I would think that by mapping it uniquely, one could communicate by code.

I always thought the most common letters were "R S T L N E." Is that just a game show misconception?

It's a super cool idea. You can apply it to the works of classical composers and see what they were secretly trying to communicate.

Why stick to English spelling and grammar when this already exists?

Adam: You have to read the instructions on the video

All I see is a green screen.

Priestboi

Can you expand a bit more on your ideas. They are very interesting. This makes me think to create other algorithms as this was the easiest and first one to occur to me.

I was wondering WHEN you were going to chime in, Charles.

Yes, it is not musicality that I am after as much as a communication system. Patterns is the thing. They will all be musical in their own regard, but the higher and lower tones will subconsciously alert one to the fact that lesser used letters are included in the code.

http://www.myopus.com/namesDemo.mp4

... the most frequent notes or tones used in a particular period or style of music, ...

This is something that is next to impossible to do in any sensible manner, unless (1) one focuses only on a single melody (or part) of a work that (presumably) is harmonized or polyphonic, (2) one transposes everything to a common key, which itself becomes sticky when both major and minor modes are sampled, (3) one discovers that most eras of music require the addition of accidentals (sharps & flats) to the diatonic scale, (4) one discovers that there are changes of key signature and modulations to new keys within a work, (5) one realizes that harmony is an essential ingredient of music written from the Renaissance onward, at least until one encounters the atonalism and serialism of modern times (which was actually preceded by polytonality already in the 19th century).

Furthermore, most melodic material in a tonal scheme is something that does not occur randomly; instead, melody proceeds horizontally, with each note related in some way to its predecessors or, more correctly, to its neighbors. Once, long ago, I took a rather longish melody/theme from a Mahler symphony (the 9th), and calculated, for each note in the melody, the frequency with which each note followed the given note in the theme. Then, I tried to construct melodies using this information as a probability model for determining the flow of the melodies. The results were, rarely, almost melodic at times, even Mahlerian, but mostly they were pretty awful. And this was a primitive application that required lots of work at the time.

Francis, did you end up finishing this project? I think it's fun! I can see "setting" my kids' names to "their" tune w/ this, and then singing (instead of just yelling) out their names to get them to come to where I am. Kind of like the dad in the "Sound of Music", haha!