Mots clés
audio communication compiler composition dataflow Domain Specific Language DSP ecosystem Elody FAUST functional graphic inscore interaction language lock-free MIDI MidiShare music music score musicale musique operating processing programming real-time score signal synchronization systems
2014 |
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Fober, Dominique; Orlarey, Yann; Letz, Stéphane Representation of Musical Computer Processes (Inproceeding) Proceedings of the ICMC/SMC 2014, pp. 1604–1609, 2014. (Abstract | Links | BibTeX | Étiquettes: graphic, interaction, music, process, score, synchronization) @inproceedings{Fober:14b,
title = {Representation of Musical Computer Processes}, author = {Dominique Fober and Yann Orlarey and Stéphane Letz}, url = {inscore-processes-final.pdf}, year = {2014}, date = {2014-09-15}, booktitle = {Proceedings of the ICMC/SMC 2014}, pages = {1604–1609}, abstract = {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.}, keywords = {graphic, interaction, music, process, score, synchronization}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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2013 |
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Fober, Dominique; Letz, Stéphane; Orlarey, Yann; Bevilacqua, Frederic Programming Interactive Music Scores with INScore (Inproceeding) Proceedings of the Sound and Music Computing conference – SMC’13, pp. 185-190, 2013. (Abstract | Links | BibTeX | Étiquettes: graphic, interaction, music, programming, score, synchronization) @inproceedings{ Fober:13b ,
title = {Programming Interactive Music Scores with INScore}, author = {Dominique Fober and Stéphane Letz and Yann Orlarey and Frederic Bevilacqua}, url = {fober-smc2013-final.pdf}, year = {2013}, date = {2013-01-01}, booktitle = {Proceedings of the Sound and Music Computing conference – SMC’13}, pages = {185-190}, abstract = {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..}, keywords = {graphic, interaction, music, programming, score, synchronization}, pubstate = {published}, tppubtype = {inproceedings} } 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..
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2012 |
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Fober, Dominique; Orlarey, Yann; Letz, Stephane INScore – An Environment for the Design of Live Music Scores (Inproceeding) Proceedings of the Linux Audio Conference – LAC 2012, pp. 47–54, 2012. (Abstract | Links | BibTeX | Étiquettes: graphic, interaction, music, score, synchronization) @inproceedings{ Fober:12a ,
title = {INScore – An Environment for the Design of Live Music Scores}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, url = {INScore-ID12-2.pdf}, year = {2012}, date = {2012-01-01}, booktitle = {Proceedings of the Linux Audio Conference – LAC 2012}, pages = {47–54}, abstract = {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.}, keywords = {graphic, interaction, music, score, synchronization}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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Fober, Dominique; Bevilacqua, Frederic; Assous, Roland Segments and Mapping for Scores and Signal Representations (Technical Report) GRAME 2012. (Abstract | Links | BibTeX | Étiquettes: gesture, music, music score, synchronization) @techreport{fober12tr,
title = {Segments and Mapping for Scores and Signal Representations}, author = {Dominique Fober and Frederic Bevilacqua and Roland Assous}, url = {TR-segmentation.pdf}, year = {2012}, date = {2012-01-01}, institution = {GRAME}, abstract = {We present a general theoretical framework to de- scribe 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.}, keywords = {gesture, music, music score, synchronization}, pubstate = {published}, tppubtype = {techreport} } We present a general theoretical framework to de- scribe 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.
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2010 |
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Fober, Dominique; Daudin, Christophe; Orlarey, Yann; Letz, Stephane Time Synchronization in Graphic Domain – A new paradigm for Augmented Music Scores (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 458–461, 2010. (Abstract | Links | BibTeX | Étiquettes: music, notation, synchronization) @inproceedings{ fober:10b ,
title = {Time Synchronization in Graphic Domain – A new paradigm for Augmented Music Scores}, author = {Dominique Fober and Christophe Daudin and Yann Orlarey and Stephane Letz}, editor = {ICMA}, url = {interlude-icmc2010.pdf}, year = {2010}, date = {2010-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {458–461}, abstract = {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 â€Interludeâ€, a framework that implements the proposed method under the form of an augmented music score viewer, opening a new space to music notation.}, keywords = {music, notation, synchronization}, pubstate = {published}, tppubtype = {inproceedings} } 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 â€Interludeâ€, a framework that implements the proposed method under the form of an augmented music score viewer, opening a new space to music notation.
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Fober, Dominique; Daudin, Christophe; Orlarey, Yann; Letz, Stephane INTERLUDE – A FRAMEWORK FOR AUGMENTED MUSIC SCORES (Inproceeding) Proceedings of the Sound and Music Computing conference – SMC’10, pp. 233–240, 2010. (Abstract | Links | BibTeX | Étiquettes: graphic, interaction, music, score, synchronization) @inproceedings{ Fober:10c ,
title = {INTERLUDE – A FRAMEWORK FOR AUGMENTED MUSIC SCORES}, author = {Dominique Fober and Christophe Daudin and Yann Orlarey and Stephane Letz}, url = {Interlude-SMC2010.pdf}, year = {2010}, date = {2010-01-01}, booktitle = {Proceedings of the Sound and Music Computing conference – SMC’10}, pages = {233–240}, abstract = {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.}, keywords = {graphic, interaction, music, score, synchronization}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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2009 |
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Daudin,; Fober, Dominique; Letz, Stephane; Orlarey, Yann The Guido Engine – A toolbox for music scores rendering (Inproceeding) LAC, (Ed.): Proceedings of Linux Audio Conference 2009, pp. 105-111, 2009. (Abstract | Links | BibTeX | Étiquettes: GUIDO, layout, music, notation, score) @inproceedings{ Dau:09b ,
title = {The Guido Engine – A toolbox for music scores rendering}, author = {C. Daudin and Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {LAC}, url = {lac2009.pdf}, year = {2009}, date = {2009-01-01}, booktitle = {Proceedings of Linux Audio Conference 2009}, pages = {105-111}, abstract = {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.}, keywords = {GUIDO, layout, music, notation, score}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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2007 |
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Fober, Dominique; Letz, Stephane; Orlarey, Yann VEMUS – Feedback and Groupware Technologies for Music Instrument Learning (Inproceeding) Proceedings of the 4th Sound and Music Computing Conference SMC’07 – Lefkada, Greece, pp. 117–123, 2007. (Abstract | Links | BibTeX | Étiquettes: feedback, instrument, learning, music, pedagogy) @inproceedings{ Fober:07b ,
title = {VEMUS – Feedback and Groupware Technologies for Music Instrument Learning}, author = {Dominique Fober and Stephane Letz and Yann Orlarey}, url = {VEMUS-SMC07.pdf}, year = {2007}, date = {2007-01-01}, booktitle = {Proceedings of the 4th Sound and Music Computing Conference SMC’07 – Lefkada, Greece}, pages = {117–123}, abstract = {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.}, keywords = {feedback, instrument, learning, music, pedagogy}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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Graef, Albert Interfacing Pure Data with Faust (Inproceeding) LAC, (Ed.): 2007. (Abstract | Links | BibTeX | Étiquettes: Computer, Data, digital, FAUST, functional, language, music, Pd, processing, programming, Pure, signal) @inproceedings{ AG07 ,
title = {Interfacing Pure Data with Faust}, author = {Albert Graef}, editor = {LAC}, url = {lac07.pdf}, year = {2007}, date = {2007-01-01}, abstract = {This paper reports on a new plugin interface for Grame’s functional DSP programming language Faust. The interface allows Faust programs to be run as externals in Miller Puckette’s Pd (Pure Data), making it possible to extend Pd with new audio objects programmed in Faust. The software also includes a script to create wrapper patches around Faust units which feature “graph-on-parent†GUI elements to facilitate the interactive control of Faust units. The paper gives a description of the interface and illustrates its usage by means of a few examples.}, keywords = {Computer, Data, digital, FAUST, functional, language, music, Pd, processing, programming, Pure, signal}, pubstate = {published}, tppubtype = {inproceedings} } This paper reports on a new plugin interface for Grame’s functional DSP programming language Faust. The interface allows Faust programs to be run as externals in Miller Puckette’s Pd (Pure Data), making it possible to extend Pd with new audio objects programmed in Faust. The software also includes a script to create wrapper patches around Faust units which feature “graph-on-parent†GUI elements to facilitate the interactive control of Faust units. The paper gives a description of the interface and illustrates its usage by means of a few examples.
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2006 |
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Graef,; Kersten,; Orlarey, Yann DSP Programming with Faust, Q and SuperCollider (Inproceeding) LAC, (Ed.): Linux Audio Conference 2006, 2006. (Abstract | Links | BibTeX | Étiquettes: Computer, digital, FAUST, functional, language, music, processing, programming, Q, signal, SuperCollider) @inproceedings{ GKO2006a ,
title = {DSP Programming with Faust, Q and SuperCollider}, author = {A. Graef and S. Kersten and Yann Orlarey}, editor = {LAC}, url = {lac06.pdf}, year = {2006}, date = {2006-01-01}, booktitle = {Linux Audio Conference 2006}, abstract = {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.}, keywords = {Computer, digital, FAUST, functional, language, music, processing, programming, Q, signal, SuperCollider}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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2005 |
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Fober, Dominique; Letz, Stephane; Orlarey, Yann IMUTUS Score Processing Components (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 427–430, 2005. (Abstract | Links | BibTeX | Étiquettes: GUIDO, layout, music, MusicXML, score) @inproceedings{ Fober:05c ,
title = {IMUTUS Score Processing Components}, author = {Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {ICMA}, url = {FOBER-ICMC2005.pdf}, year = {2005}, date = {2005-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {427–430}, abstract = {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.}, keywords = {GUIDO, layout, music, MusicXML, score}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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Raptis,; Chalamandaris,; Baxevanis,; Askenfelt,; Schoonderwaldt,; Hansen, Falkenberg; Fober, Dominique; Letz, Stephane; Orlarey, Yann IMUTUS – An effective practicing environment for music tuition. (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 383–386, 2005. (Abstract | Links | BibTeX | Étiquettes: distance, education, learning, music) @inproceedings{ Spy05 ,
title = {IMUTUS – An effective practicing environment for music tuition.}, author = {S. Raptis and A. Chalamandaris and A. Baxevanis and A. Askenfelt and E. Schoonderwaldt and K. Falkenberg Hansen and Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {ICMA}, url = {Imutus2005.pdf}, year = {2005}, date = {2005-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {383–386}, abstract = {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.}, keywords = {distance, education, learning, music}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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2004 |
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Fober, Dominique; Letz, Stephane; Orlarey, Yann Open source tools for music representation and notation (Inproceeding) IRCAM, (Ed.): Proceedings of the first Sound and Music Computing conference – SMC’04, pp. 91–95, 2004. (Abstract | Links | BibTeX | Étiquettes: GUIDO, language, music, MusicXML, representation) @inproceedings{ Fober:04b ,
title = {Open source tools for music representation and notation}, author = {Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {IRCAM}, url = {SMC-2004-031.pdf}, year = {2004}, date = {2004-01-01}, booktitle = {Proceedings of the first Sound and Music Computing conference – SMC’04}, pages = {91–95}, abstract = {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.}, keywords = {GUIDO, language, music, MusicXML, representation}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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Fober, Dominique; Letz, Stephane; Orlarey, Yann; Askenfeld,; Hansen, Falkenberg; Schoonderwaldt, IMUTUS – an Interactive Music Tuition System (Inproceeding) IRCAM, (Ed.): Proceedings of the first Sound and Music Computing conference – SMC’04, pp. 97–103, 2004. (Abstract | Links | BibTeX | Étiquettes: distance, education, learning, music) @inproceedings{ Fober:04c ,
title = {IMUTUS – an Interactive Music Tuition System}, author = {Dominique Fober and Stephane Letz and Yann Orlarey and A. Askenfeld and K. Falkenberg Hansen and E. Schoonderwaldt}, editor = {IRCAM}, url = {SMC-2004-032.pdf}, year = {2004}, date = {2004-01-01}, booktitle = {Proceedings of the first Sound and Music Computing conference – SMC’04}, pages = {97–103}, abstract = {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.}, keywords = {distance, education, learning, music}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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2002 |
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Fober, Dominique; Orlarey, Yann; Letz, Stephane Clock Skew Compensation over a High Latency Network (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 548–552, 2002. (Abstract | Links | BibTeX | Étiquettes: clock, communication, music, network, real-time, synchronization) @inproceedings{ Fober:02c ,
title = {Clock Skew Compensation over a High Latency Network}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {ICMA}, url = {ICMC02-ClockSkew.pdf}, year = {2002}, date = {2002-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {548–552}, abstract = {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}, keywords = {clock, communication, music, network, real-time, synchronization}, pubstate = {published}, tppubtype = {inproceedings} } 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
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Malod, Guillaume Etude de l’extension de la notion d’abstraction du lambda-calcul. (Technical Report) 2002. (Abstract | Links | BibTeX | Étiquettes: Elody, lambda-calcul, language, music, programming) @techreport{ Malod:02 ,
title = {Etude de l’extension de la notion d’abstraction du lambda-calcul.}, author = {Guillaume Malod}, editor = {Grame}, url = {FreeGen.pdf}, year = {2002}, date = {2002-01-01}, booktitle = {Technical Report – 02-08-09}, abstract = {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 l’ensemble 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 d’envisager d’autres développements en manipulant des ensembles de termes. A titre d’exemple, on présente les algorithmes permettant d’effectuer les opérations sur les termes discutées précédemment, et enfin le code source commenté d’une implémentation simple en Caml.}, keywords = {Elody, lambda-calcul, language, music, programming}, pubstate = {published}, tppubtype = {techreport} } 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 l’ensemble 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 d’envisager d’autres développements en manipulant des ensembles de termes. A titre d’exemple, on présente les algorithmes permettant d’effectuer les opérations sur les termes discutées précédemment, et enfin le code source commenté d’une implémentation simple en Caml.
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2001 |
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Fober, Dominique; Orlarey, Yann; Letz, Stephane MidiShare Server: a proposed new architecture for the MidiShare Kernel (Technical Report) 2001. (Abstract | Links | BibTeX | Étiquettes: music, operating, real-time, systems) @techreport{ Fober:01e ,
title = {MidiShare Server: a proposed new architecture for the MidiShare Kernel}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {Grame}, url = {msNewArch.pdf}, year = {2001}, date = {2001-01-01}, booktitle = {Technical Note – 01-12-06}, abstract = {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.}, keywords = {music, operating, real-time, systems}, pubstate = {published}, tppubtype = {techreport} } 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.
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1999 |
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Orlarey, Yann; Carbonel,; Konstantas, Dominique; Gibbs, The Distributed Musical Rehearsal Environment (Journal Article) pp. 54–64, 1999. (Abstract | BibTeX | Étiquettes: distributed system, music, real-time) @article{ Orlarey:99b ,
title = {The Distributed Musical Rehearsal Environment}, author = {Yann Orlarey and O. Carbonel and Dominique Konstantas and S. Gibbs}, editor = {IEEE}, year = {1999}, date = {1999-01-01}, booktitle = {IEEE MultiMedia}, pages = {54–64}, abstract = {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.}, keywords = {distributed system, music, real-time}, pubstate = {published}, tppubtype = {article} } 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.
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1997 |
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Leplatre, Gregory Développement d’un opérateur d’abstraction généralisée pour le langage de programmation musicale Elody. (Technical Report) 1997. (Abstract | Links | BibTeX | Étiquettes: Elody, lambda-calcul, language, music, programming) @techreport{ Leplatre:97 ,
title = {Développement d’un opérateur d’abstraction généralisée pour le langage de programmation musicale Elody.}, author = {Gregory Leplatre}, editor = {Grame}, url = {Elody-AbstrGen.pdf}, year = {1997}, date = {1997-01-01}, abstract = {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.}, keywords = {Elody, lambda-calcul, language, music, programming}, pubstate = {published}, tppubtype = {techreport} } 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.
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Carbonel,; Gibbs,; Konstantas,; Orlarey, Distributed Musical Rehearsal (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 279–282, 1997. (Abstract | Links | BibTeX | Étiquettes: distributed system, music, real-time) @inproceedings{ Konstantas:97 ,
title = {Distributed Musical Rehearsal}, author = {Carbonel and Gibbs and Konstantas and Orlarey}, editor = {ICMA}, url = {ICMC97dvp.pdf}, year = {1997}, date = {1997-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {279–282}, abstract = {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.}, keywords = {distributed system, music, real-time}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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Orlarey, Yann; Fober, Dominique; Letz, Stephane Elody : a Java+MidiShare based Music Composition Environment (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 391–394, 1997. (Abstract | Links | BibTeX | Étiquettes: composition, Elody, functional programming, music) @inproceedings{ Orlarey:97 ,
title = {Elody : a Java+MidiShare based Music Composition Environment}, author = {Yann Orlarey and Dominique Fober and Stephane Letz}, editor = {ICMA}, url = {ICMC97elod.pdf}, year = {1997}, date = {1997-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {391–394}, abstract = {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 & Drop actions allowing the user to play in realtime with the language.}, keywords = {composition, Elody, functional programming, music}, pubstate = {published}, tppubtype = {inproceedings} } 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 & Drop actions allowing the user to play in realtime with the language.
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1994 |
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Orlarey, Yann; Fober, Dominique; Letz, Dominique Lambda Calculus and Music Calculi (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 243–250, 1994. (Abstract | Links | BibTeX | Étiquettes: lambda calculus, music) @inproceedings{ Orlarey:94 ,
title = {Lambda Calculus and Music Calculi}, author = {Yann Orlarey and Dominique Fober and Dominique Letz}, editor = {ICMA}, url = {ICMC94LambdaCalc.pdf}, year = {1994}, date = {1994-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {243–250}, abstract = {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.}, keywords = {lambda calculus, music}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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