Photo of Charles Neimog with arms interlocked and a slight smile, He is in a park, behind there's an unfocused landscape with some trees and leaves on the ground. The audio description part is still in development. If you have suggestions, please help me out.
Now the tonality Diamond limit-7 by Harry Partch. It is here characterized by a diamond with 16 diamonds inside, they are organized in 4 diagonals.
Now a PureData patch with some audio descriptors images provided by py4pd. Software developed by Charles Neimog
The 'Ideias Roubadas III' score, with lot of color and with a rectangle, with black stroke.
Print of a screen with some random words, it is from a project where I use PureData with p5js.






Charles K. Neimog is a Brazilian composer and researcher. His compositions include pieces for solo, electroacoustic and sound installations. As a researcher, he is interested in exploring the relationship between human beings, technology, and art.



Compositional Projects


Ideias Roubadas III (2024)

Ideias Roubadas III is a work inspired by the proposal of the UPIC system, developed by Iannis Xenakis in collaboration with the Centre d'Etudes de Mathématique et Automatique Musicales (CEMAMu) in Paris. Like UPIC, this piece employs an approach that manipulates visual elements to generate music using PureData to render the audio. I employ the concept of instruments (inspired by Csound) to render the sounds. Each color represents a sound or a set of instructions for spacialization, envelope, and others.

Moteto (2023)

Moteto represents an experimental endeavor grounded in the Ph.D. investigations conducted by Ricardo Thomasi. Thomasi introduces intricate feedback structures in his research. In this composition, I engage with a similar concept, employing Partial Tracking and Score Representation. In this instance, a choir is employed to replicate the pitches derived from the Partial Tracking process.

Eco I (2023)

Eco I is a experimental project based on the Ph.D. research of Ricardo Thomasi. He proposes complex structures of feedback (listen the piece on Youtube). In this piece, I am working with the same idea but using just Partial Tracking and Score Representation (no audio manipulation like Thomasi).

Ideias Roubadas II (2021)

This piece uses the Meta-Instrument idea. In other words, create an "instrument" using multiple instruments. It is based on the idea of transforming guitar (in my conception!) of the composer Arthur Kampela.

Metamorfose Inexata (2018)

Metamorfose Inexata is the first where I start to work with the concept of microtonal modulation using similar pitches. After, in my Master Degree, it was explored and developed using the Iannis Xenakis sieves.



PureData Objects



py4pd integrates the power of Python into the real-time environment of PureData. Besides providing means for score visualization, AI integration, audio analysis tools, SVG/drawing score handling, and various other functionalities, you can create PureData Objects using Python. If you use OpenMusic or BachLibrary, you will find some inspiration in it.

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pd4web empowers you to execute PureData patches directly in web browsers using advanced Web Audio technologies. You can compile virtually any PureData patch, along with a wide list of externals. Also, it will be easy to use things like p5js and VexFlow.

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Research Papers


OM-pd: API between PureData and OM-Sharp

This communication will present a library capable of integrating OM-Sharp (OpenMusic too) and PureData. There are two goals: The first is to allow the processing of large amounts of data using the visual language (BRESSON et al., 2017) of OM-Sharp (OM) and the offline mode of PureData. The second is to bring PureData's audio possibilities to OM.

Conference Paper

XXXII Congresso da Anppom

Natal-RN – October 2022

Organizing Just Intonation Pitches through Xenakis' Sieves and Prime Decomposition

In this article, we will present how we can create, organize and understand pitches of Just Intonation using 1) the theory of sieves (XENAKIS, 1992) to filter the numbers of the harmonic series, 2) the decomposition by prime-numbers (EXARCHOS et al., 2011) applied to the numbers resulted from the sieve, 3) the concept of harmonic identities by Johnston (2006), and finally, 4) the Combinations-Product Set (CPS) by Erv Wilson (NARUSHIMA, 2018), that allows us to see the relationships between harmonic identities. When we understand that only prime numbers generate new harmonic identities in the interval sense (JOHNSTON, 2006), and odd-numbers create just a new pitch-class from staking prime numbers, we can apply the prime-decomposition for all the numbers of one sieve and claim that: all the non-prime numbers can be understood how intersections between distinct harmonics series. Based on Exarchos' (2011) analysis of sieves, this idea can help us find a way to use the sieves of Xenakis in the Just Intonation context. Complementary with this compositional idea, we will present two OpenMusic libraries developed to help the compositional process.

Conference Paper

Proceedings of the Xenakis 22

Athens & Nafplio (Greece) – May 2022

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Criação Mediada Tecnologicamente

The article explores FFT properties' impact on musical composition, emphasizing artist acknowledgment. Includes an OpenMusic library for visualizing and comprehending FFT process.

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Impasses no uso de estruturas microtonais na composição eletroacústica

This text investigates how composers organize microtonal structures in electroacoustic works, exploring pitch classification concepts (microtonality, temperament, timbre) and their application. The analysis references studies by Jedrzejewski, Manning, Roads, Partch, and others, encouraging discussion and artistic production with digital technological support.

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A manipulação do Timbre a partir de estruturas da Afinação

This article explores Just Intonation systems in the electronic environment, focusing on Erv Wilson's Combination-Product Sets theory. It merges harmonic theories (Partch, Johnston, Wilson) to modify timbres.

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Investigando os sistemas de afinação de Harry Partch e Ben Johnston

Este artigo explora as afinações de Harry Partch (1901-1974) e Ben Johnston (1926-), emergindo suas estruturas e investigando a música americana com bases matemáticas e acústicas pouco difundidas. Baseia-se nos escritos e partituras dos compositores, sendo parte das ações do Grupo de Pesquisa Núcleo Música Nova (CNPq/UNESPAR).