Gymsum

Just thought Id bring to the table this bit of information. It is believed taht a truth and logic are easily agreeable, but an illogical truth is not agreeable with logic. So a machine built around the sole purpose of logic will only perform to the most logical sequence, and can only be outhought by a machine of similair logic. (I think that makes sense, at least not a ramble yet...) The other way to trick a computer, is to flood the logic mind of the machine with the same data repeatedly, causing a loop and possible crash. Example: A robot designed to believe it loves ham sandwhiches can be built using a simple logic table. If the sandwhich is ham, I love it. If their is a sandwhich, look to see if it is ham. Collect what I love. (simplified cpu thought). Now lets say you give it a device to fufill its task, a scooper if you will; and when it scoops up the sandwhich we return it to a standing and upright position. The only trouble is that when this last task is performed, the scoop fails to work properly (possibly due to the proper codes to prevnt this, or other manual stuff) and the sandwhich ends back on the floor. Because it is now in a position without what it loves, it begins the search for a sandwhich (possibly just looking down for it) and decides it loves it again, and repeats the process. The emotion produced is boredom and satisfaction, (for the observers and the robot). I believe this is one example of how a CPU can 'feel'. A simple 1 in place of a 0 can simulate a sensation that causes the mind to stop its previous function/objective/desire. It should be noted, these are similar words to Douglas Adams, but not quite.

This was an attempt to create an alubm for the empires, but it fell short after I did the Huns; new musical ideas pushed me to do less romantic and heroic pieces, and work towards the Sonata form. It was later turned into a trio, but the accompanies were never finished, and the trio was only up to par for 3 minutes (if there is anyone who wishes to try and continue this, please ask me for the midi of the trio, as I have no intention of returning to this work). The begining starts right away with the theme and moves into an exposition and continues this patern throught the song, changing each time to new and different variations. The end is eventually brought to a level of growth that embelshss the end well, in my opinion. Let me know what you people think. Thanks ahead of time. Rome.MUS

Thank you for your compliments and advice. Unfortunately, it has come to my attention that I may not be able to produce my previos pieces from the archives. The website I stored them on has becom corrupted and the files are possibly lost; if they aren't I would be glad to share the music. Now I am working on Sonata for a large Ensamble.

I made a mistake, I meant to have it IIIsusM7. But you did get my point I guess. :P Also, I've been trying to use the augmented fourht and diminished fifth chords (aka the devil's toine), the order they move is quite interesting.

I really liked the drum lines, I bet it all sounds much better with finale's sound though.

If you'ld like I can isolate the two main melodies I tryed to lace together, I think some of the arrangement needs major work, and I'm on that now, especially the volume of the voices. I did this song completely by free hand first, the middle part was actually one mellody forward, and another one backward, which when the second or first is reversed, mix in a nice way. Give me a day to get some midis of the seperate ideas, and then I will explain what I was trying to say through it.

The beginning reminded me of the Nationalism that spurred the Russian composers (just mising the intense horn sections). I don't know if it was the recording, but parts of the song seemed to stop too abruptly. Towards the end, it seemed as though the theme is completely lost and I'm not sure if you intended for a sonata form, but the middle sections seemed to be structured around the free-form in sonatas. Also, I would suggest the use of partial chords, rather than 4th and 5th unisions. Those chords are fun and all, but like any chord, overuse makes it less affective. If I find I have to break a harmony into more interesting sections, I start to build sustained and augmented chord, (example in D minor: iiisusM7 is simply BbEC in that order). This is really easier to develop if you have your own instrument to experiment with sounds.

OOC: Fianle 2001, stolen, so dont tell any one, my German teacher burned me a copy. I did as you suggested, and when my Media Player went to play the file, it sent an error. Do you have a midi?

I had no success with the wave, and you used a Finale I can't afford.

Korsakov, and Dvorak.

Its probably best summed up by one of Beehtoven's quotes: 'Making music is 20% imagination, 60% organization, and 20% arguous work that works out to be equivalent to 100% hard work. I think I'ld like a bigger salary.'

When I decided this duet, it was part of a larger collection of Duets in a set that was an attempt to revitalize my heritage. This was actually the first of them that I started writing, but because I decided to use a piano when I wrote this, I had to wait several months to complete my thoughts. It is my second finished, and probably one of my favorites. I hope its simplicity and meaning are made obvious; let me know what you think of it. - If its good, I'll post the rest of the album of duets. S0015381.MID

Qbasic is your best bet for something like this. I managed to write a Beatles trivia game that played bits of songs and you had to guess what they were. The only limitations, would be that getting from a variable to the code needed to make the music work would take a long time.

Might I suggest Rimsky-Nikolai Koraskov's Symphony No. 2 'Antar'? I believe you will find its movements very compelling, and its story entrancing.

One of my instructors was a small Brazillian woman from Cambodia. She was very short, about 5'0 - 4'9 and she was world famous for her baroque flute style. She showed me a picture of her playing it, she had to stand on a stool.