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Hence, our maximum rest value in our musical stream will never exceed the base metric value of the mapping (in this case, a sixteenth note). • ‘A’ never occurs more than twice in a row. e. the substring ‘BAB’ only occurs when surrounded by the substring ‘AA’ on both sides. As a result, our rhythmic texture is limited to two patterns. 30 or . 4 • The above will remain true regardless of which generation of the L-system we use to generate the musical stream. Because of the limited alphabet of our L-system (number of symbols), and the modest scope of our production rules, the string generated by our L-system consists solely of a finite number of local substrings, which remain constant in character and relative frequency.

Obviously, we could view this as a feature of this particular Lindenmayer string and enjoy that artifact of the mapping as generating an overall arc to the piece that might otherwise be lacking. 51 In our present case an anomaly occurs. If our statistics are true (and we’re reasonably sure they are), then our piece should get faster as it goes along, and not (as it seems to) slow down towards the end. However, we’re forgetting to take into account the placement of these complementary symbols along the string.

Spatial symbolic mapping Another possible scenario for mapping Lindenmayer strings into musical data is to treat the string itself as a type of musical space. The idea is to treat each generation of the L-system as a separate sonic texture, with some sort of system in place to realize the texture and interpret between successive generations of the grammar model (as opposed to our event-literal examples, which focus only on one particular generation of an Lsystem at a time). An easy way to visualize how this would work is to take a class of Lindenmayer systems called context-dependent, or 2L systems.

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