Pieces Before and After Being Constrained to a Key
The first pieces in the pairs below are the result of not restricting TransProse to a key -- that is, allowing TransProse to choose from all possible notes.
Pieces in The Opposite Key
TransProse generates pieces in major key for positive novels, and pieces in minor key for negative novels. The pairs of pieces below show the results of doing the opposite vs. the output of the latest version of TransProse.
Pieces Mapped to the Sequence of Notes in a Key vs. Increasing Order of Dissonance
Mapping emotion densities in the novel linearly to the sequence of notes in a key (C, D, E, F, G, A, B) versus mapping emotion densities in the novel linearly to the notes in increasing order of dissonance (C, G, E, A, D, F, B).
Pieces with Alternate Upper and Lower Tempo Bounds
These pieces were generated for the same novel but using tempos beyond the limits chosen in TransProse. Lowering the bottom end of the tempo scale often created pieces that were too slow to be enjoyable; raising the top end of the tempo scale often created pieces that were too fast and somewhat chaotic.
Pieces with Alternate Upper and Lower Octave Bounds
These pieces were generated for the same novel but using octaves beyond the limits chosen in TransProse. Lowering the bottom end of the octave scale often created pieces that were too low to be enjoyable; raising the top end of the tempo scale often created pieces that were too high and somewhat shrill.
Pieces with More or Fewer Melodies (Voices)
Pieces with two melodies (based on overall emotion density and the predominant emotion's density) and pieces based on four melodies (based on the top three emotions) can be compared here with the official TransProse output that uses three melodies. Observe that with only two melodies, the pieces tend to sound thin, whereas with four melodies the pieces sound less cohesive and sometimes chaotic.
Pieces with More or Fewer Sections
The effect of increasing and decreasing the total number of sections and sub-sections is presented through pieces based on eight sections and pieces based on two sections. We found pieces with eight sections created less melodic movement, and pieces with only two sections did not distinguish well between different parts of the novel.