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as the principal half of the frequency value is the high half byte, the piece us
es a  step arithmetic frequency scale, starting at  hz and stepping up to  hz i.
e. ranging over a little more than  octaves, with a step width common difference
 of about , hz. so, we basically have a harmonic series with base frequency . hz
, transposed over ten times that base frequency. each of the scales frequencies 
notes then possibly is very slightly bent upwards by something between . and  hz
. if indeed the smallest pitch variation that the average human ear can detect, 
relative to some reference frequency, is around . just a little over  cents, the
se bendings would in principle be discernible to our ears.    in practice, howev
er, these tiny variations will have little or no influence on the perceived pitc
h that of the high half byte. e.g., sven ahlbck in his  thesis melody beyond not
es. a study of musical cognition a music cognition model underlying the automati
c music notation software scorecloud regards pitch differences below  cents ... 
structurally insignificant. i got mine from a friend. it was a previously owned 
c. i was poor as a church mouse back then and the things actually were not all t
hat cheap.computers and computings an sich, though, were far from new to me. in 
, having just arrived in amsterdam, i learned to program in fortran, on the amst
erdam universitys main frame machine that then was housed in the roetersstraat .
..i think, for again, its just what my memory tells me. i am pretty sure though 
that it was there that i handed over my packs of punch cards with programs and d
ata to run.a bit later, in the years , i spent a lot of time with the dec digita
l equipment corporation pdp programmed data processor computers at the institute
 for sonology, then an institution that was part of utrecht university and pictu
resquely located on the plompetorengracht, where, as a student, i eagerly pursue
d a whole range of computer related projects, like attempts at writing short pie
ces in harry partchs tone scale using werner kaegis vosim voice simulation gener
ators and his midim minimum description of music   system.but most time i spent 
there with gottfried michael koenigs project serial composition programs, pr and
 pr, which i found utterly fascinating and which neatly fitted my then obstinate
 reading and studying onof all thinkable serial approaches to musical compositio
n.series and sequences, from formallawfully regular via quirkirregular to utters
tochasotical and lawlessly random, are at the heart of all that we deem music an
d musical, of all that is. so from back then to right now, how could they have e
ver ceased to fascinate and amaze me theirs is mysterys deepness only equaled by
 time. it makes how i came to think of the little program as a generator of a mu
ltigalactic sized library of barrel organ books, all in this one fixed format th
e program being the generic barrel organ book of that given format and each of t
hem one in an, with respect to any of our human measures, unending stream of str
ings of fiftyone outoftune notes melodies set in wavering pitch and played in a 
near to unquantifiable rhythm.there is something obviously library of babelish  


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