Sustainability, a computer music work’s chance of surviving far into the future, even if the composer and the performer at the première are no longer supporting the work and the implementation technology has long become obsole

9 octobre 2015 30 min

Christopher Trapani, compositeur présente son travail de résidence à l'Ircam Canon rythmique temps réel avec Antescofo - Bilan de fin des travaux Le but de ce projet a été de pouvoir synchroniser

25 mars 2013 41 min

From trailer park punks to Pulitzer Prize winners, this is the untold story of a sleepy Navy town that became the unlikely gathering point for some of the most innovative, unclassifiable American artis

An investigation of sexual themes in electronic music since the 1950s, with detailed case studies of “electrosexual music” by a wide range of creators. In Sex Sounds, Danielle Shlomit Sofer investigates the repeated focus on se

In Sound arts now, Cathy Lane and Angus Carlyle explore contemporary artistic practices and theories, and what contributes to or hinders artistic and career development. This is conducted through a series of interv

Charles Rosen, the pianist and man of letters, is perhaps the single most influential writer on music of the past half-century. While Rosen's vast range as a writer and performer is encyclopedic, it has focused particularly on

International Computer Music Conference, Sep 2014, Athens, Greece. pp.207. José Echeveste, Christopher Trapani

With recent advances in score-following capabilities, it has become possible to envision new timing strategies, to realize previously impractical methods of coordination between a live performer and electronics. Our work centers on the challenge of synchronizing at the end of a musical The key software component is Antescofo, a score-following tool which relies on a strong coupling, through a dynamic programming language, between a machine listening mod- ule and a reactive engine. This language allows hierarchi- cal, concurrent, and heterogeneous computer processes to be organized over time, and for external events to be an- ticipated, with a runtime system that triggers electronic ac- tions in response to variations in performance. Various programming strategies were implemented, honed and tested with a live performer. The musical material of these sketches focused on the idea of flexible canons, on interactions between a live instrument and a second voice generated from a buffered real-time recording. The different canonic strategies make use of Antescofo's live tempo calculations to create dynamic tempo shifts, to force voices to converge, and to control precise canon effects.

Electronic Visualisation and the Arts, 2015, London, United Kingdom. Jônatas Manzolli, Jean Bresson, Moreno Andreatta, Charles de Paiva Santana

Musical compositions can be the object of advanced computational modelling. We develop this idea by creating formal models allowing the study of musical works from the repertoire and conceiving corresponding computational tools. From this perspective, one can aim to model, produce and evaluate different instances and configurations of such models. In this paper we discuss an experimental tool, as an attempt to visualise the space of instances that can be generated from a musical piece's model. This tool consists in an interface attached to a class in the OpenMusic environment, where parameter values are compared with the result of analytical descriptors, as that of 'cognitive-sonance' from the " Sonic Object Analysis Library " (SOAL). We demonstrate how this interface works by exploring it with a previously built model of James Tenney's piece, the Spectral Canon for Conlon Nancarrow.

CP 01 Workshop on Musical Constraints, 2001, NA, France. pp.1-1. Charlotte Truchet, Marc Chemillier

We present two musical problems which are interesting examples of musical CPs. The first one deals with harp music from Nzakara people of Central African Republic, where canon structures have been discovered. The computation of such structures is a critical problem for constraint solvers in the sense that there are no exact solutions, the only possible way to solve the problem being to accept approximate solutions. The second problem deals with the analysis of Ligeti's textures. It is a kind of variation on the classical "choral harmonization problem" which is to some extent adapted to the atonal music of Ligeti. But unlike the choral harmonization problem where a great amount of solutions can be found, the Ligeti's problem is critical in the sense that it has only very few solutions. For both these real musical problems, we mainly use an adaptive solver belonging to the family of local search methods and developed at Ircam, which seems to be quite efficient.