Mot-clé : Music

2015

Marc Battier, Jean Bresson, Pierre Couprie, Cécile Davy-Rigaux, Dominique Fober, Yann Geslin, Hugues Genevois, François Picard, Alice Tacaille

Mots-clés :
Technology, Notation, Music

2014

Augmented Interactive Scores for Music Creation

Korean Electro-Acoustic Music Society's 2014 Annual Conference, Oct 2014, Seoul, South Korea. pp.85-91

This article addresses music representation issues in the context of the contemporary music creation and performance. It exposes the main challenges in terms of music notation and representation, in regard of the new forms of music and with an emphasis on interactive music issues. It presents INScore, an environment for the design of augmented, interactive music scores that has been developed in response to current artistic evolutions. It gives an overview of t... read_more

This article addresses music representation issues in the context of the contemporary music creation and performance. It exposes the main challenges in terms of music notation and representation, in regard of the new forms of music and with an emphasis on interactive music issues. It presents INScore, an environment for the design of augmented, interactive music scores that has been developed in response to current artistic evolutions. It gives an overview of the system with a presentation of its main features and highlights on the main technologies involved. Concrete examples of use with recent music creations, composers' viewpoint and an electro-acoustic piece modeling will also be given.

INteractivité dans l'Ecriture De l'Interaction et du Temps

Dominique Fober, Yann Orlarey, Stéphane Letz

Mots-clés :
Music, Score, Interaction

Representation of Musical Computer Processes

Joint Conference ICMC / SMC 2014, Sep 2014, Athens, Greece. pp.1604-1609

The paper presents a study about the representation of musical computer processes within a music score. The idea is to provide performers with information that could be useful especially in the context of interactive music. The paper starts with a characterization of a musical computer process in order to define the values to be represented. Next it proposes an approach to time representation suitable to asynchronous processes representation.

INteractivité dans l'Ecriture De l'Interaction et du Temps

Dominique Fober, Yann Orlarey, Stéphane Letz

Mots-clés :
Interaction, Synchronization, Music, Score, Graphic, Process

2013

Programming Interactive Music Scores with INScore

Sound and Music Computing, Jul 2013, Stockholm, Sweden. pp.185-190

INScore is an environment for the design of interactive music scores that includes an original event-based interaction system and a scripting language for associating arbitrary messages to these events. We extended the previous version by supporting scripting languages offering a great flexibility in the description of scores and in the interactions with scores. The textual format is directly derived from the OSC message format that was defined in the original... read_more

INScore is an environment for the design of interactive music scores that includes an original event-based interaction system and a scripting language for associating arbitrary messages to these events. We extended the previous version by supporting scripting languages offering a great flexibility in the description of scores and in the interactions with scores. The textual format is directly derived from the OSC message format that was defined in the original INScore version. This article presents the scripting language and illustrates its ability to describe interactions based on events, while remaining in the temporal space. It also introduces the IRCAM gesture follower and how it is embedded into INScore to provide gestural interaction capabilities.

INteractivité dans l'Ecriture De l'Interaction et du Temps

Dominique Fober, Stéphane Letz, Yann Orlarey, Frédéric Bevilacqua

Mots-clés :
Interaction, Synchronization, Music, Score, Graphic, Programming

2012

INScore - An Environment for the Design of Live Music Scores

Linux Audio Conference, 2012, Stanford, United States. pp.47-54

INScore is an open source framework for the design of interactive, augmented, live music scores. Augmented music scores are graphic spaces providing representation, composition and manipulation of heterogeneous and arbitrary music objects (music scores but also images, text, signals...), both in the graphic and time domains. INScore includes also a dynamic system for the representation of the music performance, considered as a specific sound or gesture instance... read_more

INScore is an open source framework for the design of interactive, augmented, live music scores. Augmented music scores are graphic spaces providing representation, composition and manipulation of heterogeneous and arbitrary music objects (music scores but also images, text, signals...), both in the graphic and time domains. INScore includes also a dynamic system for the representation of the music performance, considered as a specific sound or gesture instance of the score, and viewed as signals. It integrates an event based interaction mechanism that opens the door to original uses and designs, transforming a score as a user interface or allowing a score self-modification based on temporal events. This paper presents the system features, the underlying formalisms, and introduces the OSC based scripting language.

Dominique Fober, Yann Orlarey, Stéphane Letz

Mots-clés :
Graphic, Interaction, Music, Score, Synchronization

We present a general theoretical framework to describe segments and the different possible mapping that can be established between them. Each segment can be related to different music representations, graphical scores, music signals or gesture signals. This theoretical formalism is general and is compatible with large number of problems found in sound and gesture computing. We describe some examples we developed in interactive score representation, superposed w... read_more

We present a general theoretical framework to describe segments and the different possible mapping that can be established between them. Each segment can be related to different music representations, graphical scores, music signals or gesture signals. This theoretical formalism is general and is compatible with large number of problems found in sound and gesture computing. We describe some examples we developed in interactive score representation, superposed with signal representation, and the description of synchronization between gesture and sound signals.

Dominique Fober, Frédéric Bevilacqua, Roland Assous

Mots-clés :
Gesture, Music, Music score, Synchronization

2010

INTERLUDE - A FRAMEWORK FOR AUGMENTED MUSIC SCORES

Sound and Music Computing Conference, 2010, Barcelona, Spain. pp.233-240

An Augmented Music Score is a graphic space providing the representation, composition and manipulation of het- erogeneous music objects (music scores but also images, text, signals...), both in the graphic and time domains. In addition, it supports the representation of the music perfor- mance, considered as a specific sound or gestural instance of the score. This paper presents the theoretical foundation of the augmented music score as well as an application -... read_more

An Augmented Music Score is a graphic space providing the representation, composition and manipulation of het- erogeneous music objects (music scores but also images, text, signals...), both in the graphic and time domains. In addition, it supports the representation of the music perfor- mance, considered as a specific sound or gestural instance of the score. This paper presents the theoretical foundation of the augmented music score as well as an application - an augmented score viewer - that implements the proposed solutions.

Dominique Fober, Christophe Daudin, Yann Orlarey, Stéphane Letz

Mots-clés :
Graphic, Interaction, Music, Score, Synchronization

Time Synchronization in Graphic Domain - A new paradigm for Augmented Music Scores

International Computer Music Conference, 2010, New York, United States. pp.458-461

We propose a simple method for synchronization of arbitrary graphic objects, based on their time relations. This method relies on segmentation and mappings that are relations between segmentations. The paper gives a formal description of segmentations and mappings and presents Interlude, a framework that implements the proposed method under the form of an augmented music score viewer, opening a new space to music notation.

Dominique Fober, Christophe Daudin, Yann Orlarey, Stéphane Letz

Mots-clés :
Music, Notation, Synchronization

2009

The Guido Engine - A toolbox for music scores rendering

Linux Audio Conference, 2009, Parma, Italy. pp.105-111

The Guido Music Notation format (GMN) is a general purpose formal language for representing score level music in a platform independent plain text and human readable way. Based on this music representation format, the Guido Lib provides a generic, portable library and API for the graphical rendering of musical scores. This paper gives an introduction to the music notation format and to the Guido graphic score rendering engine. An example of application, the Gui... read_more

The Guido Music Notation format (GMN) is a general purpose formal language for representing score level music in a platform independent plain text and human readable way. Based on this music representation format, the Guido Lib provides a generic, portable library and API for the graphical rendering of musical scores. This paper gives an introduction to the music notation format and to the Guido graphic score rendering engine. An example of application, the GuidoSceneComposer, is next presented.

Christophe Daudin, Dominique Fober, Stéphane Letz, Yann Orlarey

Mots-clés :
GUIDO, Layout, Music, Notation, Score

2007

VEMUS - Feedback and Groupware Technologies for Music Instrument Learning

Sound and Music Computing Conference, 2007, Lefkada, Greece. pp.117-123

VEMUS is a european research project that aims at developing and validating an open music tuition framework for popular wind instruments such as the flute, the saxophone, the clarinet and the recorder. The system will address students of beginning to intermediate level. It proposes an innovative approach both at technological and pedagogical levels. This paper presents the project with a specific focus on the feedback technologies developed to extend the instru... read_more

VEMUS is a european research project that aims at developing and validating an open music tuition framework for popular wind instruments such as the flute, the saxophone, the clarinet and the recorder. The system will address students of beginning to intermediate level. It proposes an innovative approach both at technological and pedagogical levels. This paper presents the project with a specific focus on the feedback technologies developed to extend the instrumental and pedagogic practices.

Dominique Fober, Stéphane Letz, Yann Orlarey

Mots-clés :
Feedback, Instrument, Learning, Music, Pedagogy

2006

DSP Programming with Faust, Q and SuperCollider

Linux Audio Conference, 2006, Karlsruhe, Germany

Faust is a functional programming language for realtime signal processing and synthesis that targets high-performance signal processing applications and audio plugins. The paper gives a brief introduction to Faust and discusses its interfaces to Q, a general purpose functional programming language, and SuperCollider, an object-oriented sound synthesis language and engine.

Yann Orlarey, Albert Graef, Stefan Kersten

Mots-clés :
Computer, Digital, FAUST, Functional, Language, Music, Processing, Programming, Q, Signal, SuperCollider

2005

IMUTUS Score Processing Components

International Computer Music Conference, 2005, Barcelona, Spain. pp.427-430

IMUTUS is an IST European project that aims at the development of an open platform for training students on the recorder. Among the results of the project are two open source libraries for music representation and graphic notation: the MusicXML library, intended to support the MusicXML format and to provide music notation exchange capabilities, and the GUIDO library that provides a powerful graphic score engine. This paper introduces both libraries and describe... read_more

IMUTUS is an IST European project that aims at the development of an open platform for training students on the recorder. Among the results of the project are two open source libraries for music representation and graphic notation: the MusicXML library, intended to support the MusicXML format and to provide music notation exchange capabilities, and the GUIDO library that provides a powerful graphic score engine. This paper introduces both libraries and describes their use in IMUTUS system.

Dominique Fober, Stéphane Letz, Yann Orlarey

Mots-clés :
GUIDO, Layout, Music, MusicXML, Score

IMUTUS - An effective practicing environment for music tuition.

International Computer Music Conference, 2005, Barcelona, Spain. pp.383-386

This paper presents some major results from the IMUTUS project. IMUTUS was an RTD project that aimed at the development of an open platform for training students on the recorder. The paper focuses on one of the most important and innovative parts of the IMUTUS system, the practicing environment. This environment integrates technological tools for the automatic analysis and evaluation of student performances along with enhanced interaction schemes to provide an... read_more

This paper presents some major results from the IMUTUS project. IMUTUS was an RTD project that aimed at the development of an open platform for training students on the recorder. The paper focuses on one of the most important and innovative parts of the IMUTUS system, the practicing environment. This environment integrates technological tools for the automatic analysis and evaluation of student performances along with enhanced interaction schemes to provide an effective approach to music learning. Testing and validation activities that have been carried out indicate that the IMUTUS approach is appreciated by both students and teacher, and that it clearly has a strong potential.

Spyros Raptis, Aimilios Chalamandaris, Alexandros Baxevanis, Anders Askenfelt, Erwin Schoonderwaldt, Kjetil Falkenberg-Hansen, Dominique Fober, Stéphane Letz, Yann Orlarey

Mots-clés :
Distance, Education, Learning, Music

2004

Open source tools for music representation and notation

Sound and Music Computing Conference, 2004, Paris, France. pp.91-95

Although numerous systems and applications exist for music representation and graphic notation, there are few resources available to developers. We present two open source projects that aim at making up for this lack of components: the MusicXML library, intended to support the MusicXML format and to provide music notation exchange capabilities, and the GUIDO library that provides a powerful graphic score engine, based on the GUIDO music notation format.

Dominique Fober, Stéphane Letz, Yann Orlarey

Mots-clés :
GUIDO, Language, Music, MusicXML, Representation

IMUTUS - an Interactive Music Tuition System

Sound and Music Computing Conference, 2004, Paris, France. pp.97-103

IMUTUS is a European project that aims at the development of an open platform for training students on non-MIDI musical instruments, as well as to acquire theoretical music knowledge. The project involves many components oriented towards a new approach of music learning. After a brief overview of the system, the performance evaluation module and the music score processing components are described to show how they enforce the pedagogical approach.

Dominique Fober, Stéphane Letz, Yann Orlarey, Anders Askenfelt, Kjetil Falkenberg-Hansen, Erwin Schoonderwaldt

Mots-clés :
Distance, Education, Learning, Music

2002

Le programme Elody repose principalement sur les concepts du lambda-calcul, notamment les notions d'abstraction et d'application. L'abstraction classique a été étendue dans [leplatre] afin de permettre des manipulations plus puissantes de lambda-termes. Cette extension reposait sur une relation de généralité définie entre deux termes. Nous étudions ici plus précisément comment définir une relation de généralité entre deux termes, dans un but un peu différent du... read_more

Le programme Elody repose principalement sur les concepts du lambda-calcul, notamment les notions d'abstraction et d'application. L'abstraction classique a été étendue dans [leplatre] afin de permettre des manipulations plus puissantes de lambda-termes. Cette extension reposait sur une relation de généralité définie entre deux termes. Nous étudions ici plus précisément comment définir une relation de généralité entre deux termes, dans un but un peu différent du précédent: nous souhaitons pouvoir représenter des ensembles de termes, avec comme intuition qu'un terme représente lénsemble de tous les termes moins généraux que lui. On cherche donc d'abord à obtenir une définition précise à partir de cette idée intuitive, en envisageant différentes définitions possibles, et on étudie les conséquences du choix qui semble le plus logique. La définition adoptée permet de définir une relation d'ordre et une relation d'équivalence qu'il convient de caractériser. On montre ensuite qu'il est possible de définir la borne supérieure et la borne inférieure d'un ensemble fini de termes, ce qui correspond à l'union et à l'intersection pour les ensembles de termes. On obtient finalement un cadre théorique assez net autour de la notion de généralité, qui permet dénvisager d'autres développements en manipulant des ensembles de termes. A titre déxemple, on présente les algorithmes permettant déffectuer les opérations sur les termes discutées précédemment, et enfin le code source commenté d'une implémentation simple en Caml.

Clock Skew Compensation over a High Latency Network

International Computer Music Conference, 2002, Gothenburg, Sweden. pp.548-552

Exchange of time stamped events between different stations raises the problem of the clock frequencies difference as soon as one station try to compensate for the transmission delay and to render the events with a minimum time distortion. We propose a simple, efficient and low cost method to compensate for the clock frequencies difference. This method rely only on regular time stamped packets transmissions and may be used in many cases. It provides good perform... read_more

Exchange of time stamped events between different stations raises the problem of the clock frequencies difference as soon as one station try to compensate for the transmission delay and to render the events with a minimum time distortion. We propose a simple, efficient and low cost method to compensate for the clock frequencies difference. This method rely only on regular time stamped packets transmissions and may be used in many cases. It provides good performances to the receiver station in regard of the sender reference time even on a heavily loaded communication channel. It operates also very efficiently on a low latency local network

Dominique Fober, Stéphane Letz, Yann Orlarey

Mots-clés :
Clock, Communication, Music, Network, Real-time, Synchronization

2001

MidiShare is a portable software architecture for musical applications, based on a client/server model. Up to now and along all the supported operating systems (GNU/Linux, MacOS, Windows), it has always been implemented at low level operating system layer. This choice was dictated by efficiency and time constraints. The main drawback of using low level layers is the lack of portability and the complexity of the kernel extensions design. Recent evolutions of ope... read_more

MidiShare is a portable software architecture for musical applications, based on a client/server model. Up to now and along all the supported operating systems (GNU/Linux, MacOS, Windows), it has always been implemented at low level operating system layer. This choice was dictated by efficiency and time constraints. The main drawback of using low level layers is the lack of portability and the complexity of the kernel extensions design. Recent evolutions of operating systems, combined with important technology improvements, have made possible to consider a more portable architecture for MidiShare. This document presents a proposed new architecture, based on a user level design.

Dominique Fober, Yann Orlarey, Stéphane Letz

Mots-clés :
Music, Operating, Real-time, Systems

1999

We developed an asynchronous transfer mode-based environment for distributed musical rehearsals in an immersive teleconference environment. This article describes the technical specifications of the installations and the organization and studio setup of these rehearsals. We present our implementation of the environment and give the results obtained from the organized distributed musical rehearsal trials.

Yann Orlarey, Olivier Carbonel, Dominique Konstantas, Simon Gibbs

Mots-clés :
Distributed system, Music, Real-time

1997

Distributed Musical Rehearsal

International Computer Music Conference, 1997, Thessaloniki, Greece. pp.279-282

Bringing together a group of musicians and a conductor for a musical rehearsal requires advance planning and an important budget in order to cover travel and subsidiary costs. We have developed an ATM based telepresence environment allowing small groups of musicians that are located in different sites to rehearse as if they were present in the same room and have organized a first distributed musical rehearsal trial. The trial allowed us to test and evaluate the... read_more

Bringing together a group of musicians and a conductor for a musical rehearsal requires advance planning and an important budget in order to cover travel and subsidiary costs. We have developed an ATM based telepresence environment allowing small groups of musicians that are located in different sites to rehearse as if they were present in the same room and have organized a first distributed musical rehearsal trial. The trial allowed us to test and evaluate the system, according to a methodology we developed and to draw first conclusions regarding its performance and usability.

Dominique Konstantas, Yann Orlarey, Simon Gibbs, Olivier Carbonel

Mots-clés :
Distributed system, Music, Real-time

Dans le cadre des recherches réalisées au laboratoire d'informatique musicale de Grame autour des langages homogènes dérivés du lambda-calcul non typé, on se propose d'étudier les possibilités de généralisation de l'abstraction héritée du lambda-calcul. Dans cette optique, on formalise une notion de généralité des expressions du langage. En référence à cette notion, on peut envisager l'abstraction généralisée d'une expression e dans une expression f comme le mo... read_more

Dans le cadre des recherches réalisées au laboratoire d'informatique musicale de Grame autour des langages homogènes dérivés du lambda-calcul non typé, on se propose d'étudier les possibilités de généralisation de l'abstraction héritée du lambda-calcul. Dans cette optique, on formalise une notion de généralité des expressions du langage. En référence à cette notion, on peut envisager l'abstraction généralisée d'une expression e dans une expression f comme le moyen de désigner dans f tous les sous-termes q de f tels que e est plus générale que q. L'opérateur ainsi défini dans un lambda-calcul non typé peut être facilement adapté à un langage de programmation musicale dérivé du lambda-calcul. Dans Elody, un langage de ce type développé à Grame en JAVA, on a remplacé de cette manière, l'opérateur d'abstraction simple implémenté à l'origine, par un opérateur d'abstraction généralisé. Ce qui a pour incidence d'élargir la fonctionnalité du langage.

Elody : a Java+MidiShare based Music Composition Environment

International Computer Music Conference, 1997, Thessaloniki, Greece. pp.391-394

This paper introduces Elody, a MidiShare compatible music composition environment developed in Java. The heart of Elody is a visual functional language derived from the G-Calculus. The languages expressions are handled through visual constructors and Drag and Drop actions allowing the user to play in realtime with the language.

Yann Orlarey, Dominique Fober, Stéphane Letz

Mots-clés :
Composition, Elody, Functional programming, Music

1994

Lambda Calculus and Music Calculi

International Computer Music Conference, 1994, Aarhus, Denmark. pp.243-250

This article presents an approach in the design of music programming languages based on Lambda Calculus. It shows, through several examples, that a purely descriptive language, that is to say a language without any programming capability, can be equipped with programming capabilities by the addition of a limited number of simple constructs.

Yann Orlarey, Dominique Fober, Stéphane Letz, Mark Bilton

Mots-clés :
Music, Lambda calculus