\r\nLa première génération qui entre de plein droit dans la base est donc celle constituée par John Cage, Olivier Messiaen ou encore Elliott Carter.\r\n\u003C/p>\r\n\r\n\u003Ch3>Contenus\u003C/h3>\r\n\r\n\u003Cp style=\"text-align: justify;\">\r\nLes données sont progressivement mises à jour depuis juillet 2007, en remplacement de celles de l’ancienne version de la base, développée entre 1996 et 2001 par Marc Texier. L’information peut donc être incomplète pour certains compositeurs non encore traités : dans ce cas l’indication « ! Informations antérieures à 2002 » apparaît en haut de page. Pour tous les autres documents, la date de dernière mise à jour est indiquée en haut de page.\r\n\u003C/p>\r\n\r\n\u003Ch3>Mises à jour et nouvelles entrées\u003C/h3>\r\n\r\n\r\n\u003Cp style=\"text-align: justify;\">Les mises à jour se font compositeur par compositeur. Pour un compositeur donné, sont systématiquement revus ou créés les documents suivants :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>la biographie\u003C/li>\r\n \u003Cli>le catalogue exhaustif de ses œuvres (y compris, si possible, les œuvres disparues, retirées ou posthumes)\u003C/li>\r\n \u003Cli>une liste de ressources bibliographiques, discographiques et internet,\u003C/li>\r\n \u003Cli>des éventuels documents attachés (Parcours de l’œuvre, interviews, analyses, notes de programme etc.)\u003C/li>\r\n\u003C/ul>\r\n\u003Cp style=\"text-align: justify;\">\r\nLa définition des priorités de mises à jour et nouvelles entrées des compositeurs s’opèrent suivant une méthodologie basée sur l’observation de la vie culturelle européenne :\r\n\u003C/p>\r\n\u003Cul style=\"text-align: justify;\">\r\n \u003Cli>Avant chaque saison, nous relevons les programmations à venir des principaux festivals, institutions et ensembles musicaux européens investis dans le domaine de la création musicale. Cette observation s’opère par cercles concentriques en partant de l’activité propre de l’Ircam (année n-2), puis de celle des partenaires privilégiés (année n-1) jusqu’aux grandes institutions et festivals européens de création (année n) ;\u003C/li>\r\n \u003Cli>Chaque compositeur est crédité de points en fonction de l’importance et de l’intensité de l’activité musicale le concernant. Ce classement permet de définir les priorités pour chaque trimestre ;\u003C/li>\r\n \u003Cli>Si un compositeur n’a pas obtenu assez de points pour figurer dans les priorités, il cumule ceux-ci sur le trimestre suivant ; et ainsi remonte progressivement dans la liste des priorités.\u003C/li>\r\n \u003Cli>Une fois mis à jour, les documents attachés à un compositeur sont valables trois ans, après lesquels le processus décrit ci-dessus reprend.\u003C/li>\r\n\u003C/ul>\t\r\n\r\n\u003Ch3>Erreurs ou omissions\u003C/h3>\t\r\n\t\t\t\t\r\n\u003Cp style=\"text-align: justify;\">\r\nSi la mise à jour est déjà effectuée (date postérieure à juin 2007) : nous invitons les musicologues, les compositeurs (ou leur éditeur) à nous signaler toute erreur ou omission importante. Elle sera corrigée, dans la mesure du possible, au cours du trimestre suivant. De même, nous les invitons à nous faire connaître leurs œuvres nouvelles, en mentionnant tous les éléments nécessaires à la création d’une fiche œuvre nouvelle.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\t\t\r\nSi la mise à jour n’est pas encore effectuée (indication : « mise à jour à venir ») : Les compositeurs peuvent nous signaler des erreurs ou omissions importantes. Ces indications seront prises en compte au moment de la mise à jour à venir. Un compositeur peut également demander le retrait de sa biographie dans l’attente de la mise à jour.\r\n\u003C/p>\r\n\u003Cp style=\"text-align: justify;\">\r\nPour cela : \u003Ca href=\"mailto:brahms-contenu[at]ircam[dot]fr\">écrire\u003C/a> à l’administrateur de publication\r\n\u003C/p>\r\n",{"id":14,"url":15,"titleFr":16,"titleEn":11,"contentFr":17,"contentEn":11},"a3cd05aa-3447-487a-b4fc-213ba0f77e6b","/copyrights/","Mention Légale","La reproduction de contenus de ce site Web, en tout ou partie, est formellement interdite sans la permission écrite de l'Ircam. Les textes, images, logos, codes sources sont la propriété de l'Ircam, ou de détenteurs avec lesquels l'Ircam a négocié les droits de reproduction à sa seule fin d'utilisation dans le cadre du site Brahms. Tout contrevenant s'expose à des poursuites judiciaires. ",{"id":19,"url":20,"titleFr":21,"titleEn":11,"contentFr":22,"contentEn":11},"9162642e-ea99-48c3-8d3b-2dc2a3f8ba45","/repertoire/about/","Projet Répertoire Ircam","\u003Cp>Le Projet Répertoire Ircam est une collection d’analyses musicales en ligne d’environ 70 œuvres crées à l’Ircam et considérées comme représentatives de la culture de l’institut tant sur le plan artistique que technologique.\u003C/p>\r\n\r\n\u003Cp>Ce projet a débuté en 2006-2008 avec la création d’outils auteurs mises en œuvre par le département Interfaces Recherche/Création en collaboration avec le secteur recherche de l’institut. Les premières analyses ont été mises en ligne fin 2010 et il est prévu que la collection s’élargisse à un rythme de deux ou trois nouvelles analyse par an.\u003C/p>\r\n\r\n\u003Cp>Plusieurs objectifs sont poursuivis par ce projet :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>faire connaître les œuvres produites à l’Ircam à un public plus large,\u003C/li>\r\n\t\u003Cli>montrer la relation entre l’idée musicale et les technologies utilisés,\u003C/li>\r\n\t\u003Cli>identifier les nouveaux éléments du vocabulaire musical qui émergent à travers ces œuvres,\u003C/li>\r\n\t\u003Cli>offrir un support d’information aux interprètes.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>Chaque analyse est structurée en trois parties :\u003C/p>\r\n\r\n\u003Col>\r\n\t\u003Cli>description générale de l’œuvre,\u003C/li>\r\n\t\u003Cli>analyse des extraits de l’œuvre avec mise en relation de l’idée musicale et de l’écriture électronique,\u003C/li>\r\n\t\u003Cli>la liste de ressources spécifiques (type de problème musical abordé, technologies utilisées, œuvres abordant le même type de problématique) et générales (biographique, historique, technique).\u003C/li>\r\n\u003C/ol>\r\n\r\n\u003Cp>Les analyses seront également mises en relation avec :\u003C/p>\r\n\r\n\u003Cul>\r\n\t\u003Cli>Brahms : une base de données encyclopédique en ligne de compositeurs de musique contemporaine de toutes les nationalités dont les œuvres ont été créées après 1945. Cette base contient actuellement environ 600 références. Pour chaque compositeur, il y a une partie biographique accompagnée des sources d’information, et une autre partie qui situe l’orientation esthétique, les phases principales et le contexte historique de l’œuvre.\u003C/li>\r\n\t\u003Cli>Images d’une œuvre : une collection des interviews filmés des compositeurs.\u003C/li>\r\n\t\u003Cli>Sidney : une base de données qui contient les éléments techniques (programmes informatiques, sons etc. ) nécessaires pour l’exécution de l’œuvre.\u003C/li>\r\n\u003C/ul>\r\n\r\n\u003Cp>A plus long terme, les analyses des nouvelles œuvres créés à l’Ircam viendront se rajouter au corpus donné dans l’annexe citée ci-dessus.\u003C/p>",{"data":24},{"personBySlug":25},{"firstName":26,"lastName":27,"privateState":28,"biographyDate":11,"resume":29,"resumeEn":30,"resources":31,"catalogueSource":32,"manualUpdateDate":33,"documents":11,"photo":34,"copyrights":36,"slug":37,"hasArticles":38,"articles":39,"type":131,"hasWorks":38,"hasBiography":38,"hasWorkcourse":132,"hasAnalyses":132,"hasBooks":132,"hasMonographs":132,"hasPartitions":132,"hasFloraAudios":132,"hasAudios":38,"hasVideos":38},"Daniele","Ghisi","valid","Compositeur italien né le 30 juin 1984 à Trescore Balneario.","Italian composer born 30 June 1984 in Trescore Balneario.","\u003Ch4 id=\"liens-internet\">Liens Internet\u003C/h4>\n\u003Cul class=\"list-disc\">\u003Cli>Site personnel du compositeur : \u003Ca href=\"http://www.danieleghisi.com\" title=\"www.danieleghisi.com\">www.danieleghisi.com\u003C/a>\u003C/li>\u003Cli>Site de l'éditeur : \u003Ca href=\"http://www.umpgclassical.com/en-GB/Composers/G/Ghisi-Daniele.aspx\">www.ricordi.it\u003C/a> \u003C/li>\u003Cli>SoundCloud : \u003Ca href=\"https://soundcloud.com/danieleghisi\">www.soundcloud.com\u003C/a>\u003C/li>\u003Cli>Site du projet \u003Cem>bach: automated composer’s helper\u003C/em> : \u003Ca href=\"http://www.bachproject.net/\" title=\"www.bachproject.net\">www.bachproject.net\u003C/a>\u003C/li>\u003Cli>Blog du collectif /nu/thing : \u003Ca href=\"http://www.nuthing.eu/\" title=\"www.nuthing.eu\">www.nuthing.eu\u003C/a>\u003C/li>\u003Cli>« \u003Ca href=\"http://musiquealgorithmique.fr/entretien-9-daniele-ghisi/\">Entretien #9 – Daniele Ghisi\u003C/a> », réalisé en mars 2018 pour le site MusicAlgo.\u003C/li>\u003Cli>\u003Ca href=\"https://medias.ircam.fr/xf9dba3\" title=\"Séminaire sur le ryhtme et le temps présenté par Daniele Ghisi et Andrea Agostini\">Séminaire sur le ryhtme et le temps présenté par Daniele Ghisi et Andrea Agostini\u003C/a>, le 13 novembre 2019.\u003C/li>\u003C/ul>\n\u003Cp>\u003Cem>(liens vérifiés en mai 2025)\u003C/em>.\u003C/p>\n\u003Ch4 id=\"bibliographie-s-lective\">Bibliographie sélective\u003C/h4>\n\u003Cul class=\"list-disc\">\u003Cli>Daniele GHISI, \u003Cem>Any Road\u003C/em>, \u003Ca href=\"https://www.ensembleintercontemporain.com/fr/2017/12/any-road-entretien-avec-daniele-ghisi-compositeur/\">entretien avec Jean-Christophe Montrency, Accents, le Webmag de l'Ensemble intercontemporain\u003C/a>, décembre 2017.\u003C/li>\u003Cli>Daniele GHISI, \u003Cem>Music Across Music : Towards a Corpus-Based, Interactive Computer-Aided Composition\u003C/em>, Thèse de doctorat de Philosophie, spécialité Music Research and Composition, sous la direction de Carlos Augusto Agon Adamo, Université Pierre et Marie Curie, Université Paris-Sorbonne, Sorbonne Universités : École doctorale Informatique, Télécommunications et Électronique, Ircam - UMR STMS 9912, 2017, 190 p.\u003C/li>\u003C/ul>\n\u003Cp>La liste complète des publications de Daniele Ghisi est consultable sur son \u003Ca href=\"https://www.danieleghisi.com/research/publications/\" title=\"site\">site\u003C/a>.\u003C/p>\n\u003Ch4 id=\"discographie\">Discographie\u003C/h4>\n\u003Cul class=\"list-disc\">\u003Cli>Daniele GHISI, \u003Cem>Proxima ; iCi ; Abroad ; Concertino\u003C/em>, Laura Catrani, soprano ; Divertimento Ensemble ; Sandro Gorli, direction, dans « Geografie » 1 cd Stradivarius, 2016, STR37053.\u003C/li>\u003C/ul>\n\u003Ch4 id=\"\">\u003C/h4>\n","","2022-03-14T00:00:00.000Z",{"getUrl":35},"https://storage.ressources.ircam.fr/ressources/persons/photos/659b61aa-15d4-41f8-b2f5-06d4d372656c-thumbnail.jpg?response-cache-control=public%2C%20max-age%3D31536000%2C%20immutable&X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Credential=ressources%2F20250926%2Fus-east-1%2Fs3%2Faws4_request&X-Amz-Date=20250926T111808Z&X-Amz-Expires=604800&X-Amz-SignedHeaders=host&X-Amz-Signature=17a2f8275201929c676801eb052606bd263c45f0cf82de3e00ead073b45e4a81","Sylvia Gomes","daniele-ghisi",true,[40,46,51,57,63,68,74,80,85,91,97,101,107,113,119,125],{"id":41,"title":42,"url":43,"reference":44,"abstract":45},"24e583c3-926c-435c-b87d-844f2c1824ef","A Max Library for Musical Notation and Computer-Aided Composition","https://inria.hal.science/hal-01264453v1","\u003Ci>Computer Music Journal\u003C/i>, 2015, Narrowing the Gap between Symbol and Signal, 39 (2), pp.11-27. ","This article introduces a library of external objects for real-time computer-aided composition and musical notation in Max. The library provides Max with a set of tools for the graphical representation of musical notation, manipulation of musical scores through a variety of approaches ranging from GUI interaction to constraint programming, and sequencing. The library is oriented to real-time interaction, and is meant to interoperate easily with other processes or devices controlled by Max, such as DSP tools, MIDI instruments, or generic hardware systems. These features and design choices place our software at the intersection of various categories of musical software environments and approaches, allowing it to help reduce the gap found between tools for sound-based, electroacoustic musical practices, and for symbol-based, traditional composition. The library is called “bach: automated composer’s helper.”",{"id":47,"title":48,"url":49,"reference":50,"abstract":32},"878bb68e-d576-483b-badf-3e6eaadd5f87","Real-Time Corpus-Based Concatenative Synthesis for Symbolic Notation","https://hal.sorbonne-universite.fr/hal-01393052v1","\u003Ci>TENOR Conference\u003C/i>, May 2016, Cambridge, United Kingdom. ",{"id":52,"title":53,"url":54,"reference":55,"abstract":56},"62e63a8d-600f-4302-b8e9-e4ecdfde5e7a","Programming in style with bach","https://hal.science/hal-02347961v1","\u003Ci>14th International Symposium on Computer Music Multidisciplinary Research\u003C/i>, Mitsuko Aramaki, Richard Kronland-Martinet Sølvi Ystad, Oct 2019, Marseille, France. ","Different programming systems for computer music are based upon seemingly similar, but profoundly different, programming paradigms. In this paper, we shall discuss some of them, with particular reference to computer-aided composition systems and Max. We shall subsequently show how the bach library can support different programming styles within Max, improving the expression, the readability and the maintainance of complex algorithms. In particular, the forthcoming version of bach introduces bell, a small textual programming language embedded in Max and specifically designed to facilite programming tasks related to manipulation of symbolic musical material.",{"id":58,"title":59,"url":60,"reference":61,"abstract":62},"d0a526ab-b287-4f31-912e-aea9f77ce8df","Spatial Transformations in Simplicial Chord Spaces","https://hal.science/hal-01161081v1","\u003Ci>Proceedings ICMC|SMC|2014\u003C/i>, Sep 2014, Athens, Greece. pp.1112-1119. ","In this article, we present a set of musical transformations based on chord spaces representations derived from the Tonnetz. These chord spaces are formalized as simplicial complexes. A piece is represented in such a space by a trajectory. Spatial transformations are applied on these trajectories and induce a transformation of the original piece. These concepts are implemented in two applications, the software HexaChord and the Max object bach.tonnetz, respectively dedicated to music analysis and composition.",{"id":64,"title":65,"url":66,"reference":11,"abstract":67},"ea2a09df-3d89-4cac-9aa5-fc9b16ccee33","Music across music : towards a corpus-based, interactive computer-aided composition","https://theses.hal.science/tel-01880061v1","The reworking of existing music in order to build new one is a quintessential characteristic of the Western musical tradition. This thesis proposes and discusses my personal approach to the subject: the borrowing of music fragments from large-scale corpora (containing audio samples as well as symbolic scores) in order to build a low-level, descriptor-based palette of grains. Parameters are handled via digital hybrid scores, in order to equip corpus-based composition with the control of notational practices. This thesis also introduces the dada library, providing Max with the ability to organize, select and generate musical content via a set of graphical interfaces manifesting an exploratory approach towards music composition. Its modules address a range of scenarios, including, but not limited to, database visualization, score segmentation and analysis, concatenative synthesis, music generation via physical or geometrical modelling, wave terrain synthesis, graph exploration, cellular automata, swarm intelligence, and videogames. The library is open-source and it fosters a performative approach to computer-aided composition. Finally, this thesis addresses the issue of whether classical representation of music, disentangled in the standard set of traditional parameters, is optimal. Two possible alternatives to orthogonal decompositions are presented: grain-based score representations, inheriting techniques from corpus-based composition, and unsupervised machine learning models, providing entangled, `agnostic' representations of music. The thesis also details my first experience of collaborative writing within the /nu/thing collective.",{"id":69,"title":70,"url":71,"reference":72,"abstract":73},"7b724237-4a50-4ec7-a923-a0929fef18e8","Dynamic Computer-Aided Orchestration in Practice with Orchidea","https://hal.science/hal-04467272v1","\u003Ci>Computer Music Journal\u003C/i>, 2023, 45 (4), pp.40-56. ","Abstract The problem of target-based computer-aided orchestration is a recurring topic in the contemporary music community. Because of its complexity, computer-aided orchestration remains a partially unsolved problem and several systems have been developed in the last twenty years. This article presents a practical overview of the recently introduced Orchidea framework for dynamic computer-aided target-based orchestration. Orchidea continues the line of tools dedicated to the subject (the so-called Orchid* family) originally developed at the Institut de Recherche et Coordination Acoustique/Musique in Paris. Unlike its predecessors, Orchidea uses a combination of optimization techniques that include stochastic matching pursuit, long short-term memory neural networks, and monoobjective evolutionary optimization, with a specifically designed cost function. Symbolic constraints can be integrated in the cost function, and temporally evolving sounds are handled by segmenting them into a set of static targets optimized jointly and then connected. Orchidea is deployed in three different ways: a standalone application, designed to streamline a simplified compositional workflow; a Max package, targeted at composers willing to connect target-based orchestration to the more general area of computer-aided composition; and a set of command-line tools, mostly intended for research purposes and batch processing. The main aim of this article is to present an overview of such software systems and show several instances of the Orchidea framework's application in recent musical productions, tracing the path for future research on the subject.",{"id":75,"title":76,"url":77,"reference":78,"abstract":79},"b166dd08-31a1-4d03-b41f-4336fd279cdc","Representation of Musical Structures and Processes in Simplicial Chord Spaces","https://hal.science/hal-01263299v1","\u003Ci>Computer Music Journal\u003C/i>, 2015, 39 (3), pp.9 - 24. ","In this article, we present a set of musical transformations based on the representations of chord spaces derived from the Tonnetz. These chord spaces are formalized as simplicial complexes. A musical composition is represented in such a space by a trajectory. Spatial transformations are applied on these trajectories and induce a transformation of the original composition. These concepts are implemented in two applications, the software HexaChord and the Max object bach.tonnetz, dedicated to music analysis and composition, respectively.",{"id":81,"title":82,"url":83,"reference":84,"abstract":32},"fbf96ee0-4aca-4b68-9055-0a4f4e24af2c","Concatenative Synthesis via Chord-Based Segmentation for 'An Experiment with Time","https://hal.sorbonne-universite.fr/hal-01393053v1","\u003Ci>International Computer Music Conference\u003C/i>, Sep 2016, Utrecht, Netherlands. ",{"id":86,"title":87,"url":88,"reference":89,"abstract":90},"d67153a4-e5ad-4683-a7eb-ee75730e16e4","Fine-tuned Control of Concatenative Synthesis with CataRT Using the bach Library for Max","https://hal.science/hal-01161028v1","\u003Ci>International Computer Music Conference (ICMC)\u003C/i>, Sep 2014, Athens, Greece. pp.1-1. ","The electronic musician’s toolkit is increasingly characterized by fluidity between software, techniques, and genres. By combining two of the most exciting recent packages for MAX, CATART corpus-based concatenative synthesis (CBCS) and BACH: AUTOMATED COMPOSER’S HELPER, we propose a rich tool for real-time creation, storage, editing, re-synthesis, and transcription of concatenative sound. The modular structures of both packages can be advantageously recombined to exploit the best of their real-time and computer-assisted composition (CAC) capabilities. After loading a sample corpus in CATART, each grain, or unit, played from CATART is stored as a notehead in the bach.roll object along with its descriptor data and granular synthesis parameters including envelope and spatialization. The data is attached to the note itself (pitch, velocity, duration) or stored in user-defined slots than can be adjusted by hand or batch-edited using lambda-loops. Once stored, the contents of bach.roll can be dynamically edited and auditioned using CATART for playback. The results can be output as a sequence for synthesis, or used for CAC score-generation through a process termed Corpus-Based Transcription: rhythms are output with bach.quantize and further edited in bach.roll before export as a MUSICXML file to a notation program to produce a performer-readable score. Together these techniques look toward a concatenative DAW with promising capabilities for composers, improvisers, installation artists, and performers.",{"id":92,"title":93,"url":94,"reference":95,"abstract":96},"e2c5ebaf-d462-4a5e-add0-1e3c5b09ebf6","PROGRAMMER EN MAX AVEC bell","https://hal.science/hal-03019742v1","\u003Ci>Journées d'informatique musicale (JIM) 2020\u003C/i>, Oct 2020, Strasbourg (en virtuel), France. ","Cet article aborde le sujet de la programmation dans l'environnement Max : on analysera son modèle de calcul, on présentera quelques stratégies d'implémentation de processus complexes spécifiquement dans le domaine de la composition algorithmique, et on évaluera la pertinence de son paradigme graphique par rapport à ce type de problèmes. Ces considérations ont amené au développement d'un mini-langage de programmation textuelle appelé bell, intégré dans la bibliothèque bach, une extension de Max pour la représentation musicale et l'aide à la composition. On présentera les choix fondamentaux qui en ont guidé la conception et on donnera un aperçu de sa syntaxe et de son modèle de fonctionnement.",{"id":98,"title":99,"url":100,"reference":84,"abstract":32},"7cbd0931-e48d-4078-8758-3d51c8888ae2","Recreating Gérard Grisey’s Vortex Temporum with cage","https://hal.sorbonne-universite.fr/hal-01393055v1",{"id":102,"title":103,"url":104,"reference":105,"abstract":106},"853bc6f9-7325-472b-9caf-d8a1454629fa","Recreating Ge ́rard Grisey’s Vortex Temporum with cage","https://shs.hal.science/halshs-01644076v1","\u003Ci>ICMC 2016 42nd International Computer Music Conference\u003C/i>, Sep 2016, Utrecht, Netherlands. ","This paper shows how a significant portion of the first move- ment of Ge ́rard Grisey’s Vortex Temporum can be imple- mented using a subset of the cage package for Max, aimed at representing and rendering meta-scores, i.e., musical scores whose notes or chords represent complex processes, rather than simple musical items. We shall also attempt a solid definition of meta-score, and describe the rationale and workings of the cage.meta system.",{"id":108,"title":109,"url":110,"reference":111,"abstract":112},"3e823687-0b9f-4595-bf7c-11942a29f6f7","Discrete phase retrieval in musical structures","https://hal.science/hal-00664787v1","\u003Ci>Journal of Mathematics and Music\u003C/i>, 2011, 5 (2), pp.99-116. ","This paper describes phase-retrieval approaches in music by focusing on the particular case of the cyclic groups (beltway problem). After presenting some old and new results on phase retrieval, we introduce the extended phase retrieval for a generalized musical Z-relation. This concept is accompanied by mathematical definitions and motivations from computer-aided composition. We assume from the reader basic knowledge of groups, topological groups, group algebras, group actions, Lebesgue integration, convolution products, and Fourier transform.",{"id":114,"title":115,"url":116,"reference":117,"abstract":118},"d3ff3813-3a64-42c2-993f-2f9c5265b546","Programming in style with bach (extended version)","https://hal.science/hal-03020503v1","\u003Ci>14th International Symposium on Computer Music Multidisciplinary Research\u003C/i>, Richard Kronland-Martinet; Sølvi Ystad; Mitsuko Aramaki, Oct 2019, Marseille, France. pp.257-278, ","Several programming systems for computer music are based upon the data-flow family of programming paradigms. In the first part of this article, we shall introduce the general features and lexicon of data-flow programming, and review some specific instances of it with specific reference to computer music applications. We shall then move the discussion to Max's very peculiar take on data-flow, and evaluate its motivation and shortcomings. Subsequently, we shall show how the bach library can support different programming styles within Max, improving the expression, the readability and the maintenance of complex algorithms. In particular, the latest version of bach has introduced bell , a small textual programming language embedded in Max and specifically designed to facilitate programming tasks related to manipulation of symbolic musical material.",{"id":120,"title":121,"url":122,"reference":123,"abstract":124},"788e93d7-5f9f-4ccf-9c4b-e1409968988a","Extending bach: A Family of Libraries for Real-time Computer-assisted Composition in Max","https://hal.sorbonne-universite.fr/hal-01561941v1","\u003Ci>Journal of New Music Research\u003C/i>, 2016, Interactive Composition, 46, ","The bach library is a package for Max meant to bring symbolic music representation and computer-aided composition in a real-time environment (Agostini & Ghisi, 2013, 2015). In this article, we introduce a more ambitious project: situating the bach library inside a wider family of tools dealing with real-time computer-aided composition in Max, which we call the ‘bach family’. We give an overview of its core member (bach) and of its second member (cage: a high-level library of ready-made modules). We introduce its third member (dada: a library of non-standard user interfaces, currently under development), and discuss future perspectives and ideas.",{"id":126,"title":127,"url":128,"reference":129,"abstract":130},"5b93d978-87d8-432b-a44e-d96defd5780c","Z-relation and homometry in musical distributions","https://hal.science/hal-00664776v1","\u003Ci>Journal of Mathematics and Music\u003C/i>, 2011, 5 (2), pp.83-98. ","This paper defines homometry in the rather general case of locally-compact topological groups, and proposes new cases of its musical use. For several decades, homometry has raised interest in computational musicology and especially set-theoretical methods, and in an independent way and with different vocabulary in crystallography and other scientific areas. The link between these two approaches was only made recently, suggesting new interesting musical applications and opening new theoretical problems. We present some old and new results on homometry, and give perspective on future research assisted by computational methods. We assume from the reader's basic knowledge of groups, topological groups, group algebras, group actions, Lebesgue integration, convolution products, and Fourier transform.","COMPOSER",false,["Reactive",134],{"$si18n:cached-locale-configs":135,"$si18n:resolved-locale":140,"$snuxt-seo-utils:routeRules":141,"$ssite-config":142},{"fr":136,"en":138},{"fallbacks":137,"cacheable":38},[],{"fallbacks":139,"cacheable":38},[],"en",{"head":-1,"seoMeta":-1},{"_priority":143,"currentLocale":147,"defaultLocale":148,"description":149,"env":150,"name":151,"url":152},{"name":144,"env":145,"url":146,"description":144,"defaultLocale":146,"currentLocale":146},-3,-15,-2,"en-US","fr-FR","Ressources IRCAM est une plateforme de ressources musicales et sonores, développée par l'IRCAM, pour les artistes, les chercheurs et les passionnés de musique.","production","Ressources IRCAM","https://ressources.ircam.fr",["Set"],["ShallowReactive",155],{"/composer/daniele-ghisi/articles":-1,"flat pages":-1},"/en/composer/daniele-ghisi/articles"]