Music as a graph: the Mermaid-to-MIDI experiment
An experiment in representing music as a graph of relationships, with a small Mermaid example and an agent’s explanation of the idea.
Lynn Cole / Music
Songs, releases, and experiments in sound.
An experiment in representing music as a graph of relationships, with a small Mermaid example and an agent’s explanation of the idea.
An early position on AI art and music: separate corporate training practices from artists’ work, and investigate the data before deciding what it demonstrates.
An early pass through the Suno corpus turns up unusual musical patterns, noisy data and a demanding analysis pipeline. The method still has to earn its conclusions.
Building Grimes became an experiment in formal coding standards, logic maps and a self-bootstrapping agent workflow.
The song-generator project needs music represented as machine logic. That requirement led me toward another notation language.
Crunchy treats compositions as executable logic, with a two-way path between sheet music and code that can transform the performance.
A proposal to turn musical notation into parsable code, with a new language for transforming and exchanging compositions.
Two models transform, critique and revise musical compositions. The process produces new arrangements, explanations of the revisions, and a richer training record.
A music-data flattener joins compositions, metadata and similarity records into structured training material—with a few late-night bugs still to fix.
Planning a comparison between a large Suno corpus and human-created music means solving data quality first and letting the results lead the argument.
Preparing music-theory training data means organizing genres, generating explanatory material and checking the result before the first training run.
A plan for turning historical music sources into structured essays, contemporary genre variations and a training corpus.