener's perspective. If more information is
needed, please let me know.
24 the beat must go on
The Beat Must Go On
EchoVerse
The motivation behind was to create a kind of comedic scenario. A casual piece
is playing in the building speakers when all of a sudden a fire breaks out in
the building and triggers the sprinkler system. The music transitions and
becomes warped by the water going into the speakers, and as the music continues
on with a new beat, you can hear the fire alarm in the background. . The
techniques used in this piece included pattern generation, bit crushing, cross
synthesis and vosim. I used a lot of crossfading in between portions of the
piece to try and get it to flow smoothly along with using bit crushing as a way
to transition from one type of beat to the next. Along with envelopes (pwl) in
Nyquist I also used the envelope feature in Audacity to enhance the volume of
some portions. Lastly I used the repetition mixing technique in Audacity in
order to lay down the beat framework so I could layer the vosim component on top
of it.
25 drum city
Title: drum city
name: Reed
notes: I meant for this piece to sound like going to a concert in a dream. It
starts with a series of sounds reminiscent of an orchestra tuning, then the
first set of drums (which sounds like it is leading up to something) goes on for
a little bit too long for comfort. When the chords start, they are still muddled
and confusing, reflecting that your focus in the dream hasn't settled. Then
suddenly, the piece comes into focus and you can clearly hear the drums and the
chords. When you start to focus on the chords, the drums drop away, and you
wonder if it is over; then the drums restart and the solo comes in, but it again
is out of focus. It fades out as you wake up.
26 tumbling through time
Tumbling Through Time
Tinker Tok
Tinker Tok travels through time at a steady pace at first. But the timeship
loses control, and Tinker Tok starts to accelerate away toward the infinity of
time.
The melody is played by wg-tibetan-bowl, the beats are played by wg-tuned-bar,
and the clock ticks of varying speeds are generated by granular synthesis. These
sounds are mixed together by fading in and out throughout the composition.
Oscillators sometimes play in the background, and they are frequency modulated
more and more as the clocks tick faster.
27 nightfall
Nightfall
Borui Xu
Function “F2-quote” uses physical models to generate sounds (modified to
generate three layers of different instruments: wg-tuned-bar, piano, especially,
for flute, vibrato techneques were used).
Function "F2" uses random patterns to generate notes for the begining paragraph
of composition.
Function "F3" uses sampling and spectral processing to add a layer of voccal for
composition. Please load spectral-prosessing.sal first and then run F3().
Function "bass-quote" uses the superposition of sine waves of harmonics, ring
modulation, and an envelope to simulate the sound of an electric bass guitar.
Function "F4" uses cycle to generate the looping of bass.
Function "F5" uses cycle to generate the tune for vocal.
28 wrong frequency
Wrong frequency
DJ 1159PM
If the NSA can wiretap phonecalls, it can wiretap this very piece
29 moldau variations
Moldau Variation
Anonymous
The piece is meant to represent the flow of the Moldau and the journey down it.
It starts with a darker mood and then shifts to a more cheerful tone. The layers
of sound help to convey the current and flow of the river. I implemented
techniques in Nyquist to add the effect of bustling activity along the river and
the chirping of birds.
30 untitled (purple castle background)
Duel with Nyquist
Duel in the Mist (rearranged with Nyquist)
A rendition of an excerpt from Genshin Impact's OST "Duel in the Mist" using
Nyquist sounds. Hope you'll like it!
31 deadlines and 1AM
It's 1AM and Your Thoughts Are Too Loud
fyingxiang
This piece was mainly meant as an experiment in creating different sound
textures and instruments in Nyquist. I wanted there to be a transition between 2
very contrasting sound styles in the middle, which is why the beginning is
relaively calm but it becomes very distorted in the second part.
32 untitled (pink otherworldly landscape)
#DC10EB
This piece is tends to give a sense of space,dreamy,glitchy atmosphere. Hope you
enjoy it!
33 and then there were less
Title: And then there were less
Name: Ryan Driscoll
An eerie piece made to evoke the feelings like that of the music that might play
during a horror movie chase. The overall feel I wanted was for a musical line to
carry thoughout, while also having sharp tonal changes to convey the happenings
of the chase. This piece was created through the use of spectral masking to
create the baseline which loops throughout the track, creating a more muddled
effect. A physical model of bowed instruments creates the repetition which leads
into the final part of the piece, and then pattern generators create the
penultimate part which increases in volume to signify the end of the chase.
34 nighttime
Nighttime
Anonymous
This is an emulation of "Brian is the most beautiful", a song by Memo Boy. This
is structured in three parts. Firstly, we have a introduction of faint cross-
synthesized sample using spectral processing. Secondly we have arpeggios created
with clarinet and piano physical models in a palindromic pattern and a wavering
background made from FM synthesis. And thirdly, a staccato and bold finish using
bowed models as well as clarinet and piano. This piece was intended to emulate
the original song, but also add a darker, heavier atmosphere to it with the
bolder sound of the strings and clarinet.
35 wistful echoes
Wistful Echoes
Lucy Mo
"Wistful Echoes" is a exploration of inner turmoil. Drawing inspiration from JJ
Lin's "Eternal Life" and the evocative soundscapes of Chinese drama OSTs, this
work blends Lucy's passion for music with her deep appreciation for traditional
Chinese culture.
Through this composition, this work invites listeners on a journey of emotional
complexity. Beginning with a serene and peaceful ambiance reminiscent of
tranquil reminiscence, the music gradually unfolds to reveal layers of longing
and nostalgia. As the piece unfolds, tension mounts, mirroring conflict and
inner tension.
This piece articulates the universal struggle of searching for meaning amidst
turmoil. The music traverses through moments of introspection, turmoil, and
resolution, ultimately returning to a state of melancholic reflection.
This composition invites audiences to delve into the depths of the human psyche,
where moments of peace and turmoil intertwine in an eternal dance of
reminiscence.
36 light
Light
Jiayin Feng
37 never know what’s coming
Composition Title: Never know what’s coming…
Name: Mukundh Balajee
The piece is similar to a background score you would hear in a cartoon series
like Tom & Jerry during chase scenes. Here is a link of some examples, which
have weird/unintentional sounds all together, which makes it sound somewhat
musical, https://youtu.be/Ftjt7KrNpFU?si=FJg9XigpkERypLPX
38 illusory midnight subway station
Illusory Midnight Subway Station
Anonymous 214
This composition mirrors the illusion of a midnight subway station, enveloping
the experiencer in a dreamlike reverie. Quirky music precedes distorted,
repeated voices, amplifying the sense of surrealism. As the dream deepens,
echoing sounds transport the mind beyond reality. A crescendo of rapid piano
notes, tinged with darkness, yields to a tranquil transition. The illusion
fades, leaving a lingering sense of wonder before the peaceful descent into
sleep.
39 a day in the life
A Day In The Life
Kevin W.
This work is an amalgamation of motifs that came to me throughout the day. I
separate each of these ideas with a part of a line from The Truman Show. I bring
together many different techniques to showcase how my mood and my thoughts
change as the day passes. Each of the physical models I chose bring a specific
timbre that evokes a specific mood. For example, grains used from birdsongs were
used to reinforce an idea of peace in the Evening section of the piece. Though
there are many unique ideas presented in the work, they all come together to
create a prominent identity of peace.
40 peeling my orange, loitering
peeling my orange, loitering
cami streuly
When was your last meal alone? Did you consume anything else? Did you listen to
music? Watch something? Sit in silence? Attend to your mastication? The clinking
of cutlery? Think of nothing? Think of something?
I wanted to create something still and pensive for this composition, a bit
complacent and reclusive, in no rush to step out of what might feel melancholic.
41 naudysity
Naudysity
Yoi
I created a few different sections in this piece and each section has its own
melody. The melodies are different from each other and each gives a unique
sound. First one is arpeggiated chords, second one is a score repeated twice,
third is another score repeated multiple times but played by a different
instrument, fourth is a sound created using spectral synthesis together with a
sine-grain, and last but not least is a pattern generated from a cycle of
pitches.
42 summer
s u m m e r
Eleanor Xiao
Indulge in the warm embrace of summer through this piece. It was inspired by my
childhood summers spent on the beach, back when nothing was more important than
building sandcastles and running in the waves. I hope this composition mirrors
the carefree and buoyant spirit of summer days.
43 grass
Grass
Sunny Fan
Minecraft is a classic game of those of us who grew up in the 2010's, and many
recognize the iconic style of C418's music in tracks
such as Wet Hands (2011), Sweden (2011), Subwoofer Lullaby (2011), etc..
Considering the recent changes to Minecraft made by Microsoft, it is unlikely
that C418 will continue to create tracks for the game, and as time goes on, the
soundscape of the game might sound less and less like the game we remember
playing in our childhoods. Thus, I wanted to try and recreate the feeling of
nostalgia that C418's music invokes in a style not dissimilar to that of his
original tracks used in early versions of the game. Most of the sound in the
piece comes from sampling the actual music of the game, but the generation of
the piece was all done in Nyquist, and mixed in Audacity. If you listen, you
might hear some audio that's cross synthesized with sounds from the game itself.
45 horror night
Horror Night
Ziwen Yuan
I used Audacity for mixing and Nyquist for sound synthesis. I modified human
voice samples from freesound.org in Nyquist and mixed them in Audacity, drawing
inspiration from horror movie scenes to match the atmosphere. My mixing
techniques included fade in, fade out, and crossfade transitions between music
pieces, and I used Audacity’s reverb at the end for an echoing effect to enhance
the atmosphere. I also applied normalization, click removal, and clip adjustment
to refine the final piece.
In Nyquist, I used pattern generation and physical models (clarinet, bowed, and
sax) to create two major rhythms. I applied spectral processing to a woman’s
laughter from freesound.org, cross-synthesizing it with machine sounds to create
eerie, horrifying effects—similar techniques were employed in project 5.
Granular synthesis was used on a music piece to generate a fast, electronic
beat, featured at the end to intensify the ghostly whispers. Additionally, I
employed the spectral centroid technique to create a soft prelude, setting the
stage for the music piece.
46 loop
Title: Loop
Name: مينغكانغ
Does the life of a CMU student feel like an unstoppable treadmill? Does each day
blend into the next, an endless cycle of attending lectures, wrestling with
deadlines, and being overwhelmed by projects? Imagine the relentless ticking of
the clock, the frantic clacking of keyboard keys, the dense thicket of slides in
each lecture. Picture yourself dragging your sleep-deprived body to class,
moving as if in a trance, propelled by the belief that your future awaits and
cannot be delayed.
This composition captures the essence of this mechanical existence. Using a
variety of techniques such as spectral processing, pattern generation, frequency
modulation, and physical models, the composition reflects the repetitive,
grueling routine of academic life—attending classes, completing assignments,
submitting work—all against the backdrop of our slowly accumulating knowledge.
Inspired by Philip Glass's minimalist style, this piece mirrors the gradual
shaping of our identities through consistent, monotonous effort.
47 reimagining ‘wild strawberries’
Reimagining "Wild Strawberries"
Molly Niehaus
This piece was based off of the poem "Wild Strawberries" by Shel Silverstein. My
goal was to create a completely pattern-generated piece that was light and
playful with a darker undertone to reflect the silly dramatic quality of the
poem. I used FM Synthesis to create an instrument and then used a reading of
Wild Strawberries as the index of modulation. This allowed me to subtly capture
the rhythm of the poem within the song.
48 episode 322: carnival crescendo
Episode 322: Carnival Crescendo
Anonymous
"Episode 322: Carnival Crescendo" captures the essence of a climactic episode
ending in a TV show, set against the backdrop of a bustling carnival. The piece
opens with the sounds of joy and revelry, as carnival-goers enjoy games and
attractions, underscored by playful carnival music. The atmosphere is lively,
with the laughter of children and the clatter of ping pong balls mixing with
distant construction noise.
As the music transitions, the mood shifts dramatically. A live performance
commands the silence of the crowd. The performance is awkwardly poor, yet the
audience, out of politeness, remains hushed, their silence punctuating the
uncomfortable spectacle. As the act concludes, the familiar sounds of the
carnival gradually return, restoring the earlier vibrancy.
Suddenly, the tone takes a dark turn. A startling, suspenseful event disrupts
the scene, leaving a chilling silence in its wake. The piece concludes as the
title music of the show slowly fades in, providing a haunting yet intriguing end
to the episode. "Carnival Crescendo" is a vivid musical journey through
celebration, discomfort, and suspense, perfectly encapsulating the
unpredictability of both carnivals and life.
49 the experience of ocarina of tim
Hey! Don't Listen!
Carl625
I broke my program into four parts: the patterns at the beginning, the custom
instruments I made for the compositions, the granular score code I used to pick
grains out of my source files, and finally the functions I used to generate the
sub-parts of my composition. I created this to express the headache inducing
wild ride that is ocarina of time.
50 pandora’s forest
Pandora's Forest
Nikki Kode
Inspired by the movie Avatar, "Pandora's Forest" aims to capture the enchanting
wildlife that flourishes on Pandora, the home of the Na'vi. This composition
captures the essence of Pandora's lush landscapes and exotic creatures,
immersing listeners in a vibrant symphony of the nature's wonders.
51 Colorful Clouds Chasing the Moon
Colorful clouds chasing the moon
Rick Zhou
This piece is influenced by the traditional Cantonese tune "Colorful Clouds
Chasing the Moon" from southern China.
The name brings to mind the mythical image of immortals on colorful, auspicious
clouds heading toward the lunar palace
—a captivating theme often seen in ancient Chinese stories. The music vividly
portrays the Moon Palace, envisioned
as a heavenly paradise.
The piece starts with traditional Chinese percussion, the Bangu, and the wind
instrument, the Xiao. The primary
melody first appears on the stringed Erhu and is later joined by the Xiao in a
higher register. The outro combines
these sounds using the wg-tuned-bar physical model and the Xiao. In this work,
the Erhu and Xiao are sampled from
a single loop sound, enhanced with envelopes, LFO filters, and reverb for added
realism. The percussion and
ambient sounds employ Nyquist physical models like bowed-freq, wg-tibetan-bowl,
and wg-tuned-bar, creating rich
textures. The percussion rhythm is generated using heap and cycle patterns,
while the background bowed sounds'
pitch follows a Markov pattern of major chords. The intro also features a
granular synthesis of Pipa sounds, stretched
to twice their length, offering a unique auditory experience.
52 when rock meets horror
When Rock Meets Horror
Anonymous
This piece is a blend between traditional rock music and a horror-themed FM
synthesis instrument and aims to bring these two rather unrelated things
together in one musical composition. The inspiration came from Project 3, where
the composition I created using FM synthesis was something that sounded like it
would be played in a horror game, and I wanted to use that instrument again in
this composition but combine it with the type of music that I normally listen
to.
53 desert traveler
Title: Desert Traveler
Name: Arjan
Program Notes: This piece follows middle-eastern influence in computer music by
utilizing spectral processing, sampling and granular synthesis. The composition
was created through samples found on freesound.org and these techniques.
Additionally, the composition was mixed in audacity using effects and fading
techniques. Sampling of vocal sequences created interesting sounds akin to
guitars, sitars and bass. Thank you for listening. Please enjoy.
54 cave
Cave
Anonymous
Chaos. You are getting chased by some mysterious creature. You see light
emanating from a cave and go in. Mystical music echos throughout the cave. But
you cannot stay for long. You go back out into the chaos. You might be dead, but
hey, at least the cave sounded kind of cool.
All sounds were generated using various Nyquist techniques such as FM, granular
synthesis, spectral processing, and random pattern generation, and then layered
together.
55 blue mood
“Blue Mood”
Anoushka Naidu
The aim of this piece was to capture Daft Punk’s sound but in a more mellow,
laid back, and jazzy setting. This was accomplished through the use of synths in
some of the layers and the modification of my voice. To bring some jazz into the
piece, I used a minor II-V-I chord progression, and included a saxophone solo.
This solo was programmed in Nyquist using the saxophone physical model and
pattern generators to produce random notes from the correct scale and random
iois to produce the rhythm. A reverb was applied to the sound to make it sound
more ethereal and dreamy. I used spectral processing to produce the autotune
Daft Punk-like effect on my voice. I multiplied my voice recording by the
amplitude spectrum of the notes I wanted being played on a noisy electric
guitar. Finally, I mixed everything together in a DAW, applying effects and
adding layers.
56 music ICM
Title: -- ..- ... .. -.-.
Name: Lydia
Program Notes: This piece is based off of the central motif of the morse code
representation of the word “music.” The rhythm pattern is generated based off of
the morse code while the pitch patterns are generated from the Lydian mode scale
(from my name). Throughout the piece, the instruments introduced go from what I
found to sound the most computer generated to the most natural sounding. Each
instrument plays a slightly different pattern but are all generated from the
same Markov chain. The instruments in the piece transition from AM and FM
instruments to physical models to cross synthesis. Everytime the morse code for
music is played, a new instrument is introduced. As the composition progresses,
each instrument and computer music technique adds its own texture to the piece.
57 LoveBug
Titles
Love Bug
Name
Twiddle dee
Notes
This composition is meant to replicate a robot or AI falling in love (and
getting heartbroken). The piece starts with randomly generated twinkling
vibraphone sounds; this represents the start of a relationship. We then have a
melody introduced which represents two entities getting closer. This melody
crescendos and drowns out the twinkling (which is still present, just less
heard). Then, chords representative of the melody set in and also crescendo
drowning out the melody in the end. This represents the stage of falling in
love. Finally, there are bit-crushed vocals expressing emotions, getting less
and less noisy to show the robot’s humanity coming through. We end abruptly as
love often does…
58 an ode to friendship
An Ode to Friendship
Veda Vaishnaavi Vakkada
I hope you enjoy this piece set on an A-major scale. I was inspired to create
this piece based on the various friendships I’ve had. It tries to bring about
happiness, with reference to the many amazing friends I’ve had during my time at
CMU with a slight twinge of melancholy to represent those who I’ve lost contact
with.
59 get to the shore
Get to the Shore!
Jack Sparrow
I wanted to put a twist on the sea shanty "Wellerman". While the original song
is very lively, this piece has a more spooky undertone. The background of the
song is that a group of pirates are singing this song as they are rowing their
ship. However, there is a group of ghosts on their tail, forcing the pirates
to row faster and faster. You can hear the spooky breathing of the
ghosts creeping up in the background.
I used harmonizing and a background beat to mix the different parts of
the composition. I have a main melody with the sea shanty. I add harmonization
with the breathy, ominous sounds in the background, adjusting the pitch to
match the melody. Finally, I use a triangle to add a beat to the composition.
60 random landscape
Random Landscape
Kefan Cao
I assembled a few randomly generated melodies using Nyquist (and modified them a
bit) to create this piece. Audacity and other softwares were also used to add a
few more tracks and mixing. I hope you enjoy it!
61 sirens in the woods
Sirens in the Woods
Amaad
For this composition I wanted to illustrate a story of a lone adventurer finding
himself in a magical forest with sirens calling out to trap him. In the
beginning of the composition you could hear rain and the different magical
creatures of the forest going past the adventurer. Then you start to hear the
faint echoes of a melody from the sirens get louder. As the adventurer gets
closer to the sirens the melody gets clearer and he starts to hear treasure.
However, when he gets to the treasure he was to late to realize the trap and he
gets attacked. The music slowly fades out and starts to deconstruct as the
adventurer loses conciousness.
62 symphony halls
"Symphony Halls"
Gowtham Irrinki
Join me in traveling into outer space... As we approach the light speed
propulsion tube, this track starts playing. The transitions from half-speed to
full-time propel us forward, as if we are being accelerated through the fabric
of space and time.
The custom sitar instrument, born from the physical modeling techniques, adds an
exotic and otherworldly flavor to the composition. Its unique timbres intertwine
with the FM synthesis-generated melodies, painting a picture of interstellar
landscapes and uncharted territories.
The bassline, created using the Nyquist sampler, provides a deep and pulsating
foundation, anchoring us amidst the cosmic expanse.
As we hurtle through the propulsion tube, the subtle textures of granular
synthesis whisper in the background, like stardust trailing in our wake. The
random sine grains add a layer of cosmic mystery, hinting at the unknown wonders
that await us.
Rock? Metal?
Jiaming Wang
"Rock? Metal?" is an experimental fusion piece by Jiaming Wang, a creative
talent in Carnegie Mellon University’s Music & Technology program. This
composition embodies a playful yet profound exploration of the boundaries and
intersections between rock and metal music genres, challenging and expanding the
audience's perceptions of both.
The song kicks off with an energetic, distorted guitar riff that blurs the line
between rock's melodic hooks and metal's aggressive power chords. Wang’s
arrangement cleverly navigates through varying intensities and rhythms, using
progressive elements to question and redefine genre conventions. Nyquist
techniques and mixing techniques are intricately woven throughout, highlighting
Wang's innovative use of technology to push musical boundaries.
64 moment in time
Moment of Time
SinglePhoton
For this program, I mixed several different tapes and sounds to create something
interesting, smooth, and tuneful. I joined parts of a few songs that I really
enjoy singing with notes from different instruments (tibetan-bowl, drums) and
combined them with piano beats for a cohesive and complete piece.
65 untitled (watercolor waves background)
Rough Waters
by Alex Adams
Composition was created using nyquist to program sounds and
Audacity to mix sounds and control volume and clipping
66 last dance
Last Dance
Lang Qin
The intention of this piece is to create a dance track that encapsulates the
profound emotions of a lovers' last dance. Initially composed on a real piano,
the music was then processed using Nyquist programming and Audacity to infuse it
with digital elements. Background beats were intricately woven in using advanced
Nyquist techniques, enhancing the overall texture of the track. This approach
not only maintains the romantic essence but also introduces a poignant
undercurrent of sadness, reflecting the bittersweet nature of a final farewell.
67 september remix
Instrumental Remix of September by Earth, Wind, & Fire
Aditya Thakkar
September is an all time classic, one of those songs that will either lift you
to the best spirits or make you break out into a sing-a-long experience no
matter where you are. For me, it was not just the lyrics that made me love the
song, it was the melody in the background. This piece aims to bring that melody
to the foreground and provide a remix that uses a piano, saxophone, and a bowed
instrument to generate an energizing piece.
68 glass and feather
Glass and Feather
Let the ethereal beauty of avian calls with the delicate resonance of glass
bottles transport you. This is an exploration of the interplay between nature
and human-made objects. The piece unfolds like a journey through a lush aviary,
where the fluttering of wings intertwines with the gentle clinking of bottles,
creating a harmonious dialogue between two seemingly disparate worlds.
69 echoes of the silent dynasty
Title: Echoes of the Silent Dynasty
Name: AYH
Program notes (200 words):
Hear the fusion of ancient Chinese tradition and modern compositional
techniques. Inspired by the serene beauty and underlying tension of classical
Chinese landscapes, this composition aims to blend traditional instruments like
dizi, erhu, and guzheng, with western counterparts like piano, saxophone, and
flute; thereby resonating the complexities of the present, with the echoes of a
bygone dynasty, of peace and conflicts.
At its core, this composition seeks to capture the delicate balance between
tranquility and unrest, like the calm before a conflict. Beginning with a sense
of serenity, it evokes the imagery of a tranquil Chinese countryside with
mountains, lakes, and theatre/erhu performances in the town. However, as the
composition unfolds, hints of hidden perturbation emerge and escalate through a
crescendo of tension.
The creation involved various techniques for sound synthesis and mixing.
Granular, sampling-based synthesis, and spectral processing, implemented in
Nyquist, were crucial in replicating the timbre of traditional Chinese
instruments and making the composition realistic-sounding. Patterns, phase
vocoder, filters, amplitude controls, and effects like chorus and panning,
endowed the composition with more dimensions, especially in its transition to a
more unsettled state. Audacity was also employed to combine the sound
components, with additional refinements like amplification and fading.
70 chess
Chess Music
Alain Saal-Dalma
This song was generated from a game of chess, specifically Hikaru Nakamura vs
Alireza Firouzja in round 5 of the recent candidates tournament. An exact
transcription from chess into music would not sound great (I tried) so I took
some liberties which make the direct connection less clear, but the music much
better. The program uses the durations of the actual player moves, as well as
the moves themselves to generate the track.
71 my ears vanished
My Ears Vanished
Anonymous
I was inspired by hyperpop/electronic artists like Crystal Castles, Machine
Girl, etc. In the composition, I wanted to mimic some of the techniques they
use. In the beginning of the composition, I generate several audio patterns
common in this genre such as grainy effects, low-pitched and high-pitched noises
at the same time, random dialogue, etc. I sampled the intro to the song Vanished
by Crystal Castles at the end of the composition, where it starts as the
original and fades into a cross-synthesized version of itself. I also tried to
recreate it using pattern generation and physical models.
72 kind of a quine
kind of a quine
cawsidx
'kind of a quine' encodes ascii text -- for example, the text you're reading
right now -- into 'music'
in computer science, a quine is a program that returns its own source code, it's
self-referential. my composition, titled 'kind of a quine', is a musical
encoding of ascii text that instead *describes* itself rather than gives itself
completely. namely, it encodes the above paragraph -- and of course, I also
offer a tool to decode the audio as well. theoretically a full quine would be
possible, but as I can only encode at a rate of about one character per 0.8
seconds, it would be an impractically long recording.
to help you follow along while listening + provide intuition, in the main track
every "beep" you hear is a bit, where each byte gets its own pitch, and each
word of a message gets its own transpose.
73 a trip to ghost’s castle
A Trip to Ghost's Castle
Local Suboptima
This is a multi-layered halloween-themed piece of music, where the protagonist
carelessly walked into ghosts' castle. The deep, periodic background humm feels
subtle yet unsettling; the spectral-centroid-modulated melody changes slightly
each cycle and sounds suspicious; all of a sudden, ghosts began randomly
shouting, creating a symphony in the graveyard.
74 the final runaway
The Final Runaway
Lauren May
This composition was inspired by the song Runaway by Kanye West, with
instruments focusing on the piano, violin, as well as clarinet. I tried to start
the composition slow, then ramp up to the chorus, and then end slow again. I
used several Nyquist techniques including sampling, pattern generation, spectral
processing, sequences, score generation, and physical models. I hope you enjoy
the composition!
75 pause (I hope the heart belongs to oneself)
Pause
^_^
In the boundary between reality and Utopia, happiness is a sigh that dissipated
into the air, a moment of joy is eternal.
I am walking on the noisy street, wanting to touch a wisp of sunlight.
76 the rite of computer music
The Rite of Computer Music
Jimmy Zhu
Program Notes:
The Rite of Computer Music seeks to explore new sounds and break the boundaries
of music. In some ways, it can be considered an impressionist complete
reimagination of the famous piece, The Rite of Spring, by Stravinsky. The Rite
of Computer Music intends to give people a nostalgic and sensational feeling
that reminds people of the beginning of the Rite of Spring.
In classical music theory, the idea of polychords means the stacking of
different chords on top of each other. In The Rite of Computer Music, a new
dimension is opened, in which polychords from The Rite of Spring are turned into
base chords and the upper chords are used to modulate the base chords. A
physical model is also used to play the Bassoon solo from beginning of The Rite
of Spring. Pattern generation is used to generate percussion like patterns at
the end, signaling an everlasting possibility as it fades into silence. Spectral
processing of sounds of people speaking is used to simulate the sounds of birds
in the beginning.
77 hull breach
Hull Breach
Jacob Doughty
The spacecraft has been hit! Warp drive damaged. Systems unresponsive. All
engineers report immediately.
This piece tells the story of a crew of space explorers scrambling to get their
ship repaired after sustaining heavy damage.
The following Nyquist techniques are used: FM Synthesis, AM Synthesis, Granular
Synthesis, Spectral Processing.
I used Nyquist to design many of the main instruments and sound effects, and
used FL Studio 21 for the rest of the
parts and mixing everything together.
Enjoy!
78 mandolin dreams
Aditya Sharma
"Mandolin Dreams"
"Mandolin Dreams" is a combination of pseudo-organic sounds in the piano and
mandolin, punchy drums from the modern trap 808 drum samples, and a warm,
wobbly, saturated sub bass that flows with the beat. "Mandolin Dreams" explores
a truly unexpected combination of sounds.
79 affections touching across tim
Affections Touching Across Time
Dex
You may have heard it before, it's an episode of my favorite anime Inuyasha. I
used mandolin, Tibetan bowls, and piano to rewrite the score. This song was
supposed to be sad, but I wanted to play it in a happy way. So you can hear an
atmosphere that goes from melancholy to warm. The transformation is mainly a
combination of using different physical models in nyquist and using the
knowledge of score manipulation and Multiple Patterns. This song expresses my
desire to go back in time and re-live the moments I spent with important people.
80 grainyosity
Grainyosity
Marco Cardenes
This piece is all about mixing electronic and acoustic vibes, drawing
inspiration from Jacob Collier's cover of "Close to You" and Stevie Wonder's
funky talkbox version. I had to do lots of tiny Nyquist tasks and then pull
everything together in Studio One 5, using techniques like spectral processing,
subtractive synthesis, and physical modeling. It wasn't easy -- figuring out how
to control the randomness in the patterns was a real challenge, but I found a
way to make it all come together. While you listen, think about how the
electronic and acoustic sounding instruments complement and contrast each other
-- when they mimic and when they're genuine.
81 the language F# major
The Language F# Major
Connor Maas
FILE INFO:
Length: 2:00 (120s)
Key: F# Major
Tempo: 130bpm
COMPOSITION INFO:
Instruments: Sitar (Nyquist), Flute (Nyquist), Drum Kit (Logic Pro)
Samples: Barack Obama - Final Rally Speech, Taylor Swift - You Belong With Me
Techniques: Cross Synthesis, Physical Models, Algorithmic Composition, Reverb,
Envelopes, Transformations (Behaviors)
STRUCTURE:
The piece leads off with a sample from an Obama speech which is slowly faded
into a cross synthesis (Obama speech and "You Belong With Me" in F# Major). The
cross synthesis is faded slightly while an F# Major Sitar emerges, generated
using random algorithmic composition. The cross synthesis is then fully faded
out and an F# Major flute is faded in. Next, a heavy bass enters on the
beginning of a measure and remains for the rest of the piece. The flute is faded
out and back in, while the cross synthesis is faded in and back out one last
time.
INSPIRATION:
The piece is meant to gradually allow the listener to transcended into a word
where all communication happens in F# Major, hence the speech faded into the
music. A variety of contrasting F# Major sounds are included to represent the
difference in people's communication styles.
82 uncharted
Uncharted
Jiarui Li
I create the sound using Nyquist and Audacity. I used Nyquist mainly to produce
the background sound for both part 1 and part 2 (part1-background.wav and
part2-background-long.wav). I also used Nyquist to generate the monster talking
sound and the pressing beat being tempered with the monster bark. For Audacity,
I used it to put the generated sounds together to form the complete and
meaningful story.
83 art of the trumpet
Art of The Trumpet
Evan Zhang
My composition is split into three parts, all of which are centered around the
core motif of highlighting the art of the trumpet. The first part uses granular
synthesis, which takes my base trumpet sound, splits it into various "grains" of
sound, and then combines these grains in a musical manner by varying variables
in `make-granulate-score` such as `grain-dur`, `ioi`, and `stretch`. The second
part uses spectral processing by cross synthesizing two sounds: my base trumpet
sound and a recording of my humming. By adjusting the `len` parameter to control
the FFT size, I found the perfect balance between sonic detail and overall
spectral shape. The third and final part uses FM synthesis to emulate a trumpet
sound from scratch to play the Star Spangled Banner. In the background, a sound
created by physical models—wg-uniform-bar, wg-tuned-bar, wg-glass-harm and wg-
tibetan-bowl—combined with rudimentary pattern generation is played to add
finesse and rhythm to the part. Finally, I combined each part in Audacity and
performed various mixing techniques, including amplification, clip removal,
pitch/tempo correction, reverb/delay, corrective EQ, and compression. I hope you
enjoy my piece!
84 runaway: ICM remix
Title: Runaway
Name: SF
Notes: My rendition of Runaway (U & I) by Galantis
85 yo chat, does she miss me?
yo chat, does she miss me?
andrew chung
Maybe she does… Maybe she doesn’t… Drawing inspiration from personal experiences
of heartbreak and loneliness, my composition aims to bring out sad
emotions/feelings through a reinterpretation of 'seasons' by wave to earth.
Using AI for voice extraction and spectral processing, I had to deal with the
challenges of inconsistent BPM and manual adjustments for timing precision.
Layering guitar, bowed instrument, and piano in Audacity, I balanced gains and
applied cross-fade effects to create a harmonious piece. In Nyquist, I simulated
plucking sounds with pattern generation and physical models, while employing
spectral cross-synthesis to mix piano notes with wave to earth’s voices. Lastly,
the 'nrev' reverb effect enriched the piece by creating a more dense, immersive
atmosphere. Yeah… she doesn’t…
86 little star variation
Title: Little Star Variation
Notes: I use some Nyquist techniques and original piano sound to create a
variation of the theme, which from a sparse one gradually to a climax.
87 set free
Set Free
Tianyue Sun
For busy students, taking a break feels like a punishment. The constant guilt of
being unproductive takes away from the joys of life. This composition criticizes
a never-ending work culture and encourages individuals to enjoy life. People
should be proud of themselves for what they have done and appreciate how far
along they have come. There is much more to life than work.
This piece was created with GarageBand, Nyquist, Audacity, and Soundtrap. The
vocals were recorded using a condenser microphone and a variety of background
beats and sound effects were built with GarageBand, Nyquist, and Soundtrap.
Audacity was utilized for normalization and meeting file specifications.
Nyquist techniques utilized include pattern generation, physical models,
granular synthesis, and FM synthesis. GarageBand instruments utilized include
drums, guitar, and strings.
88 lost in unknown
Lost in Unknown
HAO
My intention is to compose a music and use the Nyquist to add more electronic
effect to it. The song is in metal style incorporated with some orchestral
elements. The leading electronic-like string from 0:24 to 0:48 and the panning
staccato sound from 1:26 to 1:48 were created using Nyquist code.
The process of my Nyquist code in p7.sal is:
1. Sampler
2. Basic Instrument Functions (One for normal note, and the other one for
staccato)
3. Pattern and Score
4. Score to Sound
5. Spectral Processing (Sweeping Notch Filter)
6. Convolution Reverb (Using the IR file 'the-knights-hall-ir.wav')
After calling 'play final-intro' and 'play final-staccato', I retrieved the
audio file from the 'tmp/' folder and imported them into the DAW without
applying any effects to these two sound clips.
You can listen to the 'haowu4_p7_comp.wav' and the 'haowu4_p7_comp_raw.wav' (in
'./haowu4_p7_source/' folder)to compare the music with and without the pieces
from Nyquist.
89 harmonicity
Title: Harmonicity
Name: Randy Zhang
Apparently, the effect I chose sounds a lot like Taylor Swift. I've never
listened to any of her music so I'll have to take other people's word on that.
You can be the judge.
Anyways, I tried to emulate to the best of my abilities the idea of "background
music", which might be described these days as "low-fi". I found this to be both
easier to compose for and more compelling, as I personally believe that music
should strive first and foremost to be pleasing to the ear. I hope that you
enjoy my piece - listen closely for the whistling harmonic effect! (accomplished
through the Nyquist reson() function) - and that you'll agree on how good I
think it sounds.