[r-t] FW: Spliced Surprise Major problem

[King, Peter R]

Can I ask how these compositions were produced? I assume from the rapidity of their production that they were computer generated. If so what was the software? As a more general (and perhaps more interesting question) could someone write something about the general principles behind composition generating algorithms. Clearly it is more intelligent than just trial and error or exhaustive search. I would be quite interested to see what the structured approach is.
 
thanks,
 
Peter

________________________________

From: ringing-theory-bounces at bellringers.net on behalf of John Goldthorpe
Sent: Mon 08/01/2007 17:00
To: ringing-theory at bellringers.net
Subject: Re: [r-t] FW: Spliced Surprise Major problem



Philip Earis wrote:
> Even more fantastic - that's really great! I do think the cyclic
> part-ends add a lot of elegance to the construction.
>
> Following on from Richard Allton's comments, I would now also be most
> interested to see a cyclic example with more than one treble-changing
> single per part - I don't know if you found any examples whilst
> producing the composition below? One which maximises changes of treble
> could indeed be fun to ring!
>  
Yes, I found plenty of those.  I'll try to find a good one.
> My only other suggestion would be to match the musical analysis to the
> structure of the composition. Leaving aside whatever one may think of
> the relevant 'merits' of CRUs, with a cyclic composition I'd be much
> more interested to maximise the 96 possible 'run' rows (xxxx5678,
> xxxx8765, 5678xxxx, 8765xxxx) and cyclic rotations thereof.
>
>  

Actually, although I only quoted CRUs, the search was also designed to
look for runs of 4 and 5 off the front or back and other musical rows
like 2468s and 7568s.  This composition got the best overall score of
those searched.  There happen to be 33 'run' rows which I don't think is
bad considering the methods.


John

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