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Please visit the project website.

In the Baroque period, composers followed the rules of Counterpoint. J. S. Bach’s The Well-Tempered Clavier (1722) explores these rules, as well as the possibilities of the then novel tempered tuning system.

[audio |animation=yes|titles=Prelude in C Minor (excerpt). The Well-Tempered Clavier. J. S. Bach. (Glenn Gould)|width=332]
[audio |animation=yes|titles=Prelude in C Minor (excerpt). The Well-Tempered Synthesizer. Wendy Carlos|width=332]

In the early nineteen seventies, electronic musician Wendy Carlos programmed a Moog modular synthesizer to perform Baroque pieces. Her albums explore new timbres, and she called one of them The Well–Tempered Synthesizer.

Today we have new possibilities for representing and generating music –and for interaction. The Well–Sequenced Synthesizer is a study on music –a beginning– through the creation of a series of physical sequencers.

The Counterpointer is a cross between an electronic arpeggiator and a baroque music rule book. It takes a melody input and responds with voices that follow the rules of counterpoint.

El Ordenador carves chaos into order by applying musical constraints to randomly generated chord progressions. By turning three constraints on or off, users can hear what kind of music is generated from different combinations.

La Mecánica uses a traditional music box mechanism to play back the progressions generated by El Ordenador.

The Well-Sequenced Synthesizer was the thesis project for my masters at NYU’s ITP. Documentation is still in progress. In the meantime, for motivation, background and future work, please watch this ten-minute presentation: