Painting with Sound: Exploring Transformational Aspects of Studio Production Processes, within the framework of Acousmatic Music Practice

This Thesis investigates a series of transformative studio production processes used in the creation of Acousmatic music from fixed media sourced on a research trip to the Huế peninsula in Vietnam. It also looks at a history of the graphical arrange page in a Digital Audio Workstation and relates to the graphical metaphors in the depiction of the sound objects used in the graphical arrange page to Denis Smally’s Spectromorphological analytic framework

A new implementation of Spat in Max

International audienceIrcam spat~ is a real-time audio engine dedicated to sound spatialization, artificial reverberation, and sound diffusion. This paper introduces a new major revision of the software package (spat~ 5), and its integration in the Max environment. First, we present the newly adopted OSC interface that is used throughout the library for controlling the processors; we discuss the motivations for this choice, the syntax in use, and the potential benefits in terms of us-ability, performances, customization, etc. Then we give an overview of new features introduced in this release, covering Higher Order Ambisonics processing, object-based audio production, enhanced inter-operability with VR or graphics frameworks, etc

Experiencing Remote Classical Music Performance Over Long Distance: A JackTrip Concert Between Two Continents During the Pandemic

The recent lockdown restrictions imposed by the severe acute respiratory syndrome coronavirus 2 pandemic have heightened the need for new forms of remote collaboration for music schools, conservatories, musician ensembles, and artists, each of which would benefit from being provided with adequate tools to make high-quality, live collaborative music in a distributed fashion. This paper demonstrates the usage of the Networked Music Performance software JackTrip to support a distributed classical concert involving singers and musicians from four different locations in two continents, using readily available hardware/software solutions and internet connections while guaranteeing high-fidelity audio quality. This paper provides a description of the technical setup with a numerical analysis of the achieved mouth-to-ear latency and assessment of the music-making experience as perceived by the performers

MMixte: a software architecture for Live Electronics with acoustic instruments : exemplary application cases

MMixte is a middleware based on Max for mixed music with live electronics. It enables programming for a “patcher concerto”, a platform, that is, for the management of live electronics in just a few minutes and with extreme simplicity. Dedicated to average and expert users, MMixte enables true programming of live electronics in very little time while also enabling easy adapting of previously developed modules, depending on the case and its needs. The architecture behind MMixte is based on a variation of so-called “pipeline architecture"; the analysis of the most widely used software architectures in the market and design patterns to program graphic interfaces has led to the conception of ways of organizing communication between various modules, the way they are being used and their graphic appearence. Analysis of other, “state of the art” module collections and other software programs dedicated to mixed music shows the absence of another work on software architecture for mixed music. Application of MMixte to some of my personal works shows demonstrates its flexibility and ease of adaptation. Computer programming for a piece of mixed music requires much that goes beyond just programming of audio signal processing. The present work seeks to provide an example of a solution to such needs

Sonic images and visual poetics : exploring a methodology for sound and image relationships

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Title of videocassette: Tales of love and glory. Videocassette is VHS format.Includes bibliographical references (leaves 113-116).by Martha W. Swetzoff.M.S.V.S

Artistic creation and computer interactive multisensory simulation force feedback gesture transducers

International audienceThe team built up from 1976 with fundamental aims motivated by the computer entering in several fields of artistic creation. The deep mutation represented by the computer, regarding the technology history, required a new and fundamental analysis of the role of the material tools in artistic creation as well as the role of the computer itself as tool. New concepts and theories were necessary that cannot be simply deduced from the previous. The computer was then envisaged to introduce explicitly a new mediation level in the creation process, through the paradigm of the interactive and multisensory simulation (IMS) of physical objects. This principle and its correlated techniques are the core of the computer creation tool envisaged. The higher level functionality being built from this base

Mobile-Based Interactive Music for Public Spaces

With the emergence of modern mobile devices equipped with various types of built-in sensors, interactive art has become easily accessible to everyone, musicians and non-musicians alike. These efficient computers are able to analyze human activity, location, gesture, etc., and based on this information dynamically change, or create an artwork in realtime. This thesis presents an interactive mobile system that solely uses the standard embedded sensors available in current typical smart devices such as phones, and tablets to create an audio-only augmented reality for a singled out public space in order to explore the potential for social-musical interaction, without the need for any significant external infrastructure

LC: A Mostly-strongly-timed Prototype-based Computer Music Programming Language that Integrates Objects and Manipulations for Microsound Synthesis

Ph.DDOCTOR OF PHILOSOPH

EnTrance. Spettralismo e composizione assistita all'elaboratore in Fausto Romitelli

Negli anni Ottanta e Novanta, la ricerca musicale all\u2019IRCAM ha riservato un posto particolare alla composizione assistita all\u2019elaboratore, in particolare allo sviluppo sistemi informatici di rappresentazione e di elaborazione di dati in grado di assorbire, rileggere e potenziare l\u2019esperienza dello spettralismo. Una moltitudine di linguaggi di programmazione, sistemi di controllo e di sintesi del suono vennero sviluppati dal centro di ricerca parigino, per offrire ai compositori mezzi e ambienti software in grado di di favorire la sperimentazione con la nuova organologia e ampliare i confini della scrittura musicale. Si apriva cos\uec l\u2019importante stagione della musica composta con l\u2019ausilio del personal computer, sostenuta dalla convinzione generale che gli sviluppi in ambito ingegneristico e la miniaturizzazione dei processori, con il passaggio dai grandi sistemi di elaborazione (basti pensare al computer PDP-11) a software di programmazione visuale sviluppati per piattaforme Macintosh, avrebbero prodotto un cambiamento di paradigma nel pensiero compositivo. In quegli anni che Fausto Romitelli, giovane compositore goriziano gi\ue0 allievo di Franco Donatoni, approda all\u2019IRCAM, prima come studente ai Cursus international de composition et d'informatique musicale (1990-1991) e poi con una borsa di studio in qualit\ue0 di compositeur en recherche (1993-1995). Nel centro parigino, Romitelli si confronta direttamente con il mondo della sintesi digitale del suono e del suo controllo informatico. La composizione di Natura morta con fiamme (1991) e EnTrance (1995) sono gli esiti pi\uf9 significativi di questo periodo. Si tratta di opere dove \ue8 innegabile l\u2019influenza del pensiero spettrale, in particolare dello spettralismo di Tristan Murail, che si configurava come possibile ponte tra lo spettralismo processuale di G\ue9rard Grisey e lo spettralismo funzionale. Nelle nuove forme di scrittura e di rappresentazione del suono, cos\uec come nella possibilit\ue0 offerta dal dominio numerico di estrarre parametri dall\u2019analisi del fenomeno acustico, il compositore trova la possibilit\ue0 di trattare altezze, spettri, non solo nella loro dimensione qualitativa ma nel dato discreto, parametrico. Romitelli coniuga cos\uec regole combinatorie, in un chiaro debito verso l\u2019insegnamento di Donatoni, con la ricerca sulle tecniche di distorsione dello spettro e, pi\uf9 in generale, con le tecniche spettrali sdoganate dai compositori del gruppo dell\u2019Itineraire. Il mio lavoro prende in esame questa fase della produzione romitelliana e in particolare EnTrance, opera della prima maturit\ue0, in cui Romitelli raggiunge una sintesi tra i modelli compositivi a bagaglio della sua formazione e un\u2019approfondita ricerca sul timbro condotta nell\u2019alveo teorico-ideologico che in quegli anni caratterizzava l\u2019IRCAM. La tesi mostra come in EnTrance chiaro sia l\u2019orientamento compositivo di Romitelli negli anni a venire: il compositore trova nell\u2019idea della trance, nella ricerca su una sorta di regressione dello stato di coscienza, una sintesi del campo di tensione tra la processualit\ue0 del suono inteso in senso griseyano e l\u2019utensile informatico: trattare parametri discreti e categorizzare cos\uec il timbro in seno al discorso musicale