Tools and Applications for Interactive-Algorithmic Control of Sound Spatialization in OpenMusic

International audienceWe present recent works carried out in the OpenMusic computer-aided composition environment for combining compositional processes with spatial audio rendering. We consider new modalities for manipulating sound spatialization data and processes following both object-based and channel-based approaches, and developed a framework linking algorithmic processing with interactive control

Musical Applications of Signal Processing: Synthesis and Prospect

This article aims at providing a synthesis of the musical applications of digital signal processing, of related research issues, and of future directions that emerge from recent works in that field. After introducing preliminary notions related to the music technical system and to the analysis of different digital representations of music information, it focuses on three main function types: audio synthesis and processing, sound spatialization and audio indexing and access technologies.L’objet de cet article est de proposer une synthèse des applications musicales du traitement de signal, des problématiques de recherche qui leur sont liées et des directions prospectives qui se dégagent sur la base de travaux récents dans ce domaine. Après l’exposé de notions préliminaires, relatives au système technique musical et à l’analyse des différentes représentations numériques des informations musicales, cette synthèse se concentre sur trois types de fonctions principales : la synthèse et le traitement des sons musicaux, la spatialisation sonore et les technologies d’indexation et d’accès

Applications musicales du traitement de signal : synthèse et prospective

L'objet de cette communication est de proposer une synthèse des applications musicales du traitement de signal, des problématiques de recherche qui leur sont liées et des directions prospectives qui se dégagent sur la base de travaux récents dans ce domaine. Après l'exposé de notions préliminaires, relatives au système technique musical et à l'analyse des différentes représentations numériques des informations musicales, cette synthèse se concentre sur trois types de fonctions principales : la synthèse et le traitement des sons musicaux, la spatialisation sonore et les technologies d'indexation et d'accès

A architecture for MHEG objects

Hypermedia applications are one of the most recent and most demanding computer uses. It is accepted that one of the main impediments to their widespread use is the lack of standards, and the lack of Open Systems with the possibility of having documents interchangeable between different hardware and software platforms. Several standards are emerging, one of which is the one being developed by the ISO/IEC WG12 known as the Multimedia and Hypermedia Information Coding Expert Group (MHEG). As desktop systems become more powerful, one of the main users of hypermedia applications is the home market. Therefore it is important to have standards and applications suitable for those platforms. This work reviews existing proposals for hypermedia architectures and interchange standards. It then assesses the suitability of the MHEG standard for use in open, distributed, and extensible hypermedia systems. An architecture for the implementa­tion of MHEG objects taking into account the limitations imposed by current desktop computers is also proposed. To assess the suitability of the proposed architecture, a prototype has been imple­mented. An analysis of the performance obtained in the prototype is presented and conclusions on the requirements for future implementations drawn. Finally, some suggestions to improve the MHEG standard are made

OMChroma: Compositional Control of Sound Synthesis

International audienc

On the analysis of musical performance by computer

Existing automatic methods of analysing musical performance can generally be described as music-oriented DSP analysis. However, this merely identifies attributes, or artefacts which can be found within the performance. This information, though invaluable, is not an analysis of the performance process. The process of performance first involves an analysis of the score (whether from a printed sheet or from memory), and through this analysis, the performer decides how to perform the piece. Thus, an analysis of the performance process requires an analysis of the performance attributes and artefacts in the context of the musical score. With this type analysis it is possible to ask profound questions such as “why or when does a performer use this technique”. The work presented in this thesis provides the tools which are required to investigate these performance issues. A new computer representation, Performance Markup Language (PML) is presented which combines the domains of the musical score, performance information and analytical structures. This representation provides the framework with which information within these domains can be cross-referenced internally, and the markup of information in external files. Most importantly, the rep resentation defines the relationship between performance events and the corresponding objects within the score, thus facilitating analysis of performance information in the context of the score and analyses of the score. To evaluate the correspondences between performance notes and notes within the score, the performance must be analysed using a score-performance matching algorithm. A new score-performance matching algorithm is presented in this document which is based on Dynamic Programming. In score-performance matching there are situations where dynamic programming alone is not sufficient to accurately identify correspondences. The algorithm presented here makes use of analyses of both the score and the performance to overcome the inherent shortcomings of the DP method and to improve the accuracy and robustness of DP matching in the presence of performance errors and expressive timing. Together with the musical score and performance markup, the correspondences identified by the matching algorithm provide the minimum information required to investigate musical performance, and forms the foundation of a PML representation. The Microtonalism project investigated the issues surrounding the performance of microtonal music on conventional (i.e. non microtonal specific) instruments, namely voice. This included the automatic analysis of vocal performances to extract information regarding pitch accuracy. This was possible using tools developed using the performance representation and the matching algorithm

Les descripteurs d'un son Librairie Matlab SPL et fichiers de descriptions ".sig""

Le traitement du signal audio rapide travaille avec des descriptions compactes des sons plutôt qu'avec les sons eux-mêmes. Dans une première partie nous introduisons cette notion de description et nous proposons un état de l'art des différents types de description utilisés. Ces descriptions incorporent le plus souvent des quantités telles que l'énergie ou le spectre de puissance à court-terme. Cependant, énergie et puissance sont des concepts qui sont souvent confondus ou mal interprétés, et leur définition dépend des conventions de calcul qui ont été choisies pour les signaux numérisés. Nous rappelons dans une deuxième partie les définitions théoriques (physiques) de ces concepts, et nous proposons nos propres conventions de calcul. Nous définisson alors un ensemble de formules pour le calcul exact (i.e. cohérent avec leur définition physique) de l'énergie, de la puissance ou de la valeur RMS en dB SPL. Ces définitions sont implémentées dans une librairie Matlab (SPL) qui sert à calculer les descripteurs d'un fichier son, et les incorpore dans un fichier de description dont nous avons défini le format (.sig). La dernière partie de ce rapport décrit la syntaxe de ces fonctions. Finalement, la troisième partie de ce rapport décrit la stucture des fichiers .sig