Latest developments and news about MaxScore
Share this


Besides numerous compositions developed with JMSL, this page was created to feature compositions written with MaxScore. Please send us information, if you want your MaxScore project or piece to be listed here.

Roomtone Variations (2011) - Nicolas Collins

The result is the closest I've come in 40 years to serial composition.

I use a feedback system for finding the strong resonances (basically a 24 filter version of the Sabine Feedback Exterminator), and convert the fcs to their nearest tempered equivalent. I then “fold” the full range down, by octaves, to progressively narrower ranges — this latter tactic came from experiments I was doing on what I call “the fallacy of octave equivalence” (intervals change feeling with spread), about which I got into extended correspondence with Christian Wolff. 

I’ve included a pdf of typical notation sets and the final nulling filter set.
Thank YOU guys for all the custom work & advice — I hope I can do it justice. Nic

Nic has updated his “scores” page to include Roomtone Variations and he has uploaded the score, as well. URL to his page of scores is here: Or just a link to score:


One of the Above #3 - Arne Eigenfeldt

MaxScore has changed the way I work with Max (which I’ve been using since 1991). Since I’m trained as a composer, I feel most comfortable when I can see my music represented symbolically, and MaxScore allows for that seamlessly.

My research into generative systems incorporating genetic algorithms, multiagent systems, and ALife approaches now find their “voice” in notated music. In December 2011, my research group presented a concert of Musical Metacreation (computationally creative systems that produce music that should be indistinguishable from human-composed), in which MaxScore was indispensable. My software generated compositions (using a multi-stage genetic algorithm) that were sent to MaxScore, and the data saved as MusicXML files, which were imported into Finale and performed by musicians. (I’ve included an example finished score for solo percussionist) Our next project (May 2012) will involve live score generation for an ensemble.

Heart Chamber Orchestra • Pixelache (2010) - Peter Votava (aka pure)

See a video of this inspiring work.
HCO got an Honorary Mention in the “Digital Musics and Sound Art” categoy of the Prix Ars Prize of the Ars Electronica Festival in Linz/Austria
HCO got nominated for the Prix Lux Prize at FILE Festival in Sao Paulo/Brasil. More info at and

I am just recovering from our recent Heart Chamber Orchestra performance at the Pixelache Festival in Helsinki last sunday – the first one with maxscore. Here is a picture taken through the rehearsals showing 12 maxscores obeying to my realtime composition sent via udp.Here’s a picture that shows how it looked from the other side during the concert. We are working on a video documentation which will soon be online on our Website. Thanks again for all your help – I will for sure continue working with maxscore so you will here back from me some time.

Algomusic has released MaxScore, a Max object which accepts messages that can create a score, add notes to it, transform them, perform it, save and load the score, as well as export the score to popular formats for professional publishable results.


MaxScore is more than a notation tool. It is an interactive performance object. MaxScore can play back a score and drive your MSP patches through a well-defined instrument interface. Scores can be created and modified in real-time. You can add notes explicitly by specifying durations and pitches, or use Max to generate an arbitrary stream of musical events and use MaxScore’s Transcriber to notate them automatically.

MaxScore currently exports to MusicXML so you can load your scores into Finale and Sibelius. MaxScore also exports to the GNU LilyPond automated engraving system.

While MaxScore is freely available to the public, it requires a JMSL license to run, available at

New Music USA

I used Max/MSP to tap along to her recitation and make a text file of millisecond counts for when each syllable occurred. I tightened these up in Audacity to line up precisely, and then I exported the numbers again. I wanted to use these numbers to make a notation in Abjad, but Abjad didn’t have a quantizer… We ended up looking up some research together, especially Paul Nauert’s writing on Q-Grids quantization, and Josiah ended up making the quantizer for Abjad.