Auto-documentation mathématique pour le traitement du signal avec Faust

L'article aborde le problème de la préservation à long terme des processus numériques temps réel utilisés dans la création musicale contemporaine. Nous présentons une stratégie de préservation par abstraction mathématique. Elle consiste à générer automatiquement une documentation mathématique qui décrit de manière précise la sémantique complète de tels processus

First Steps Towards an Organology Of Virtual Instruments In Computer Music

International audienceIn this paper, we will first take assess of 25 years of interactive real-time music, and introduce the problem of preservation of this music for the future generations, that is to say its ability to be re-performed, and not only to preserve the recordings. We present the state of the art in the field of active preservation of real-time works. We then give an overview of the solutions developed by IRCAM and its partners Grame, Armines ParisTech and CIEREC, in the framework of the ASTREE project, and explain the possibilities envisioned in a case study that is En Echo by Philippe Manoury

Entre temps réel et temps différé - Pratiques, techniques et enjeux de l'informatique dans la musique contemporaine

Mention "Très honorable avec les félicitations du jury".This thesis analyses the notions of real time and differed time such as they are to be found in contemporary music and in computer music. The first part analyses the historical background of this two notions and how related they were with the raising of computer science in the early 60's. Then it develops a critical analysis of the split of real and differed times into two dichotomic categories, based on the coexistence of incompatible definitions of the latency threshold. It then formalises an alternate representation, building up a "latential" axis integrating real and differed times. This representation is finally illustrated by means of three axial analysis, using a program dedicated to relative and subjective sorting. Beside this theorical development, the second part presents five musical collaborations in which I have programed the computer part with Max/MSP. Those five collaborations gave birth to several programs: CBox, on a project about exploration of circularity possibilities, with composer Mario Lorenzo; Mimi and Rose amère, on a project for an augmented viola towards improvisation, with violist Stéphanie Réthoré; FeedItBack and Iviv, mainly on his musical piece Vivo / In Vitro, for augmented snare drum, with composer Santiago Quintáns; a2m, Loterie, Emzed and Nappe, on his musical piece war-sollichwer-den, for clarinet, audience and computer, with composer Mauricio Meza; Plugiscope, Ifso, and Ultraviolette, respectively on a first project for voice, a second one for bass clarinet, and a third one for percussion, with clarinetist and composer Iván Solano. At last, the thesis briefly ponders over the role of the computer music designer.Cette thèse examine les notions de temps réel et de temps différé telles qu'on les rencontre en informatique musicale et dans la musique contemporaine. La première partie commence par une approche historique, montrant la concomitance de leur apparition avec l'essor de l'informatique au début des années 60. Puis elle développe une critique du cloisonnement du temps réel et du temps différé en tant que catégories dichotomiques, à partir de définitions du seuil de latence qui sont incompatibles entre elles. Elle formalise enfin une représentation alternative : un axe " latentiel ", qui intègre temps réel et temps différé. Cette représentation est illustrée par trois analyses axiales, utilisant un logiciel d'aide au classement relatif et subjectif. À la suite de cette réflexion théorique, la seconde partie présente cinq collaborations musicales dans lesquelles j'ai réalisé la partie informatique avec Max/MSP : CBox avec le compositeur Mario Lorenzo, sur un projet d'exploration des possibilités de la circularité ; Mimi et Rose amère avec l'altiste Stéphanie Réthoré, sur un projet d'alto augmenté pour l'improvisation ; FeedItBack et Iviv avec le compositeur Santiago Quintáns, principalement sur la pièce In Vivo / In Vitro, pour caisse claire augmentée ; a2m, Loterie, Emzed et Nappe avec le compositeur Mauricio Meza, sur la pièce Woes-war-sollichwer-den, pour clarinette, public, et ordinateur ; Plugiscope, Ifso, et Ultraviolette avec le clarinettiste et compositeur Iván Solano, sur un premier projet pour voix, un deuxième pour clarinette basse, et un troisième pour percussion. La thèse s'achève avec une brève réflexion sur le réalisateur en informatique musicale

How to Understand Digital Studio Outputs: The Case of Digital Music Production

International audienceDigital studios trace a great amount of processes and artifacts. The important flow of these traces calls for a system to support their interpretation and understanding. We present our design and development of such a system in the digital music production context, within the gamelan research project. This trace-based system is structured in three main layers: track production process, interpret collected traces according to a dedicated domain ontology, help querying and visualizing to foster production understanding. We conclude by discussing some hypotheses about trace-based knowledge engineering and digital music production understanding

Considering music production and culture management as an emerging digital ecosystem

cote interne IRCAM: Barkati13bNone / NoneNational audienceConsidering music production and culture management as an emerging digital ecosyste

Synchronous programming in audio processing

International audienceThe adequacy of a programming language to a given software project or application domain is often considered a key factor of success in software development and engineering, even though little theoretical or practical information is readily available to help make an informed decision. In this paper, we address a particular version of this issue by comparing the adequacy of general-purpose synchronous programming languages to more domain-specific languages (DSL) in the field of computer music. More precisely, we implemented and tested the same lookup table oscillator example program, one of the most classical algorithms for sound synthesis, using a selection of significant synchronous programming languages, half of which designed as specific music languages – Csound, Pure Data, SuperCollider, ChucK, Faust – and the other half being general synchronous formalisms – Signal, Lustre, Esterel, Lucid Synchrone and C with the OpenMP Stream Extension (Matlab/Octave is used for the initial specification). The advantages of these two approaches are discussed, providing insights to language designers and possibly software developers of both communities regarding programming languages design for the audio domain

SVG & XSLT : une portée notable

National audienc

Faustine: a Vector Faust Interpreter Test Bed for Multimedia Signal Processing System Description

Abstract. Faustine is the first interpreter for the digital audio signal processing language Faust and its vector extension. This domainspecific language for sample-based audio is highly expressive and can be efficiently compiled. Faustine has been designed and implemented, in OCaml, to validate the Faust multirate vector extension proposed in the literature, without having to modify the sophisticated Faust scalar compiler. Moving to frame-based algorithms such as FFT is of paramount importance in the audio field and, more broadly, in the multimedia signal processing domain. Via the actual implementation of multidimensional FFT and morphological image processing operations, Faustine, although unable to process data in real time, illustrates the possible advantages and shortcomings of this vector extension as a language design proposal. More generally, our paper provides a new use case for the vision of interpreters as lightweight software platforms within which language design and implementation issues can be easily assessed without incurring the high costs of modifying large compiler platforms.

From Alan Turing's imitation game to contemporary lifestreaming attempts

cote interne IRCAM: Rousseaux12aNone / NoneNational audienceFrom Alan Turing's imitation game to contemporary lifestreaming attempt