Musical Representation of Sound in Computer-Aided Composition: A Visual Programming Framework

International audienceThis article addresses the problem of the representation and creation of sound by synthesis in the context of music composition, as seen from the computer-aided composition (CAC) perspective. An important theoretical basis of this work is the concept of computer modelling, discussed in relation to the notions of sound representation and music composition. Modelling sound as a signal is extended to the musical domain by considering as an alternative modelling composition as an activity that aims to produce sounds. The visual programming paradigm is adopted for the representation and conception of the composition models, and therefore for the musical representation of sounds. A composition framework dedicated to electro-acoustic music and sound synthesis integrated in the OpenMusic CAC environment is presented. Temporal issues are also discussed and are the object of specific developments

OMChroma: Compositional Control of Sound Synthesis

International audienc

Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel ScorePlayer and MaxScore

In this paper we outline a collaboration where live internet-based and local collaboration between research groups/musicians from Decibel New Music Ensemble (Perth, Australia) and ZM (Hamburg, Germany), was facilitated by novel innovations in customised software solutions employed by both groups. The exchange was funded by the Deutscher Akademischer Austauschdienst and Universities Australia. Both groups were previously engaged in the research and performance of similar musical repertoire such as John Cage\u27s \u27Five\u27 (1988) and \u27Variations I — VIII\u27 (1958-67) among others, the performances of which utilise graphic, animated and extended traditional Western music notation. Preliminary steps were taken to achieve communication between the three existing network music notation packages, the Decibel ScorePlayer, MaxScore and quintet.net, facilitating a merging – and ultimately an extension – of notational approaches previously prescribed by each music notation package. In addition to the technical innovations required to achieve such a project, we consider the outcomes and future directions of the project, as well as their relevance for the wider contemporary music community

Proceedings of the 7th Sound and Music Computing Conference

Proceedings of the SMC2010 - 7th Sound and Music Computing Conference, July 21st - July 24th 2010

Technology and composition — an autoethnography on the influence of electronics on orchestration practice

This research explores novel methods of orchestration, focusing on the influence of electronics on my own orchestration practice. By drawing upon electronic music composition techniques and timbral-shaping tools, this project addresses the boundaries of orchestration and examines processes that inform orchestration decisions. Through the resulting portfolio, I explore timbral blend, spatialization and acoustics, real-time orchestration, computer-aided/assisted orchestration, and the extension of the timbral palette by rethinking the ideals of spectral composition. These methods aim to create unique sound worlds and audience experiences while situating my distinctive approach in relation to other existing practices. Furthermore, a supporting commentary illuminates the deep pre-compositional research that informs my orchestration practice by identifying the techniques and evaluating their application. To explore such concepts, it is vital to conduct practice-led autoethnographic research. This allows for full, creative exploration and application of site-specific and acoustic/electronic tools. Through recognizing the impact of electronics on my approach to orchestration, I have made exciting discoveries in this field by integrating electronic and non-electronic systems, forming what I regard as my orchestration discourse. The radical overhaul of my orchestration approach has served to highlight just how much more work there is to be made in the realm of human-machine creative collaboration and that sound has many more lessons to teach me. This research marks a ‘checkpoint’ of life-long research as contemporary arts and science work hand in hand. We cannot disregard the fact that the gap between the world of instrumental music and electronic music is still too unexplored in the timbral-based orchestration domain

ATHENA Research Book

The ATHENA European University is an alliance of nine Higher Education Institutions with the mission of fostering excellence in research and innovation by facilitating international cooperation. The ATHENA acronym stands for Advanced Technologies in Higher Education Alliance. The partner institutions are from France, Germany, Greece, Italy, Lithuania, Portugal, and Slovenia: the University of Orléans, the University of Siegen, the Hellenic Mediterranean University, the Niccolò Cusano University, the Vilnius Gediminas Technical University, the Polytechnic Institute of Porto, and the University of Maribor. In 2022 institutions from Poland and Spain joined the alliance: the Maria Curie-Skłodowska University and the University of Vigo. This research book presents a selection of the ATHENA university partners' research activities. It incorporates peer-reviewed original articles, reprints and student contributions. The ATHENA Research Book provides a platform that promotes joint and interdisciplinary research projects of both advanced and early-career researchers

Third International Conference on Technologies for Music Notation and Representation TENOR 2017

The third International Conference on Technologies for Music Notation and Representation seeks to focus on a set of specific research issues associated with Music Notation that were elaborated at the first two editions of TENOR in Paris and Cambridge. The theme of the conference is vocal music, whereas the pre-conference workshops focus on innovative technological approaches to music notation

ATHENA Research Book, Volume 1

The ATHENA European University is an alliance of nine Higher Education Institutions with the mission of fostering excellence in research and innovation by facilitating international cooperation. The ATHENA acronym stands for Advanced Technologies in Higher Education Alliance. The partner institutions are from France, Germany, Greece, Italy, Lithuania, Portugal, and Slovenia: the University of Orléans, the University of Siegen, the Hellenic Mediterranean University, the Niccolò Cusano University, the Vilnius Gediminas Technical University, the Polytechnic Institute of Porto, and the University of Maribor. In 2022 institutions from Poland and Spain joined the alliance: the Maria Curie-Skłodowska University and the University of Vigo. This research book presents a selection of the ATHENA university partners' research activities. It incorporates peer-reviewed original articles, reprints and student contributions. The ATHENA Research Book provides a platform that promotes joint and interdisciplinary research projects of both advanced and early-career researchers

Enriched Score Access for Computer Assisted Composition in PWGL

cote interne IRCAM: Kuuskankare11bNone / NoneNational audienceEnriched Score Access for Computer Assisted Composition in PWG