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
2018 |
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Towards an Open Web Audio Plugin Standard (Inproceeding) Companion Proceedings of the The Web Conference 2018, pp. 759–766, International World Wide Web Conferences Steering Committee, Lyon, France, 2018, ISBN: 978-1-4503-5640-4. (Abstract | Links | BibTeX | Étiquettes: audio effects and instruments, plugin architecture, web standards, webaudio) @inproceedings{Buffa:2018:TOW:3184558.3188737,
title = {Towards an Open Web Audio Plugin Standard}, url = {TowardOpenWebAudioPluginStandard_FINAL1.pdf}, doi = {10.1145/3184558.3188737}, isbn = {978-1-4503-5640-4}, year = {2018}, date = {2018-01-01}, booktitle = {Companion Proceedings of the The Web Conference 2018}, pages = {759–766}, publisher = {International World Wide Web Conferences Steering Committee}, address = {Lyon, France}, series = {WWW ’18}, abstract = {Web Audio is a recent W3C API that brings the world of computer music applications to the browser. Although developers have been actively using it since the first beta implementations in 2012, the number of web apps built using Web Audio API cannot yet compare to the number of commercial and open source audio software tools available on native platforms. Many of the sites using this new technology are of an experimental nature or are very limited in their scope. While JavaScript and Web standards are increasingly flexible and powerful, C and C++ are the languages most often used for real-time audio applications and domain specific languages such as FAUST facilitate rapid development with high performance. Our work aims to create a continuum between native and browser based audio app development and to appeal to programmers from both worlds. This paper presents our proposal including guidelines and proof of concept implementations for an open Web Audio plug-in standard-essentially the infrastructure to support high level audio plug-ins for the browser author = Buffa, Michel and Lebrun, J’erôme and Kleimola, Jari and Larkin, Oliver and Letz, St’ephane}, keywords = {audio effects and instruments, plugin architecture, web standards, webaudio}, pubstate = {published}, tppubtype = {inproceedings} } Web Audio is a recent W3C API that brings the world of computer music applications to the browser. Although developers have been actively using it since the first beta implementations in 2012, the number of web apps built using Web Audio API cannot yet compare to the number of commercial and open source audio software tools available on native platforms. Many of the sites using this new technology are of an experimental nature or are very limited in their scope. While JavaScript and Web standards are increasingly flexible and powerful, C and C++ are the languages most often used for real-time audio applications and domain specific languages such as FAUST facilitate rapid development with high performance. Our work aims to create a continuum between native and browser based audio app development and to appeal to programmers from both worlds. This paper presents our proposal including guidelines and proof of concept implementations for an open Web Audio plug-in standard-essentially the infrastructure to support high level audio plug-ins for the browser author = Buffa, Michel and Lebrun, J’erôme and Kleimola, Jari and Larkin, Oliver and Letz, St’ephane
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An Overview of the FAUST Developer Ecosystem (Inproceeding) Proceedings of the International Faust Conference, Mainz 2018, 2018. (Abstract | Links | BibTeX | Étiquettes: DSP, ecosystem, FAUST) @inproceedings{Letzb:2018,
title = {An Overview of the FAUST Developer Ecosystem}, url = {AnOverviewOfTheFaustEcoystemIFC-18.pdf}, year = {2018}, date = {2018-01-01}, booktitle = {Proceedings of the International Faust Conference, Mainz 2018}, series = {IFC 18}, abstract = {The FAUST language has been designed to provide developers an alternative to C/C++ code, to easily develop and deploy DSP algorithms, effects, instruments etc. The ecosystem is composed of the language and its compiler, as well as different components that help test, benchmark and optimize, and run the resulting code on a large variety of platforms. In this paper we present various architectures files, optimization and testing tools, that have been developed over the years as part of the FAUST ecosystem, in order to expand the use of the compiler on various targets, and help developers optimize their DSP code. Some of them were publicly announced and can help when deploying DSPs, some are more experimental to be tested by more adventurous developers. author = Letz, St’ephane and Orlarey, Yann and Fober, Dominique}, keywords = {DSP, ecosystem, FAUST}, pubstate = {published}, tppubtype = {inproceedings} } The FAUST language has been designed to provide developers an alternative to C/C++ code, to easily develop and deploy DSP algorithms, effects, instruments etc. The ecosystem is composed of the language and its compiler, as well as different components that help test, benchmark and optimize, and run the resulting code on a large variety of platforms. In this paper we present various architectures files, optimization and testing tools, that have been developed over the years as part of the FAUST ecosystem, in order to expand the use of the compiler on various targets, and help developers optimize their DSP code. Some of them were publicly announced and can help when deploying DSPs, some are more experimental to be tested by more adventurous developers. author = Letz, St’ephane and Orlarey, Yann and Fober, Dominique
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MENDING BELLS AND CLOSING BELFRIES WITH FAUST (Inproceeding) Proceedings of the International Faust Conference, Mainz 2018, 2018. (Abstract | Links | BibTeX | Étiquettes: DSP, ecosystem, FAUST) @inproceedings{granzow:2018,
title = {MENDING BELLS AND CLOSING BELFRIES WITH FAUST}, url = {bells-with-faust.pdf}, year = {2018}, date = {2018-01-01}, booktitle = {Proceedings of the International Faust Conference, Mainz 2018}, series = {IFC 18}, abstract = {Finite Element Analyses (FEA) was used to predict the resonant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a concert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Tsar bell was triggered by the keyboard and perceptually fused with the bourdon of the Baird Carillon on the University of Michigan campus in Ann Arbor. author = Granzow, John and Ng, Tiffany and Chafe, Chris and Michon, Romain}, keywords = {DSP, ecosystem, FAUST}, pubstate = {published}, tppubtype = {inproceedings} } Finite Element Analyses (FEA) was used to predict the resonant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a concert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Tsar bell was triggered by the keyboard and perceptually fused with the bourdon of the Baird Carillon on the University of Michigan campus in Ann Arbor. author = Granzow, John and Ng, Tiffany and Chafe, Chris and Michon, Romain
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Blender2faust: from drawn 3d objects to physically based sound models (Inproceeding) Proceedings of the Sound and Music Computing, Limassol, Cyprus, 2018, 2018. (Abstract | Links | BibTeX | Étiquettes: 3D, FAUST, physical modeling) @inproceedings{dimitrov:2018,
title = {Blender2faust: from drawn 3d objects to physically based sound models}, url = {blender2faust.pdf}, year = {2018}, date = {2018-01-01}, booktitle = {Proceedings of the Sound and Music Computing, Limassol, Cyprus, 2018}, series = {SMC 18}, abstract = {Finite Element Analyses (FEA) was used to predict the resonant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a concert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Tsar bell was triggered by the keyboard and perceptually fused with the bourdon of the Baird Carillon on the University of Michigan campus in Ann Arbor. author = Dimitrov, Smilen and Michon, Romain and Serafin, Stefania}, keywords = {3D, FAUST, physical modeling}, pubstate = {published}, tppubtype = {inproceedings} } Finite Element Analyses (FEA) was used to predict the resonant modes of the Tsar Kolokol, a 200 ton fractured bell that sits outside the Kremlin in Moscow. Frequency and displacement data informed a physical model implemented in the Faust programming language (Functional Audio Stream). The authors hosted a concert for Tsar bell and Carillon with the generous support of Meyer Sound and a University of Michigan bicentennial grant. In the concert, the simulated Tsar bell was triggered by the keyboard and perceptually fused with the bourdon of the Baird Carillon on the University of Michigan campus in Ann Arbor. author = Dimitrov, Smilen and Michon, Romain and Serafin, Stefania
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Building Faust with CMake (Inproceeding) Proceedings of the International Faust Conference, Mainz 2018, 2018. (Abstract | Links | BibTeX | Étiquettes: DSP, ecosystem, FAUST) @inproceedings{fober:2018a,
title = {Building Faust with CMake}, url = {building-faust-cmake.pdf}, year = {2018}, date = {2018-01-01}, booktitle = {Proceedings of the International Faust Conference, Mainz 2018}, series = {IFC 18}, abstract = {This paper describes the new Faust building system that is now based on CMake. This new building system preserves the previous Makefile approach as much as possible while offering far more flexibility and above all, a platform independent solution for compiling the various faust components. The paper gives practical information to address basic uses of the building system as well as for advanced and custom settings. author = Fober, Dominique and Orlarey, Yann and Letz, Stephane}, keywords = {DSP, ecosystem, FAUST}, pubstate = {published}, tppubtype = {inproceedings} } This paper describes the new Faust building system that is now based on CMake. This new building system preserves the previous Makefile approach as much as possible while offering far more flexibility and above all, a platform independent solution for compiling the various faust components. The paper gives practical information to address basic uses of the building system as well as for advanced and custom settings. author = Fober, Dominique and Orlarey, Yann and Letz, Stephane
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Faust, du code pour la scène aux cours de code (Inproceeding) CULTURE ET RECHERCHE n° 137 printemps-été 2018, 2018. (Abstract | Links | BibTeX | Étiquettes: enseignement, FAUST, teaching) @inproceedings{orlarey:2018a,
title = {Faust, du code pour la scène aux cours de code}, url = {faust-culture-recherche.pdf}, year = {2018}, date = {2018-01-01}, booktitle = {CULTURE ET RECHERCHE n° 137 printemps-été 2018}, series = {IFC 18}, abstract = {Conçu et utilisé pour des applications de synthèse et de traitement du son ou de lutherie numérique sur scène, le langage de programmation Faust, développé au centre national de création musicale GRAME, est désormais enseigné dans plusieurs universités dans le monde, en particulier au Center for Computer Research in Music and Acoustics de l’université Stanford. author = Orlarey, Yann}, keywords = {enseignement, FAUST, teaching}, pubstate = {published}, tppubtype = {inproceedings} } Conçu et utilisé pour des applications de synthèse et de traitement du son ou de lutherie numérique sur scène, le langage de programmation Faust, développé au centre national de création musicale GRAME, est désormais enseigné dans plusieurs universités dans le monde, en particulier au Center for Computer Research in Music and Acoustics de l’université Stanford. author = Orlarey, Yann
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Letz, St’ephane; Orlarey, Yann; Fober, Dominique FAUST Domain Specific Audio DSP Language Compiled to WebAssembly (Inproceeding) Companion Proceedings of the The Web Conference 2018, pp. 701–709, International World Wide Web Conferences Steering Committee, Lyon, France, 2018, ISBN: 978-1-4503-5640-4. (Abstract | Links | BibTeX | Étiquettes: audio, compilation, Domain Specific Language, DSP, FAUST, keywords{signal processing, webassembly, webaudio}) @inproceedings{Letz:2018:FDS:3184558.3185970,
title = {FAUST Domain Specific Audio DSP Language Compiled to WebAssembly}, author = {Letz, St’ephane and Orlarey, Yann and Fober, Dominique}, url = {faust-thewebconf2018.pdf}, doi = {10.1145/3184558.3185970}, isbn = {978-1-4503-5640-4}, year = {2018}, date = {2018-01-01}, booktitle = {Companion Proceedings of the The Web Conference 2018}, pages = {701–709}, publisher = {International World Wide Web Conferences Steering Committee}, address = {Lyon, France}, series = {WWW ’18}, abstract = {This paper demonstrates how FAUST, a functional programming language for sound synthesis and audio processing, can be used to develop efficient audio code for the Web. After a brief overview of the language, its compiler and the architecture system allowing to deploy the same program as a variety of targets, the generation of WebAssembly code and the deployment of specialized WebAudio nodes will be explained. Several use cases will be presented. Extensive benchmarks to compare the performance of native and WebAssembly versions of the same set of DSP have be done and will be commented}, keywords = {audio, compilation, Domain Specific Language, DSP, FAUST, keywords{signal processing, webassembly, webaudio}}, pubstate = {published}, tppubtype = {inproceedings} } This paper demonstrates how FAUST, a functional programming language for sound synthesis and audio processing, can be used to develop efficient audio code for the Web. After a brief overview of the language, its compiler and the architecture system allowing to deploy the same program as a variety of targets, the generation of WebAssembly code and the deployment of specialized WebAudio nodes will be explained. Several use cases will be presented. Extensive benchmarks to compare the performance of native and WebAssembly versions of the same set of DSP have be done and will be commented
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FAUST2SMARTKEYB: A TOOL TO MAKE MOBILE INSTRUMENTS FOCUSING ON SKILLS TRANSFER IN THE FAUST PROGRAMMING LANGUAGE (Inproceeding) Proceedings of the International Faust Conference, Mainz 2018, 2018. (Abstract | Links | BibTeX | Étiquettes: DSP, ecosystem, FAUST) @inproceedings{michon:2018c,
title = {FAUST2SMARTKEYB: A TOOL TO MAKE MOBILE INSTRUMENTS FOCUSING ON SKILLS TRANSFER IN THE FAUST PROGRAMMING LANGUAGE}, url = {faust2smartkeyb.pdf}, year = {2018}, date = {2018-01-01}, booktitle = {Proceedings of the International Faust Conference, Mainz 2018}, series = {IFC 18}, abstract = {In this paper, we present faust2smartkeyb, a tool to create musical apps for Android and iOS using the FAUST programming language. The use of musical instrument physical models in this context through the FAUST Physical Modeling Library is emphasized. We also demonstrate how this system allows for the design of interfaces facilitating skills transfer from existing musical instruments. author = Michon, Romain and Smith, Julius and Chafe, Chris and Wright, Matthew}, keywords = {DSP, ecosystem, FAUST}, pubstate = {published}, tppubtype = {inproceedings} } In this paper, we present faust2smartkeyb, a tool to create musical apps for Android and iOS using the FAUST programming language. The use of musical instrument physical models in this context through the FAUST Physical Modeling Library is emphasized. We also demonstrate how this system allows for the design of interfaces facilitating skills transfer from existing musical instruments. author = Michon, Romain and Smith, Julius and Chafe, Chris and Wright, Matthew
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THE FAUST PHYSICAL MODELING LIBRARY: A MODULAR PLAYGROUND FOR THE DIGITAL LUTHIER (Inproceeding) Proceedings of the International Faust Conference, Mainz 2018, 2018. (Abstract | Links | BibTeX | Étiquettes: DSP, ecosystem, FAUST) @inproceedings{michon:2018a,
title = {THE FAUST PHYSICAL MODELING LIBRARY: A MODULAR PLAYGROUND FOR THE DIGITAL LUTHIER}, url = {physical-modeling-library.pdf}, year = {2018}, date = {2018-01-01}, booktitle = {Proceedings of the International Faust Conference, Mainz 2018}, series = {IFC 18}, abstract = {This paper introduces the FAUST Physical Modeling Library, an environment to create physical models of musical instruments in a modular way in the FAUST programming language. Low and high level elements can be combined to implement existing or completely novel instruments. Various examples of physical models are provided. The combined use of mesh2faust, a tool to generate FAUST physical models from 3D drawings, and of the FAUST Physical Modeling Library is also demonstrated through the implementation of a marimba physical model. author = Michon, Romain and Smith, Julius and Wang, Ge and Wright, Matthew}, keywords = {DSP, ecosystem, FAUST}, pubstate = {published}, tppubtype = {inproceedings} } This paper introduces the FAUST Physical Modeling Library, an environment to create physical models of musical instruments in a modular way in the FAUST programming language. Low and high level elements can be combined to implement existing or completely novel instruments. Various examples of physical models are provided. The combined use of mesh2faust, a tool to generate FAUST physical models from 3D drawings, and of the FAUST Physical Modeling Library is also demonstrated through the implementation of a marimba physical model. author = Michon, Romain and Smith, Julius and Wang, Ge and Wright, Matthew
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3D Printing and Physical Modeling of Musical Instruments: Casting the Net (Inproceeding) Proceedings of the Sound and Music Computing, Limassol, Cyprus, 2018, 2018. (Abstract | Links | BibTeX | Étiquettes: 3D, FAUST, physical modeling) @inproceedings{michon:2018b,
title = {3D Printing and Physical Modeling of Musical Instruments: Casting the Net}, url = {SMC18-3D-printing.pdf}, year = {2018}, date = {2018-01-01}, booktitle = {Proceedings of the Sound and Music Computing, Limassol, Cyprus, 2018}, series = {SMC 18}, abstract = {Predicting the acoustics of objects from computational models is of interest to instrument designers who increasingly use Computer Assisted Design. We examine techniques to carry out these estimates using a database of impulse responses from 3D printed models and a custom algorithm for mode interpolation within a geometrical matrix. Test geometries are organized as a function of their physical characteristics and placed into a multidimensional space/matrix whose boundaries are defined by the objects at each corner. Finite Element Analyses is integrated into the open-source CAD environment to provide estimates of material vibrations also compared to measurements on the fabricated counterparts. Finally, predicted parameters inform physical models for aural comparisons between fabricated targets and computational estimates. These hybrid methods are reliable for predicting early modes as they covary with changes in scale and shape in our test matrix. author = Michon, Roamin and Chafe, Chris and Granzow, John}, keywords = {3D, FAUST, physical modeling}, pubstate = {published}, tppubtype = {inproceedings} } Predicting the acoustics of objects from computational models is of interest to instrument designers who increasingly use Computer Assisted Design. We examine techniques to carry out these estimates using a database of impulse responses from 3D printed models and a custom algorithm for mode interpolation within a geometrical matrix. Test geometries are organized as a function of their physical characteristics and placed into a multidimensional space/matrix whose boundaries are defined by the objects at each corner. Finite Element Analyses is integrated into the open-source CAD environment to provide estimates of material vibrations also compared to measurements on the fabricated counterparts. Finally, predicted parameters inform physical models for aural comparisons between fabricated targets and computational estimates. These hybrid methods are reliable for predicting early modes as they covary with changes in scale and shape in our test matrix. author = Michon, Roamin and Chafe, Chris and Granzow, John
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WAP: Ideas for a Web Audio Plug-in Standard (Inproceeding) Proceding of the WEB Audio Conference, Berlin 2018, International World Wide Web Conferences Steering Committee, 2018. (Abstract | Links | BibTeX | Étiquettes: audio effects and instruments, plugin architecture, web standards, webaudio) @inproceedings{Buffa:2018,
title = {WAP: Ideas for a Web Audio Plug-in Standard}, url = {WAC-2018-WebAudio_needs_an_OpenPluginStandard.pdf}, year = {2018}, date = {2018-01-01}, booktitle = {Proceding of the WEB Audio Conference, Berlin 2018}, publisher = {International World Wide Web Conferences Steering Committee}, series = {WAC 18}, abstract = {Several native audio plug-in formats are popular today including Steinberg’s VST, Apple’s Audio Units, Avid’s AAX and the Linux audio community’s LV2. Although the APIs are different, all exist to achieve more or less the same thing – represent an instrument or audio effect and allow it to be loaded by a host application. In the Web Audio API such a high-level audio plug-in entity does not exist. With the emergence of web-based audio software such as digital audio workstations (DAWs), it is desirable to have a standard in order to make Web Audio instruments and effects interoperable. Since there are many ways of developing for Web Audio, such a standard should be flexible enough to support different approaches, including using a variety of programming languages. New functionality that is enabled by the web platform should be available to plug-ins written in different ways. To this end, several groups of developers came together to make their work compatible, and this paper presents the work achieved so far. This includes the development of a draft API specification, a small preliminary SDK, online plug-in validators and a set of examples written in JavaScript. These simple, proof of concept examples show how to discover plug-ins from repositories, how to instantiate a plug-in and how to connect plug-ins together. A more ambitious host has also been developed to validate the WAP standard: a virtual guitar “pedal board” that discovers plug-ins from multiple remote repositories, and allows the musician to chain pedals and control them via MIDI. author = Buffa, Michel and Lebrun, J’erôme and Kleimola, Jari and Larkin, Oliver and Pellerin, Guillaume and Letz, St’ephane}, keywords = {audio effects and instruments, plugin architecture, web standards, webaudio}, pubstate = {published}, tppubtype = {inproceedings} } Several native audio plug-in formats are popular today including Steinberg’s VST, Apple’s Audio Units, Avid’s AAX and the Linux audio community’s LV2. Although the APIs are different, all exist to achieve more or less the same thing – represent an instrument or audio effect and allow it to be loaded by a host application. In the Web Audio API such a high-level audio plug-in entity does not exist. With the emergence of web-based audio software such as digital audio workstations (DAWs), it is desirable to have a standard in order to make Web Audio instruments and effects interoperable. Since there are many ways of developing for Web Audio, such a standard should be flexible enough to support different approaches, including using a variety of programming languages. New functionality that is enabled by the web platform should be available to plug-ins written in different ways. To this end, several groups of developers came together to make their work compatible, and this paper presents the work achieved so far. This includes the development of a draft API specification, a small preliminary SDK, online plug-in validators and a set of examples written in JavaScript. These simple, proof of concept examples show how to discover plug-ins from repositories, how to instantiate a plug-in and how to connect plug-ins together. A more ambitious host has also been developed to validate the WAP standard: a virtual guitar “pedal board” that discovers plug-ins from multiple remote repositories, and allows the musician to chain pedals and control them via MIDI. author = Buffa, Michel and Lebrun, J’erôme and Kleimola, Jari and Larkin, Oliver and Pellerin, Guillaume and Letz, St’ephane
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2017 |
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Fober, Dominique; Orlarey, Yann; Letz, Stéphane INScore Time Model (Inproceeding) Proceedings of the International Computer Music Conference, pp. 64–68, 2017. (Abstract | Links | BibTeX | Étiquettes: dynamic score, inscore, music score, time model) @inproceedings{fober17c,
title = {INScore Time Model}, author = {Dominique Fober and Yann Orlarey and Stéphane Letz}, url = {inscore-icmc17-final.pdf}, year = {2017}, date = {2017-10-16}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {64–68}, abstract = {INScore is an environment for augmented interactive music score design, oriented towards unconventional uses of music notation, without excluding conventional approaches. In this environment, although all the objects of a score have a temporal dimension, the time remains fixed i.e., the date (or duration) of an object does not change, except when a message is received (sent from an external application or resulting from events handling). Thus, INScore does not include a time manager in the classic sense of the term. This choice was based on the fact that the system was originally designed to be used with sound production software (e.g., Max/MSP, Pure Data), that have more strict real-time constraints than INScore’s graphical environment. However, the need to introduce dynamic time has gradually emerged, leading to an original model, both continuous and event based. The paper presents this model and its properties in the frame on INScore.}, keywords = {dynamic score, inscore, music score, time model}, pubstate = {published}, tppubtype = {inproceedings} } INScore is an environment for augmented interactive music score design, oriented towards unconventional uses of music notation, without excluding conventional approaches. In this environment, although all the objects of a score have a temporal dimension, the time remains fixed i.e., the date (or duration) of an object does not change, except when a message is received (sent from an external application or resulting from events handling). Thus, INScore does not include a time manager in the classic sense of the term. This choice was based on the fact that the system was originally designed to be used with sound production software (e.g., Max/MSP, Pure Data), that have more strict real-time constraints than INScore’s graphical environment. However, the need to introduce dynamic time has gradually emerged, leading to an original model, both continuous and event based. The paper presents this model and its properties in the frame on INScore.
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Fober, Dominique; Orlarey, Yann; Letz, Stéphane Towards dynamic and animated music notation using INScore (Inproceeding) Ciciliato, Vincent; Orlarey, Yann; Pottier, Laurent (Ed.): Proceedings of the Linux Audio Conference — LAC 2017, pp. 43–51, CIEREC, Saint Etienne, 2017. (Abstract | Links | BibTeX | Étiquettes: dynamic score, inscore, interactive score, score composition, sensors) @inproceedings{fober17a,
title = {Towards dynamic and animated music notation using INScore}, author = {Dominique Fober and Yann Orlarey and Stéphane Letz}, editor = {Vincent Ciciliato and Yann Orlarey and Laurent Pottier}, url = {inscore-lac2017-final.pdf}, year = {2017}, date = {2017-05-18}, booktitle = {Proceedings of the Linux Audio Conference — LAC 2017}, pages = {43–51}, publisher = {CIEREC}, address = {Saint Etienne}, abstract = {INScore is an environment for the design of augmented interactive music scores opened to conventional and non-conventional use of the music notation. The system has been presented at LAC 2012 and has significantly evolved since, with improvements turned to dynamic and animated notation. This paper presents the latest features and notably the dynamic time model, the events system, the scripting language, the symbolic scores composition engine, the network and Web extensions, the interaction processes representation system and the set of sensor objects.}, keywords = {dynamic score, inscore, interactive score, score composition, sensors}, pubstate = {published}, tppubtype = {inproceedings} } INScore is an environment for the design of augmented interactive music scores opened to conventional and non-conventional use of the music notation. The system has been presented at LAC 2012 and has significantly evolved since, with improvements turned to dynamic and animated notation. This paper presents the latest features and notably the dynamic time model, the events system, the scripting language, the symbolic scores composition engine, the network and Web extensions, the interaction processes representation system and the set of sensor objects.
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Fober, Dominique; Orlarey, Yann; Letz, Stéphane Le modèle du temps dans INScore (Inproceeding) Couprie, Pierre; Davy-Rigaux, C’ecile; Genevois, Hugues; Liao, Lin-Ni; Malt, Mikhail; Maniguet, Thierry; Mifune, Marie-France (Ed.): Actes des Journées d’Informatique Musicale JIM’17, Collegium Musicæ, Paris, France, 2017. (Abstract | Links | BibTeX | Étiquettes: dynamic score, inscore, interactive score) @inproceedings{fober17b,
title = {Le modèle du temps dans INScore}, author = {Dominique Fober and Yann Orlarey and Stéphane Letz}, editor = {Pierre Couprie and C’ecile Davy-Rigaux and Hugues Genevois and Lin-Ni Liao and Mikhail Malt and Thierry Maniguet and Marie-France Mifune}, url = {inscore-jim2017-final.pdf}, year = {2017}, date = {2017-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM’17}, publisher = {Collegium Musicæ}, address = {Paris, France}, abstract = {INScore est un environnement pour la conception de partition interactives augmentées, tourné vers des usages non conventionnels de la notation musicale, sans exclure pour autant les approches classiques. Dans cet environnement, bien que tous les objets de la partition aient une dimension temporelle, le temps reste fixe i.e. que la date (ou la durée) d’un objet ne change pas, sauf à réception d’un message qui ne peut être produit que de manière externe ou événementielle. INScore n’inclut donc pas de gestionnaire du temps au sens classique du terme. A l’origine, ce choix a été dicté par le fait que le système fut conçu pour des usages couplés avec des logiciels de production sonore (e.g. Max/MSP, Pure Data), qui ont des contraintes de temps-réel plus strictes que l’environnement graphique d’INScore. Toutefois, la nécessité d’introduire un temps dynamique a progressivement émergé, conduisant à un modèle original, à la fois événementiel et continu. C’est ce modèle qui est présenté et ses propriétés dans l’environnement d’INScore.}, keywords = {dynamic score, inscore, interactive score}, pubstate = {published}, tppubtype = {inproceedings} } INScore est un environnement pour la conception de partition interactives augmentées, tourné vers des usages non conventionnels de la notation musicale, sans exclure pour autant les approches classiques. Dans cet environnement, bien que tous les objets de la partition aient une dimension temporelle, le temps reste fixe i.e. que la date (ou la durée) d’un objet ne change pas, sauf à réception d’un message qui ne peut être produit que de manière externe ou événementielle. INScore n’inclut donc pas de gestionnaire du temps au sens classique du terme. A l’origine, ce choix a été dicté par le fait que le système fut conçu pour des usages couplés avec des logiciels de production sonore (e.g. Max/MSP, Pure Data), qui ont des contraintes de temps-réel plus strictes que l’environnement graphique d’INScore. Toutefois, la nécessité d’introduire un temps dynamique a progressivement émergé, conduisant à un modèle original, à la fois événementiel et continu. C’est ce modèle qui est présenté et ses propriétés dans l’environnement d’INScore.
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Albouy, Adrien; Letz, Stéphane Faust audio DSP language for JUCE (Inproceeding) Ciciliato, Vincent; Orlarey, Yann; Pottier, Laurent (Ed.): Proceedings of the Linux Audio Conference — LAC 2017, pp. 61–68, CIEREC, Saint Etienne, 2017. (Abstract | Links | BibTeX | Étiquettes: audio, Domain Specific Language, DSP, FAUST, JUCE, real-time) @inproceedings{albouy17,
title = {Faust audio DSP language for JUCE}, author = {Adrien Albouy and Stéphane Letz}, editor = {Vincent Ciciliato and Yann Orlarey and Laurent Pottier}, url = {08_C_B_137208.pdf}, year = {2017}, date = {2017-01-01}, booktitle = {Proceedings of the Linux Audio Conference — LAC 2017}, pages = {61–68}, publisher = {CIEREC}, address = {Saint Etienne}, abstract = {Faust [Functional Audio Stream] is a functional programming language specifically designed for real- time signal processing and synthesis [1]. It consists of a compiler that translates a Faust program into an equivalent C++ program, taking care of generat- ing the most efficient code. JUCE is an open-source cross-platform C++ application framework devel- oped since 2004, and bought by ROLI1 in Novem- ber 2014, used for the development of desktop and mobile applications. A new feature to the Faust environnement is the addition of architectures files to provide the glue between the Faust C++ output and the JUCE framework. This article presents the overall design of the architecture files for JUCE.}, keywords = {audio, Domain Specific Language, DSP, FAUST, JUCE, real-time}, pubstate = {published}, tppubtype = {inproceedings} } Faust [Functional Audio Stream] is a functional programming language specifically designed for real- time signal processing and synthesis [1]. It consists of a compiler that translates a Faust program into an equivalent C++ program, taking care of generat- ing the most efficient code. JUCE is an open-source cross-platform C++ application framework devel- oped since 2004, and bought by ROLI1 in Novem- ber 2014, used for the development of desktop and mobile applications. A new feature to the Faust environnement is the addition of architectures files to provide the glue between the Faust C++ output and the JUCE framework. This article presents the overall design of the architecture files for JUCE.
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Letz, Stéphane; Orlarey, Yann; Fober, Dominique; Michon, Romain Polyphony, sample-accurate control and MIDI support for FAUST DSP using combinable architecture files (Inproceeding) Ciciliato, Vincent; Orlarey, Yann; Pottier, Laurent (Ed.): Proceedings of the Linux Audio Conference — LAC 2017, pp. 69–75, CIEREC, Saint Etienne, 2017. (Abstract | Links | BibTeX | Étiquettes: audio, DSP programming, FAUST, MIDI) @inproceedings{letz17a,
title = {Polyphony, sample-accurate control and MIDI support for FAUST DSP using combinable architecture files}, author = {Stéphane Letz and Yann Orlarey and Dominique Fober and Romain Michon}, editor = {Vincent Ciciliato and Yann Orlarey and Laurent Pottier}, url = {09_C_B_137724.pdf}, year = {2017}, date = {2017-01-01}, booktitle = {Proceedings of the Linux Audio Conference — LAC 2017}, pages = {69–75}, publisher = {CIEREC}, address = {Saint Etienne}, abstract = {The Faust architecture files ecosystem is regularly enriched with new targets to deploy Digital Signal Processing (DSP) programs. This paper presents re-cently developed techniques to expand the standard one DSP source, one program or plugin model, and to better control parameter changes during the audio computation. Sample accurate control and polyphonic instruments definition have been introduced, and will be explained particularly in the context of MIDI control.}, keywords = {audio, DSP programming, FAUST, MIDI}, pubstate = {published}, tppubtype = {inproceedings} } The Faust architecture files ecosystem is regularly enriched with new targets to deploy Digital Signal Processing (DSP) programs. This paper presents re-cently developed techniques to expand the standard one DSP source, one program or plugin model, and to better control parameter changes during the audio computation. Sample accurate control and polyphonic instruments definition have been introduced, and will be explained particularly in the context of MIDI control.
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Michon, Romain; Smith, Julius; Chafe, Chris; Letz, Stéphane; Orlarey, Yann faust2api: a Comprehensive API Generator for Android and iOS (Inproceeding) Ciciliato, Vincent; Orlarey, Yann; Pottier, Laurent (Ed.): Proceedings of the Linux Audio Conference — LAC 2017, pp. 77-82, CIEREC, Saint Etienne, 2017. (Abstract | Links | BibTeX | Étiquettes: Android, FAUST, iOS, Mobile Instruments) @inproceedings{michon17a,
title = {faust2api: a Comprehensive API Generator for Android and iOS}, author = {Romain Michon and Julius Smith and Chris Chafe and Stéphane Letz and Yann Orlarey}, editor = {Vincent Ciciliato and Yann Orlarey and Laurent Pottier}, url = {10_C_C_137485N.pdf}, year = {2017}, date = {2017-01-01}, booktitle = {Proceedings of the Linux Audio Conference — LAC 2017}, pages = {77-82}, publisher = {CIEREC}, address = {Saint Etienne}, abstract = {We introduce faust2api, a tool to generate custom DSP engines for Android and iOS using the Faust programming language. Faust DSP ob jects can easily be turned into MIDI-controllable polyphonic synthesizers or audio effects with built-in sensors support, etc. The various elements of the DSP engine can be accessed through a high-level API, made uniform across platforms and languages. This paper provides technical details on the implementation of this system as well as an evaluation of its various features.}, keywords = {Android, FAUST, iOS, Mobile Instruments}, pubstate = {published}, tppubtype = {inproceedings} } We introduce faust2api, a tool to generate custom DSP engines for Android and iOS using the Faust programming language. Faust DSP ob jects can easily be turned into MIDI-controllable polyphonic synthesizers or audio effects with built-in sensors support, etc. The various elements of the DSP engine can be accessed through a high-level API, made uniform across platforms and languages. This paper provides technical details on the implementation of this system as well as an evaluation of its various features.
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Michon, Romain; Smith, Julius; Orlarey, Yann New Signal Processing Libraries for Faust (Inproceeding) Ciciliato, Vincent; Orlarey, Yann; Pottier, Laurent (Ed.): Proceedings of the Linux Audio Conference — LAC 2017, pp. 83–87, CIEREC, Saint Etienne, 2017. (Abstract | Links | BibTeX | Étiquettes: Computer Music Programming Language, digital signal processing, FAUST) @inproceedings{michon17b,
title = {New Signal Processing Libraries for Faust}, author = {Romain Michon and Julius Smith and Yann Orlarey}, editor = {Vincent Ciciliato and Yann Orlarey and Laurent Pottier}, url = {11_C_C_137486.pdf}, year = {2017}, date = {2017-01-01}, booktitle = {Proceedings of the Linux Audio Conference — LAC 2017}, pages = {83–87}, publisher = {CIEREC}, address = {Saint Etienne}, abstract = {We present a completely re-organized set of signal processing libraries for the Faust programming language. They aim at providing a clearer classification of the different Faust DSP functions, as well as better documentation. After giving an overview of this new system, we provide technical details about its implementation. Finally, we evaluate it and give ideas for future directions.}, keywords = {Computer Music Programming Language, digital signal processing, FAUST}, pubstate = {published}, tppubtype = {inproceedings} } We present a completely re-organized set of signal processing libraries for the Faust programming language. They aim at providing a clearer classification of the different Faust DSP functions, as well as better documentation. After giving an overview of this new system, we provide technical details about its implementation. Finally, we evaluate it and give ideas for future directions.
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2016 |
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Lepetit-Aimon, Gabriel; Fober, Dominique; Orlarey, Yann; Letz, Stéphane Composition de partitions symboliques dans INScore (Inproceeding) Actes des Journées d’Informatique Musicale JIM’16 – Albi, pp. 54–60, 2016. (Abstract | Links | BibTeX | Étiquettes: composition, interaction, partition musicale) @inproceedings{lepetit16,
title = {Composition de partitions symboliques dans INScore}, author = {Gabriel Lepetit-Aimon and Dominique Fober and Yann Orlarey and Stéphane Letz}, url = {inscore-jim16-final.pdf}, year = {2016}, date = {2016-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM’16 – Albi}, pages = {54–60}, abstract = {INScore est un environnement pour la conception de partition interactives augmentées, tourné vers des usages non conventionnels de la notation musicale. L’environnement permet d’utiliser et de composer des ressources graphiques arbitraires pour la représentation de la musique aussi bien que de la notation symbolique aux formats GMN (Guido Music Notation) ou MusicXML. INScore a été étendu pour fournir des opérations de composition de partitions en notation symbolique avec un jeu d’opérateurs qui de manière consistante, prennent des partitions en entrée pour produire une partition en sortie. L’API d’INScore inclut des score expressions, aussi bien au niveau OSC que dans son langage de script. Le travail présenté est basé sur une recherche précédente qui a porté sur les problèmes de consistance de la notation musicale à travers des opérations de composition de partitions. Ce sont les aspects langage et stratégies d’évaluation des score expressions qui sont abordés ici.}, keywords = {composition, interaction, partition musicale}, pubstate = {published}, tppubtype = {inproceedings} } INScore est un environnement pour la conception de partition interactives augmentées, tourné vers des usages non conventionnels de la notation musicale. L’environnement permet d’utiliser et de composer des ressources graphiques arbitraires pour la représentation de la musique aussi bien que de la notation symbolique aux formats GMN (Guido Music Notation) ou MusicXML. INScore a été étendu pour fournir des opérations de composition de partitions en notation symbolique avec un jeu d’opérateurs qui de manière consistante, prennent des partitions en entrée pour produire une partition en sortie. L’API d’INScore inclut des score expressions, aussi bien au niveau OSC que dans son langage de script. Le travail présenté est basé sur une recherche précédente qui a porté sur les problèmes de consistance de la notation musicale à travers des opérations de composition de partitions. Ce sont les aspects langage et stratégies d’évaluation des score expressions qui sont abordés ici.
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Lepetit-Aimon, Gabriel; Fober, Dominique; Orlarey, Yann; Letz, Stéphane INScore expressions to compose symbolic scores (Inproceeding) Hoadley, Richard; Nash, Chris; Fober, Dominique (Ed.): Proceedings of the International Conference on Technologies for Music Notation and Representation – TENOR2016, pp. 137–143, Anglia Ruskin University, Cambridge, UK, 2016, ISBN: 978-0-9931461-1-4. (Abstract | Links | BibTeX | Étiquettes: inscore, interaction, music score, score composition) @inproceedings{Lepetit-Aimon_tenor2016,
title = {INScore expressions to compose symbolic scores}, author = {Gabriel Lepetit-Aimon and Dominique Fober and Yann Orlarey and Stéphane Letz}, editor = {Richard Hoadley and Chris Nash and Dominique Fober}, url = {inscore-tenor-2016.pdf}, isbn = {978-0-9931461-1-4}, year = {2016}, date = {2016-01-01}, booktitle = {Proceedings of the International Conference on Technologies for Music Notation and Representation – TENOR2016}, pages = {137–143}, publisher = {Anglia Ruskin University}, address = {Cambridge, UK}, abstract = {INScore is an environment for the design of augmented interactive music scores turned to non-conventional use of music notation. The environment allows arbitrary graphic resources to be used and composed for the music representation. It supports symbolic music notation, described us- ing Guido Music Notation or MusicXML formats. The environment has been extended to provided score level com- position using a set of operators that consistently take scores as arguments to compute new scores as output. INScore API supports now score expressions both at OSC and at scripting levels. The work is based on a previous research that solved the issues of the notation consistency across scores composition. This paper focuses on the language level and explains the different strategies to evaluate score expressions.}, keywords = {inscore, interaction, music score, score composition}, pubstate = {published}, tppubtype = {inproceedings} } INScore is an environment for the design of augmented interactive music scores turned to non-conventional use of music notation. The environment allows arbitrary graphic resources to be used and composed for the music representation. It supports symbolic music notation, described us- ing Guido Music Notation or MusicXML formats. The environment has been extended to provided score level com- position using a set of operators that consistently take scores as arguments to compute new scores as output. INScore API supports now score expressions both at OSC and at scripting levels. The work is based on a previous research that solved the issues of the notation consistency across scores composition. This paper focuses on the language level and explains the different strategies to evaluate score expressions.
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Orlarey, Yann; Jouvelot, Pierre Signal Rate Inference for Multidimensional Faust (Inproceeding) Proceedings of the 28th Symposium on the Implementation and Application of Functional Programming Languages, pp. 1:1–1:12, ACM, Leuven, Belgium, 2016, ISBN: 978-1-4503-4767-9, (a1-orlarey.pdf). (Abstract | Links | BibTeX | Étiquettes: audio signal processing, FAUST, rate inference, type systems) @inproceedings{Orlarey:2016:SRI:3064899.3064902,
title = {Signal Rate Inference for Multidimensional Faust}, author = {Yann Orlarey and Pierre Jouvelot}, doi = {10.1145/3064899.3064902}, isbn = {978-1-4503-4767-9}, year = {2016}, date = {2016-01-01}, booktitle = {Proceedings of the 28th Symposium on the Implementation and Application of Functional Programming Languages}, pages = {1:1–1:12}, publisher = {ACM}, address = {Leuven, Belgium}, series = {IFL 2016}, abstract = {We introduce a new signal-level, type- and rate-based semantic framework for describing a multirate version of the functional, domain-specic Faust language, dedicated to audio signal processing, and here extended to support array-valued samples. If Faust is usually viewed as a formalism for combining signal processors, which are expressions mapping input signals to output signals, we provide here the first formal, lower-level semantics for Faust based on signals instead. In addition to its interest in understanding the inner workings of the Faust compiler, which uses symbolic evaluation of signal expressions, this approach turns out to be useful when introducing a language extension targeting multirate and multidimensional (array-valued) processing. More precisely, we provide (1) new syntax and dynamic semantics for (recursive) Faust-based signals, (2) a type and, more interestingly, rational rate static semantics and (3) a new rate inference algorithm, together with its soundness and (relative) completeness theorems.}, note = {a1-orlarey.pdf}, keywords = {audio signal processing, FAUST, rate inference, type systems}, pubstate = {published}, tppubtype = {inproceedings} } We introduce a new signal-level, type- and rate-based semantic framework for describing a multirate version of the functional, domain-specic Faust language, dedicated to audio signal processing, and here extended to support array-valued samples. If Faust is usually viewed as a formalism for combining signal processors, which are expressions mapping input signals to output signals, we provide here the first formal, lower-level semantics for Faust based on signals instead. In addition to its interest in understanding the inner workings of the Faust compiler, which uses symbolic evaluation of signal expressions, this approach turns out to be useful when introducing a language extension targeting multirate and multidimensional (array-valued) processing.
More precisely, we provide (1) new syntax and dynamic semantics for (recursive) Faust-based signals, (2) a type and, more interestingly, rational rate static semantics and (3) a new rate inference algorithm, together with its soundness and (relative) completeness theorems. |
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Donat-Bouillud, Pierre; Giavitto, Jean-Louis; Cont, Arshia; Schmidt, Nicolas; Orlarey, Yann Embedding native audio-processing in a score following system with quasi sample accuracy (Inproceeding) ICMC 2016 – 42th International Computer Music Conference, Utrecht, Netherlands, 2016. (Abstract | Links | BibTeX | Étiquettes: multimedia ; buffer ; scheduling ; samplerate ; audio) @inproceedings{donatbouillud:hal-01349524,
title = {Embedding native audio-processing in a score following system with quasi sample accuracy}, author = {Donat-Bouillud, Pierre and Giavitto, Jean-Louis and Cont, Arshia and Schmidt, Nicolas and Orlarey, Yann}, url = {antescofo_ICMC2016.pdf}, year = {2016}, date = {2016-01-01}, booktitle = {ICMC 2016 – 42th International Computer Music Conference}, address = {Utrecht, Netherlands}, abstract = {This paper reports on the experimental native embedding of audio processing into the Antescofo system, to leverage timing precision both at the program and system level, to accommodate time-driven (audio processing) and event-driven (control) computations, and to preserve system behaviour on multiple hardware platforms. Here native embedding means that audio computations can be specified using dedicated DSLs (e.g., Faust) compiled on-the-fly and driven by the Antescofo scheduler. We showcase results through an example of an interactive piece by composer Pierre Boulez, Anthèmes 2 for violin and live electronics.}, keywords = {multimedia ; buffer ; scheduling ; samplerate ; audio}, pubstate = {published}, tppubtype = {inproceedings} } This paper reports on the experimental native embedding of audio processing into the Antescofo system, to leverage timing precision both at the program and system level, to accommodate time-driven (audio processing) and event-driven (control) computations, and to preserve system behaviour on multiple hardware platforms. Here native embedding means that audio computations can be specified using dedicated DSLs (e.g., Faust) compiled on-the-fly and driven by the Antescofo scheduler. We showcase results through an example of an interactive piece by composer Pierre Boulez, Anthèmes 2 for violin and live electronics.
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Denoux, Sarah; Orlarey, Yann; Letz, Stéphane; Fober, Dominique CALCUL D’UNE EXPRESSION FAUST ‘EQUIVALENTE `A PARTIR D’UN GRAPHE D’APPLICATIONS (Inproceeding) Journées d’Informatique Musicale (JIM 2016), AFIM Albi, France, 2016. (Abstract | Links | BibTeX | Étiquettes: FAUST ; Composition ; Web ; programmation DSP) @inproceedings{denoux:hal-01301817,
title = {CALCUL D’UNE EXPRESSION FAUST ‘EQUIVALENTE `A PARTIR D’UN GRAPHE D’APPLICATIONS}, author = {Denoux, Sarah and Orlarey, Yann and Letz, Stéphane and Fober, Dominique}, url = {Denoux-JIM-2016.pdf}, year = {2016}, date = {2016-01-01}, booktitle = {Journées d’Informatique Musicale (JIM 2016)}, address = {Albi, France}, organization = {AFIM}, series = {Journées d’Informatique Musicale 2016}, abstract = {Nous proposons une méthode permettant de traduire un graphe de programmes FAUST, en un programme FAUST équivalent. Le programme ainsi obtenu peut être compilé, et donc bénéficier de toutes les optimisations du compilateur FAUST, mais il peut également être exporté vers les différentes plate-formes supportées par FAUST (VST, Max/MSP, SuperCollider, Csound, etc.). Nous décrivons l’algorithme qui parcourt le graphe et calcule l’expression FAUST équivalente ainsi que les principes de modularité de FAUST qui permettent de combiner les fichiers sources pour réaliser l’opération. De plus, nous présentons une implémentation de l’algorithme dans le cadre de l’application FaustPlayground.}, keywords = {FAUST ; Composition ; Web ; programmation DSP}, pubstate = {published}, tppubtype = {inproceedings} } Nous proposons une méthode permettant de traduire un graphe de programmes FAUST, en un programme FAUST équivalent. Le programme ainsi obtenu peut être compilé, et donc bénéficier de toutes les optimisations du compilateur FAUST, mais il peut également être exporté vers les différentes plate-formes supportées par FAUST (VST, Max/MSP, SuperCollider, Csound, etc.). Nous décrivons l’algorithme qui parcourt le graphe et calcule l’expression FAUST équivalente ainsi que les principes de modularité de FAUST qui permettent de combiner les fichiers sources pour réaliser l’opération. De plus, nous présentons une implémentation de l’algorithme dans le cadre de l’application FaustPlayground.
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2015 |
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Fober, Dominique; Gouilloux, Guillaume; Orlarey, Yann; Letz, Stéphane Distributing Music Scores to Mobile Platforms and to the Internet using INScore (Inproceeding) Proceedings of the Sound and Music Computing conference — SMC’15, pp. 229–233, 2015. (Abstract | Links | BibTeX | Étiquettes: graphic, programming, score, web music) @inproceedings{Fober:15b,
title = {Distributing Music Scores to Mobile Platforms and to the Internet using INScore}, author = {Dominique Fober and Guillaume Gouilloux and Yann Orlarey and Stéphane Letz}, url = {inscore-web-SMC15.pdf}, year = {2015}, date = {2015-07-30}, booktitle = {Proceedings of the Sound and Music Computing conference — SMC’15}, pages = {229–233}, abstract = {Music notation is facing new musical forms such as electronic and/or interactive music, live coding, hybridizations with dance, design, multimedia. It is also facing the migration of musical instruments to gestural and mobile platforms, which poses the question of new scores usages on devices that mostly lack the necessary graphic space to display the music in a traditional setting and approach. Music scores distributed and shared on the Internet start also to be the support of innovative musical practices, which raises other issues, notably regarding dynamic and collaborative music scores. This paper introduces some of the perspectives opened by the migration of music scores to mobile platforms and to the Internet and it presents the approach adopted with INScore, an environment for the design of augmented, interactive music scores.}, keywords = {graphic, programming, score, web music}, pubstate = {published}, tppubtype = {inproceedings} } Music notation is facing new musical forms such as electronic and/or interactive music, live coding, hybridizations with dance, design, multimedia. It is also facing the migration of musical instruments to gestural and mobile platforms, which poses the question of new scores usages on devices that mostly lack the necessary graphic space to display the music in a traditional setting and approach. Music scores distributed and shared on the Internet start also to be the support of innovative musical practices, which raises other issues, notably regarding dynamic and collaborative music scores. This paper introduces some of the perspectives opened by the migration of music scores to mobile platforms and to the Internet and it presents the approach adopted with INScore, an environment for the design of augmented, interactive music scores.
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Battier, Marc; Bresson, Jean; Couprie, Pierre; Davy-Rigaux, Cécile; Fober, Dominique; Geslin, Yann; Genevois, Hugues; Picard, François; Tacaille, Alice (Ed.) Proceedings of the First International Conference on Technologies for Music Notation and Representation – TENOR2015 (Proceeding) Institut de Recherche en Musicologie, IReMus, Paris, France, 2015. (Links | BibTeX | Étiquettes: technology ; notation ; music) @proceedings{tenor2015,
title = {Proceedings of the First International Conference on Technologies for Music Notation and Representation – TENOR2015}, editor = {Marc Battier and Jean Bresson and Pierre Couprie and Cécile Davy-Rigaux and Dominique Fober and Yann Geslin and Hugues Genevois and François Picard and Alice Tacaille}, url = {TENOR-2015-Proceedings.pdf}, year = {2015}, date = {2015-05-29}, publisher = {Institut de Recherche en Musicologie, IReMus}, address = {Paris, France}, keywords = {technology ; notation ; music}, pubstate = {published}, tppubtype = {proceedings} } |
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Fober, Dominique; Bresson, Jean; Couprie, Pierre; Geslin, Yann Les nouveaux espaces de la notation musicale (Inproceeding) Journées d’Informatique Musicale, Faculté de musique de l’Université de Montréal Montréal, Canada, 2015. (Abstract | Links | BibTeX | Étiquettes: Notation musicale ; informatique) @inproceedings{fober15a,
title = {Les nouveaux espaces de la notation musicale}, author = {Dominique Fober and Jean Bresson and Pierre Couprie and Yann Geslin}, url = {GT-Notation-final.pdf}, year = {2015}, date = {2015-05-07}, booktitle = {Journées d’Informatique Musicale}, address = {Montréal, Canada}, organization = {Faculté de musique de l’Université de Montréal}, abstract = {La notation de la musique sert les besoins de la représentation, de l’écriture et de la création artistique. Confrontée aux nouvelles formes musicales comme les musiques électroniques, les oeuvres interactives, le live coding, aux phénomènes de migration de l’instrument musical vers des plates-formes gestuelles et mobiles, aux hybridations avec la danse, le design, le multimédia, la partition contemporaine est souvent étendue, éclatée sur des supports différents, revisitée à travers de nouvelles formes d’écriture. Cet article fait le point sur les évolutions actuelles de la notation musicale et sur les outils informatiques émergents pour servir ses besoins.}, keywords = {Notation musicale ; informatique}, pubstate = {published}, tppubtype = {inproceedings} } La notation de la musique sert les besoins de la représentation, de l’écriture et de la création artistique. Confrontée aux nouvelles formes musicales comme les musiques électroniques, les oeuvres interactives, le live coding, aux phénomènes de migration de l’instrument musical vers des plates-formes gestuelles et mobiles, aux hybridations avec la danse, le design, le multimédia, la partition contemporaine est souvent étendue, éclatée sur des supports différents, revisitée à travers de nouvelles formes d’écriture. Cet article fait le point sur les évolutions actuelles de la notation musicale et sur les outils informatiques émergents pour servir ses besoins.
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Solomon, Mike; Fober, Dominique Un modèle relationnel de la gravure musicale. (Inproceeding) Actes des Journées d’Informatique Musicale JIM2015, Montréal, Canada, 2015. (Abstract | Links | BibTeX | Étiquettes: Music notation, purcell) @inproceedings{solomon15a,
title = {Un modèle relationnel de la gravure musicale.}, author = {Mike Solomon and Dominique Fober}, url = {Purcell.pdf}, year = {2015}, date = {2015-05-07}, booktitle = {Actes des Journées d’Informatique Musicale JIM2015}, address = {Montréal, Canada}, abstract = {Cet article a pour objet d’élaborer un modèle relationnel de la gravure musicale. Les bases de données relationnelles, de plus en plus répandues comme solution de stockage de données, permettent de résoudre les problèmes d’indépendance et d’incohérence des données qui entravent la migration vers le web des logiciels de gravure musicale. Cette conception relationnelle de la partition musicale permet également de faire des projections arbitraires des partitions dans plusieurs contextes numériques. Après avoir survolé l’état de l’art de la gravure musicale assistée par ordinateur, l’article propose un modèle relationnel de la gravure avant de conclure avec une discussion sur le lien entre le modèle relationnel et d’autres systèmes d’encodage musical.}, keywords = {Music notation, purcell}, pubstate = {published}, tppubtype = {inproceedings} } Cet article a pour objet d’élaborer un modèle relationnel de la gravure musicale. Les bases de données relationnelles, de plus en plus répandues comme solution de stockage de données, permettent de résoudre les problèmes d’indépendance et d’incohérence des données qui entravent la migration vers le web des logiciels de gravure musicale. Cette conception relationnelle de la partition musicale permet également de faire des projections arbitraires des partitions dans plusieurs contextes numériques. Après avoir survolé l’état de l’art de la gravure musicale assistée par ordinateur, l’article propose un modèle relationnel de la gravure avant de conclure avec une discussion sur le lien entre le modèle relationnel et d’autres systèmes d’encodage musical.
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Letz, Stéphane; Denoux, Sarah; Orlarey, Yann; Fober, Dominique Faust audio DSP language in the Web (Inproceeding) Proceedings of the Linux Audio Conference, pp. 29–36, GRAME 2015. (Abstract | Links | BibTeX | Étiquettes: Domain Specific Language, DSP, FAUST, real-time, Web Audio API) @inproceedings{letz15a,
title = {Faust audio DSP language in the Web}, author = {Stéphane Letz and Sarah Denoux and Yann Orlarey and Dominique Fober}, url = {Faust-web-lac.pdf}, year = {2015}, date = {2015-04-10}, booktitle = {Proceedings of the Linux Audio Conference}, pages = {29–36}, organization = {GRAME}, abstract = {With the advent of both HTML5 and the Web Audio API (a high-level JavaScript API for audio process- ing and synthesis) interesting audio applications can now be developed for the Web. The Web Audio API offers a set of fast predefined audio nodes as well as customizable ScriptProcessor node, allowing developers to add their own javascript audio processing code. Several projects are developing abstractions on top of the Web Audio API to extend its capabilities, and offer more complex unit generators, DSP effects libraries, or adapted syntax. This paper brings an- other approach based on the use of the Faust audio DSP language to develop additional nodes to be used as basic audio DSP blocks in the Web Audio graph. Different methods have been explored: going from an experimental version that embeds the complete Faust native compilation chain (based on libfaust + LLVM) in the browser, to more portable solutions using JavaScript or the much more efficient asm.js version. Embedding the Faust compiler it- self as a pure JavaScript library (produced using Emscripten) will also be described.The advantages and issues of each approach will be discussed and some benchmarks will be given.}, keywords = {Domain Specific Language, DSP, FAUST, real-time, Web Audio API}, pubstate = {published}, tppubtype = {inproceedings} } With the advent of both HTML5 and the Web Audio API (a high-level JavaScript API for audio process- ing and synthesis) interesting audio applications can now be developed for the Web. The Web Audio API offers a set of fast predefined audio nodes as well as customizable ScriptProcessor node, allowing developers to add their own javascript audio processing code. Several projects are developing abstractions on top of the Web Audio API to extend its capabilities, and offer more complex unit generators, DSP effects libraries, or adapted syntax. This paper brings an- other approach based on the use of the Faust audio DSP language to develop additional nodes to be used as basic audio DSP blocks in the Web Audio graph. Different methods have been explored: going from an experimental version that embeds the complete Faust native compilation chain (based on libfaust + LLVM) in the browser, to more portable solutions using JavaScript or the much more efficient asm.js version. Embedding the Faust compiler it- self as a pure JavaScript library (produced using Emscripten) will also be described.The advantages and issues of each approach will be discussed and some benchmarks will be given.
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Denoux, Sarah; Orlarey, Yann; Letz, Stéphane Composing a Web of Audio Applications (Inproceeding) Proceedings of the Web Audio Conference, GRAME 2015. (Abstract | Links | BibTeX | Étiquettes: Composability, DSP programming, FAUST, web) @inproceedings{denoux15a,
title = {Composing a Web of Audio Applications}, author = {Sarah Denoux and Yann Orlarey and Stéphane Letz}, url = {WAC.pdf}, year = {2015}, date = {2015-01-27}, booktitle = {Proceedings of the Web Audio Conference}, organization = {GRAME}, abstract = {The Web offers a great opportunity to share, deploy and use programs without installation difficulties. In this article we explore the idea of freely combining/composing real-time audio applications deployed on the Web using Faust audio DSP language.}, keywords = {Composability, DSP programming, FAUST, web}, pubstate = {published}, tppubtype = {inproceedings} } The Web offers a great opportunity to share, deploy and use programs without installation difficulties. In this article we explore the idea of freely combining/composing real-time audio applications deployed on the Web using Faust audio DSP language.
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Antoniadis, Pavlos; Bevilacqua, Frédéric; Fober, Dominique Proceedings of the 9th Conference on Interdisciplinary Musicology — CIM14. Berlin, Germany, 2014. (Abstract | Links | BibTeX | Étiquettes: gesture, inscore, music pedagogy, score) @inproceedings{antoniadis:cim14,
title = {Gesture cutting through textual complexity: Towards a tool for online gestural analysis and control of complex piano notation processing}, author = {Pavlos Antoniadis and Frédéric Bevilacqua and Dominique Fober}, url = {CIM14-final.pdf}, year = {2014}, date = {2014-12-04}, booktitle = {Proceedings of the 9th Conference on Interdisciplinary Musicology — CIM14. Berlin, Germany}, abstract = {This project introduces a recently developed prototype for real-time processing and control of complex piano notation through the pianist’s gesture. The tool materializes an embodied cognition-influenced paradigm of interaction of pianists with complex notation (embodied or corporeal navigation), drawing from latest developments in the computer music fields of musical representation (augmented and interactive musical scores via INScore) and of multimodal interaction (Gesture Follower). Gestural, video, audio and MIDI data are appropriately mapped on the musical score, turning it into a personalized, dynamic, multimodal tablature. This tablature may be used for efficient learning, performance and archiving, with potential applications in pedagogy, composition, improvisation and score following. The underlying metaphor for such a tool is that instrumentalists touch or cut through notational complexity using performative gestures, as much as they touch their own keyboards. Their action on the instrument forms integral part of their understanding, which can be represented as a gestural processing of the notation. Next to the already mentioned applications, new perspectives in piano performance of post-1945 complex notation and in musicology (‘performative turn’), as well as the emerging field of ‘embodied and extended cognition’, are indispensable for this project. }, keywords = {gesture, inscore, music pedagogy, score}, pubstate = {published}, tppubtype = {inproceedings} } This project introduces a recently developed prototype for real-time processing and control of complex piano notation through the pianist’s gesture. The tool materializes an embodied cognition-influenced paradigm of interaction of pianists with complex notation (embodied or corporeal navigation), drawing from latest developments in the computer music fields of musical representation (augmented and interactive musical scores via INScore) and of multimodal interaction (Gesture Follower). Gestural, video, audio and MIDI data are appropriately mapped on the musical score, turning it into a personalized, dynamic, multimodal tablature. This tablature may be used for efficient learning, performance and archiving, with potential applications in pedagogy, composition, improvisation and score following. The underlying metaphor for such a tool is that instrumentalists touch or cut through notational complexity using performative gestures, as much as they touch their own keyboards. Their action on the instrument forms integral part of their understanding, which can be represented as a gestural processing of the notation. Next to the already mentioned applications, new perspectives in piano performance of post-1945 complex notation and in musicology (‘performative turn’), as well as the emerging field of ‘embodied and extended cognition’, are indispensable for this project.
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Fober, Dominique; Orlarey, Yann; Letz, Stéphane Augmented Interactive Scores for Music Creation (Inproceeding) Proceedings of Korean Electro-Acoustic Music Society’s 2014 Annual Conference [KEAMSAC2014], pp. 85–91, 2014. (Abstract | Links | BibTeX | Étiquettes: interaction, music score) @inproceedings{fober14c,
title = {Augmented Interactive Scores for Music Creation}, author = {Dominique Fober and Yann Orlarey and Stéphane Letz}, url = {fober-keamsac-2014-final.pdf}, year = {2014}, date = {2014-10-09}, booktitle = {Proceedings of Korean Electro-Acoustic Music Society’s 2014 Annual Conference [KEAMSAC2014]}, pages = {85–91}, abstract = {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.}, keywords = {interaction, music score}, pubstate = {published}, tppubtype = {inproceedings} } 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.
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Letz, Stéphane; Denoux, Sarah; Orlarey, Yann Audio Rendering/Processing and Control Ubiquity ? a Solution Built Using the Faust Dynamic Compiler and JACK/NetJack (Inproceeding) Proceedings of the ICMC/SMC 2014, pp. 1518–1523, 2014. (Abstract | Links | BibTeX | Étiquettes: audio, Domain Specific Language, DSP, FAUST, real-time) @inproceedings{letz14b,
title = {Audio Rendering/Processing and Control Ubiquity ? a Solution Built Using the Faust Dynamic Compiler and JACK/NetJack}, author = {Stéphane Letz and Sarah Denoux and Yann Orlarey}, url = {Faust-icmc.pdf}, year = {2014}, date = {2014-09-17}, booktitle = {Proceedings of the ICMC/SMC 2014}, pages = {1518–1523}, abstract = {We usually think of an audio application as a self-contained executable that will compute audio, allow user interface control, and render sound in a single process, on a unique machine. With the appearance of fast network and sophisticated, light and wireless control devices (such as tablets, smart- phones…) the three different parts (that are audio computation, interface control and sound rendering) can naturally be decoupled to run on different processes on a given machine, or even on different machines (on a LAN or WAN network). We describe a solution to run and control audio DSP on different machines based on FAUST audio DSP language and JACK/NetJack network audio real-time layer.}, keywords = {audio, Domain Specific Language, DSP, FAUST, real-time}, pubstate = {published}, tppubtype = {inproceedings} } We usually think of an audio application as a self-contained executable that will compute audio, allow user interface control, and render sound in a single process, on a unique machine. With the appearance of fast network and sophisticated, light and wireless control devices (such as tablets, smart- phones…) the three different parts (that are audio computation, interface control and sound rendering) can naturally be decoupled to run on different processes on a given machine, or even on different machines (on a LAN or WAN network). We describe a solution to run and control audio DSP on different machines based on FAUST audio DSP language and JACK/NetJack network audio real-time layer.
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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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Denoux, Sarah; Letz, Stéphane; Orlarey, Yann; Fober, Dominique FaustLive : Un compilateur à la volée pour Faust… et bien plus encore (Inproceeding) Actes des Journées de l’informatique Musicale, 2014. (Abstract | Links | BibTeX | Étiquettes: audio, contrôle et calculs à distance, FAUST, Programmation de DSP) @inproceedings{FaustLive-JIM,
title = {FaustLive : Un compilateur à la volée pour Faust… et bien plus encore}, author = {Sarah Denoux and Stéphane Letz and Yann Orlarey and Dominique Fober}, url = {FaustLive-JIM.pdf}, year = {2014}, date = {2014-05-24}, booktitle = {Actes des Journées de l’informatique Musicale}, journal = {Actes des Journées de l’informatique Musicale 2014}, abstract = {FaustLive est une application qui, grâce à son compilateur Faust embarqué, se propose de réunir le confort d\’un langage interprété avec l\’efficacité d\’un langage compilé. Basée sur libfaust, une librairie qui offre une chaîne de compilation complète en mémoire, FaustLive ne requiert aucun outil externe (compilateur, éditeur de lien, …) pour traduire du code FAUST en code machine exécutable. Par l\’intermédiaire de cette technologie, FaustLive offre de multiples fonctionnalités. Par exemple, il est possible de glisser un nouveau fichier DSP sur une application FAUST en fonctionnement pour remplacer son comportement et ce, sans interruption du son. Il est aussi possible de transférer une application qui fonctionne en local, sur une autre machine, même si celle-ci utilise un système d\’exploitation différent.}, keywords = {audio, contrôle et calculs à distance, FAUST, Programmation de DSP}, pubstate = {published}, tppubtype = {inproceedings} } FaustLive est une application qui, grâce à son compilateur Faust embarqué, se propose de réunir le confort d’un langage interprété avec l’efficacité d’un langage compilé. Basée sur libfaust, une librairie qui offre une chaîne de compilation complète en mémoire, FaustLive ne requiert aucun outil externe (compilateur, éditeur de lien, …) pour traduire du code FAUST en code machine exécutable. Par l’intermédiaire de cette technologie, FaustLive offre de multiples fonctionnalités. Par exemple, il est possible de glisser un nouveau fichier DSP sur une application FAUST en fonctionnement pour remplacer son comportement et ce, sans interruption du son. Il est aussi possible de transférer une application qui fonctionne en local, sur une autre machine, même si celle-ci utilise un système d’exploitation différent.
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Denoux, Sarah; Letz, Stéphane; Orlarey, Yann; Fober, Dominique FaustLive: Just-In-Time Faust Compiler… and much more (Inproceeding) Proceedings of the Linux Audio Conference, GRAME 2014. (Abstract | Links | BibTeX | Étiquettes: audio, DSP programming, FAUST, remote processing and interfacing) @inproceedings{FaustLive,
title = {FaustLive: Just-In-Time Faust Compiler… and much more}, author = {Sarah Denoux and Stéphane Letz and Yann Orlarey and Dominique Fober}, url = {FaustLive-LAC.pdf}, year = {2014}, date = {2014-05-01}, booktitle = {Proceedings of the Linux Audio Conference}, organization = {GRAME}, abstract = {FaustLive is a standalone just-in-time Faust compiler. It tries to bring together the conve- nience of a standalone interpreted language with the efficiency of a compiled language. Based on libfaust, a library that provides a full in- memory compilation chain, FaustLive doesn\’t require any external tool (compiler, linker, etc.) to translate Faust source code into binary ex- ecutable code. Thanks to this technology, FaustLive pro- vides several advanced features. For example it is possible, while a Faust application is run- ning, to modify its behavior on-the-fly without any sound interruption. It is also possible to mi- grate a running application from one machine to another, etc.}, keywords = {audio, DSP programming, FAUST, remote processing and interfacing}, pubstate = {published}, tppubtype = {inproceedings} } FaustLive is a standalone just-in-time Faust compiler. It tries to bring together the conve- nience of a standalone interpreted language with the efficiency of a compiled language. Based on libfaust, a library that provides a full in- memory compilation chain, FaustLive doesn’t require any external tool (compiler, linker, etc.) to translate Faust source code into binary ex- ecutable code. Thanks to this technology, FaustLive pro- vides several advanced features. For example it is possible, while a Faust application is run- ning, to modify its behavior on-the-fly without any sound interruption. It is also possible to mi- grate a running application from one machine to another, etc.
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Letz, Stéphane; Orlarey, Yann; Fober, Dominique Spécification de l’extension LibAudioStream. (Technical Report) 2014. (Abstract | Links | BibTeX | Étiquettes: music score, processus, visualisation) @techreport{letz14a,
title = {Spécification de l’extension LibAudioStream.}, author = {Stéphane Letz and Yann Orlarey and Dominique Fober}, editor = {Grame}, url = {l32a-libaudiostream.pdf}, year = {2014}, date = {2014-03-24}, abstract = {LibAudioStream est un moteur de rendu audionumérique disponible sous forme de librairie, permettant de manipuler des ressources audio à travers le concept de flux. Ce moteur est facilement intégrable dans des applications qui nécessitent de jouer des fichiers son, des montages audio, et d’appliquer des effets et des traitements DSP en temps-réel. Une algèbre de description, de composition et de transformation des flux audio permet de construire des expressions complexes, que l’on va pouvoir ordonnancer à des dates précises dans le futur, et dont le rendu sera ensuite exécuté en temps réel le moment venu. L’application a un contrôle à l’échantillon près de ce qui est fait et à quel moment, tout en étant déchargée des calculs audio temps réel proprement dit. Ce rapport donne une description formelle du langage d’expressions et des fonctionnalités de LibAudioStream.}, keywords = {music score, processus, visualisation}, pubstate = {published}, tppubtype = {techreport} } LibAudioStream est un moteur de rendu audionumérique disponible sous forme de librairie, permettant de manipuler des ressources audio à travers le concept de flux. Ce moteur est facilement intégrable dans des applications qui nécessitent de jouer des fichiers son, des montages audio, et d’appliquer des effets et des traitements DSP en temps-réel. Une algèbre de description, de composition et de transformation des flux audio permet de construire des expressions complexes, que l’on va pouvoir ordonnancer à des dates précises dans le futur, et dont le rendu sera ensuite exécuté en temps réel le moment venu. L’application a un contrôle à l’échantillon près de ce qui est fait et à quel moment, tout en étant déchargée des calculs audio temps réel proprement dit. Ce rapport donne une description formelle du langage d’expressions et des fonctionnalités de LibAudioStream.
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Orlarey, Yann; Letz, Stéphane; Fober, Dominique Version librairie du compilateur Faust. (Technical Report) 2014. (Abstract | Links | BibTeX | Étiquettes: audio, Domain Specific Language, DSP, FAUST, real-time) @techreport{orlarey14a,
title = {Version librairie du compilateur Faust.}, author = {Yann Orlarey and Stéphane Letz and Dominique Fober}, editor = {Grame}, url = {libfaust-INEDIT-2014.pdf}, year = {2014}, date = {2014-02-16}, abstract = {Faust est un langage de programmation de type fonctionnel synchrone conçu spécifiquement pour la synthèse et le traitement du signal audio-numérique en temps-réel. L’objectif de WP3.4 est de développer une version embarquable du compilateur Faust (appelée libfaust) pouvant être intégrée aux différentes applications du projet INEDIT. L’intérêt pour ces applications est de disposer ainsi d’une chaîne de compilation complète, permettant de traduire les traitements synchrones, écrites en Faust, en code binaire exécutable fonctionnant donc à vitesse native. En s’appuyant sur la technologie LLVM cette chaîne de compilation est totalement autonome et ne dépend d’aucun outil de développement extérieur. Ceci facilite grandement le déploiement auprès d’utilisateurs non informaticiens. Elle est en outre très rapide, rendant ainsi dans de nombreux cas la phase de compilation transparente pour l’utilisateur. Le rapport présente la libraire libfaust, l’infrastructure de compilation LLVM, et trois applications de cette technologie : faustgen ̃ un plugin Max/MSP permettant d’éditer, de compiler et d’exécuter du code Faust depuis Max, FaustNode, une extension de la WebAudio API permettant de compiler et d’exécuter du code Faust depuis un navigateur Web et faustcsound, un ensemble de quatre opcodes pour intégrer Faust dans le langage Csound.}, keywords = {audio, Domain Specific Language, DSP, FAUST, real-time}, pubstate = {published}, tppubtype = {techreport} } Faust est un langage de programmation de type fonctionnel synchrone conçu spécifiquement pour la synthèse et le traitement du signal audio-numérique en temps-réel. L’objectif de WP3.4 est de développer une version embarquable du compilateur Faust (appelée libfaust) pouvant être intégrée aux différentes applications du projet INEDIT. L’intérêt pour ces applications est de disposer ainsi d’une chaîne de compilation complète, permettant de traduire les traitements synchrones, écrites en Faust, en code binaire exécutable fonctionnant donc à vitesse native. En s’appuyant sur la technologie LLVM cette chaîne de compilation est totalement autonome et ne dépend d’aucun outil de développement extérieur. Ceci facilite grandement le déploiement auprès d’utilisateurs non informaticiens. Elle est en outre très rapide, rendant ainsi dans de nombreux cas la phase de compilation transparente pour l’utilisateur. Le rapport présente la libraire libfaust, l’infrastructure de compilation LLVM, et trois applications de cette technologie : faustgen ̃ un plugin Max/MSP permettant d’éditer, de compiler et d’exécuter du code Faust depuis Max, FaustNode, une extension de la WebAudio API permettant de compiler et d’exécuter du code Faust depuis un navigateur Web et faustcsound, un ensemble de quatre opcodes pour intégrer Faust dans le langage Csound.
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Grame, GuidoLib v.1.52 (Technical Manual) Grame, (Ed.): 2014. (Abstract | Links | BibTeX | Étiquettes: API reference, Guido library) @manual{ guidolib1.52 ,
title = {GuidoLib v.1.52}, author = {Grame}, editor = {Grame}, url = {guidolib-1.52.pdf}, year = {2014}, date = {2014-01-01}, abstract = {The GUIDOLib project aims at the development of a generic, portable library and API for the graphical rendering of musical scores. The library is based on the GUIDO Music Notation format as the underlying data format. This document describes the library C/C++ API.}, keywords = {API reference, Guido library}, pubstate = {published}, tppubtype = {manual} } The GUIDOLib project aims at the development of a generic, portable library and API for the graphical rendering of musical scores. The library is based on the GUIDO Music Notation format as the underlying data format. This document describes the library C/C++ API.
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Grame, Guido Engine Web API Documentation v.0.50 (Technical Manual) Grame, (Ed.): 2014. (Abstract | Links | BibTeX | Étiquettes: API reference, Guido library, RESTFul, web) @manual{ guidoweb0.50 ,
title = {Guido Engine Web API Documentation v.0.50}, author = {Grame}, editor = {Grame}, url = {GuidoEngineWebAPI-0.50.pdf}, year = {2014}, date = {2014-01-01}, abstract = {The GUIDOLib project aims at the development of a generic, portable library and API for the graphical rendering of musical scores. The library is based on the GUIDO Music Notation format as the underlying data format. This document describes the RESTFul web service based on the library that provides the library API as an http API.}, keywords = {API reference, Guido library, RESTFul, web}, pubstate = {published}, tppubtype = {manual} } The GUIDOLib project aims at the development of a generic, portable library and API for the graphical rendering of musical scores. The library is based on the GUIDO Music Notation format as the underlying data format. This document describes the RESTFul web service based on the library that provides the library API as an http API.
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Solomon, Mike; Fober, Dominique; Orlarey, Yann; Letz, Stéphane Providing Music Notation Services over Internet (Inproceeding) Proceedings of the Linux Audio Conference, pp. 91-96, Karlsruhe, Allemagne, 2014. (Abstract | Links | BibTeX | Étiquettes: Guido; Music score; restful web service) @inproceedings{solomon:2014a,
title = {Providing Music Notation Services over Internet}, author = {Mike Solomon and Dominique Fober and Yann Orlarey and Stéphane Letz}, url = {solomon14a.pdf}, year = {2014}, date = {2014-01-01}, booktitle = {Proceedings of the Linux Audio Conference}, pages = {91-96}, address = {Karlsruhe, Allemagne}, abstract = {The GUIDO project gathers a textual format for music representation, a rendering engine operating on this format, and a library providing a high level support for all the services related to the GUIDO format and it’s graphic rendering. The project includes now an HTTP server that allows users to access the musical-score-related functions in the API of the GUIDOEngine library via uniform resource identifiers (URIs). This article resumes the core tenants of the REST architecture on which the GUIDO server is based, going on to explain how the server ports a C/C++ API to the web. It concludes with several examples as well as a discussion of how the REST architecture is well suited to a web-API that serves as a wrapper for another API.}, keywords = {Guido; Music score; restful web service}, pubstate = {published}, tppubtype = {inproceedings} } The GUIDO project gathers a textual format for music representation, a rendering engine operating on this format, and a library providing a high level support for all the services related to the GUIDO format and it’s graphic rendering. The project includes now an HTTP server that allows users to access the musical-score-related functions in the API of the GUIDOEngine library via uniform resource identifiers (URIs). This article resumes the core tenants of the REST architecture on which the GUIDO server is based, going on to explain how the server ports a C/C++ API to the web. It concludes with several examples as well as a discussion of how the REST architecture is well suited to a web-API that serves as a wrapper for another API.
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Solomon, Mike; Fober, Dominique; Orlarey, Yann; Letz, Stéphane Déploiement des services du moteur de rendu de partitions GUIDO sur Internet (Inproceeding) Actes des Journées d’Informatique Musicale, pp. 42-46, Bourges, France, 2014. (Abstract | Links | BibTeX | Étiquettes: Partition musicale; music notation; Web API; RESTFUL) @inproceedings{solomon:2014b,
title = {Déploiement des services du moteur de rendu de partitions GUIDO sur Internet}, author = {Mike Solomon and Dominique Fober and Yann Orlarey and Stéphane Letz}, url = {solomon14b.pdf}, year = {2014}, date = {2014-01-01}, booktitle = {Actes des Journées d’Informatique Musicale}, pages = {42-46}, address = {Bourges, France}, abstract = {La librairie Guido embarque un moteur de rendu de partitions musicales et fournit une API de haut niveau pour un ensemble de services liés au rendu de partition. Cette librairie est désormais embarquée dans un serveur HTTP qui permet d’accéder à son interface par le biais d’identifiants de ressource uniformes (URI). Après avoir décrit le style d’architecture representational state transfer (REST) sur lequel repose le serveur, l’article montre comment l’API C/C++ de la librairie est rendue accessible sous forme de requêtes HTTP.}, keywords = {Partition musicale; music notation; Web API; RESTFUL}, pubstate = {published}, tppubtype = {inproceedings} } La librairie Guido embarque un moteur de rendu de partitions musicales et fournit une API de haut niveau pour un ensemble de services liés au rendu de partition. Cette librairie est désormais embarquée dans un serveur HTTP qui permet d’accéder à son interface par le biais d’identifiants de ressource uniformes (URI). Après avoir décrit le style d’architecture representational state transfer (REST) sur lequel repose le serveur, l’article montre comment l’API C/C++ de la librairie est rendue accessible sous forme de requêtes HTTP.
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Roi, Camille Le; Decron, Colas; Fober, Dominique Extension de Guido aux notations contemporaines (Inproceeding) Actes des Journées d’Informatique Musicale, pp. 17-24, Bourges, France, 2014. (Abstract | Links | BibTeX | Étiquettes: GUIDO, Music notation, partition musicale) @inproceedings{leroi:14,
title = {Extension de Guido aux notations contemporaines}, author = {Camille Le Roi and Colas Decron and Dominique Fober}, url = {leroi-decron14.pdf}, year = {2014}, date = {2014-01-01}, booktitle = {Actes des Journées d’Informatique Musicale}, pages = {17-24}, address = {Bourges, France}, abstract = {Le projet GUIDO regroupe à la fois un format textuel de description de partitions musicales, un moteur de rendu basé sur ce format, et une librairie qui fournit aux développeurs d’applications, un support de haut niveau pour l’ensemble des services liés au format GUIDO et à son rendu sous forme graphique. A l’origine, le projet GUIDO traite de la notation traditionnelle de la musique occidentale. Le projet a été récemment étendu, tant du point de vue du format que du point de vue du rendu, pour adresser également les besoins les plus courants de la musique contemporaine. Cet article présente ces extensions et montre comment les choix de design fournissent à l’utilisateur une large palette de solutions pour la notation de la musique.}, keywords = {GUIDO, Music notation, partition musicale}, pubstate = {published}, tppubtype = {inproceedings} } Le projet GUIDO regroupe à la fois un format textuel de description de partitions musicales, un moteur de rendu basé sur ce format, et une librairie qui fournit aux développeurs d’applications, un support de haut niveau pour l’ensemble des services liés au format GUIDO et à son rendu sous forme graphique. A l’origine, le projet GUIDO traite de la notation traditionnelle de la musique occidentale. Le projet a été récemment étendu, tant du point de vue du format que du point de vue du rendu, pour adresser également les besoins les plus courants de la musique contemporaine. Cet article présente ces extensions et montre comment les choix de design fournissent à l’utilisateur une large palette de solutions pour la notation de la musique.
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Fober, Dominique; Letz, Stéphane; Orlarey, Yann Programmation événementielle de partitions musicales interactives. (Inproceeding) Actes des Journées d’Informatique Musicale JIM2013, Paris, 2013. (Abstract | Links | BibTeX | Étiquettes: inscore, interaction, OSC, programming, score) @inproceedings{fober13a,
title = {Programmation événementielle de partitions musicales interactives.}, author = {Dominique Fober and Stéphane Letz and Yann Orlarey}, url = {jim2013_11.pdf}, year = {2013}, date = {2013-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM2013, Paris}, abstract = {INSCORE est un environnement pour la conception de partitions musicales interactives qui intègre un système original d\’interaction basé sur des événements et sur un langage de script permettant d\’associer des messages arbitraires à ces événements. Initialement conçu pour être piloté via OSC, la version textuelle des messages OSC s\’est rapidement constituée en format de stockage, puis étendue en un langage de script permettant une plus grande souplesse dans la description des partitions et des interactions avec ces partitions. Cet article présente ce langage de script et illustre notamment ses capacités à décrire des interactions sous forme événementielle, tout en restant dans l\’espace temporel.}, keywords = {inscore, interaction, OSC, programming, score}, pubstate = {published}, tppubtype = {inproceedings} } INSCORE est un environnement pour la conception de partitions musicales interactives qui intègre un système original d’interaction basé sur des événements et sur un langage de script permettant d’associer des messages arbitraires à ces événements. Initialement conçu pour être piloté via OSC, la version textuelle des messages OSC s’est rapidement constituée en format de stockage, puis étendue en un langage de script permettant une plus grande souplesse dans la description des partitions et des interactions avec ces partitions. Cet article présente ce langage de script et illustre notamment ses capacités à décrire des interactions sous forme événementielle, tout en restant dans l’espace temporel.
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Guedy, Fabrice; Bevilacqua, Frederic; Fober, Dominique; Robert, Loïc Etudier et jouer une oeuvre musicale en manipulant des objets. (Inproceeding) Actes des Journées d’Informatique Musicale JIM2013, Paris, 2013. (Abstract | Links | BibTeX | Étiquettes: interaction, musique, pédagogie) @inproceedings{guedy13a,
title = {Etudier et jouer une oeuvre musicale en manipulant des objets.}, author = {Fabrice Guedy and Frederic Bevilacqua and Dominique Fober and Loïc Robert}, url = {jim2013_08.pdf}, year = {2013}, date = {2013-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM2013, Paris}, abstract = {Cet article présente trois expériences musicales et pédagogiques menées à l\’Atelier des Feuillantines. Elles s\’inscrivent dans le cadre de divers projets nationaux comme « Interlude » ou « Musique Lab 2 ». Certains de ces projets visent à préfigurer ce que pourrait être l\’écoute d\’une oeuvre au moyen de technologies de suivi de geste, dans des contextes allant de la pédagogie musicale aux installations grand public, d\’autres sont explicitement axés sur le développement de nouveaux outils croisant pédagogie et création. Les trois expériences décrites dans cet article appartiennent à deux grandes catégories. La première concerne l\’utilisation d\’un outil associant des gestes, une partition et un enregistrement, la seconde consiste à jouer une oeuvre, en l\’occurrence ici le canon par tons de l\’Offrande Musicale de Bach, et une partie de la Rousserolle Effarvatte d\’Olivier Messiaen à partir de leurs constituants de base matérialisés par des objets dont la manipulation coïncide avec des traitements reproduisant le « mouvement » de la composition.}, keywords = {interaction, musique, pédagogie}, pubstate = {published}, tppubtype = {inproceedings} } Cet article présente trois expériences musicales et pédagogiques menées à l’Atelier des Feuillantines. Elles s’inscrivent dans le cadre de divers projets nationaux comme « Interlude » ou « Musique Lab 2 ». Certains de ces projets visent à préfigurer ce que pourrait être l’écoute d’une oeuvre au moyen de technologies de suivi de geste, dans des contextes allant de la pédagogie musicale aux installations grand public, d’autres sont explicitement axés sur le développement de nouveaux outils croisant pédagogie et création. Les trois expériences décrites dans cet article appartiennent à deux grandes catégories. La première concerne l’utilisation d’un outil associant des gestes, une partition et un enregistrement, la seconde consiste à jouer une oeuvre, en l’occurrence ici le canon par tons de l’Offrande Musicale de Bach, et une partie de la Rousserolle Effarvatte d’Olivier Messiaen à partir de leurs constituants de base matérialisés par des objets dont la manipulation coïncide avec des traitements reproduisant le « mouvement » de la composition.
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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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Fober, Dominique Caractérisation et représentation des processus musicaux. (Technical Report) 2013. (Abstract | Links | BibTeX | Étiquettes: music score, processus, visualisation) @techreport{fober13c,
title = {Caractérisation et représentation des processus musicaux.}, author = {Dominique Fober}, editor = {Grame}, url = {inedit-l2.1.a.pdf}, year = {2013}, date = {2013-01-01}, abstract = {Ce rapport présente une étude préliminaire réalisée dans le cadre du projet ANR INEDIT. L’objectif est de définir les éléments de caractérisation des processus musicaux et la maniére de les représenter, pouvant servir notamment à une représentation des processus musicaux au sein de la partition musicale.}, keywords = {music score, processus, visualisation}, pubstate = {published}, tppubtype = {techreport} } Ce rapport présente une étude préliminaire réalisée dans le cadre du projet ANR INEDIT. L’objectif est de définir les éléments de caractérisation des processus musicaux et la maniére de les représenter, pouvant servir notamment à une représentation des processus musicaux au sein de la partition musicale.
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Janin, David; Berthaut, Florent; Desainte-Catherine, Myriam; Orlarey, Yann; Salvati, Sylvain The T-Calculus : towards a structured programing of (musical) time and space (Inproceeding) FARM 2013, pp. 23-34, Boston, United States, 2013. (Abstract | Links | BibTeX | Étiquettes: event based programing, Interactive music, synchronous programing, tiled programing) @inproceedings{janin:hal-00789189b,
title = {The T-Calculus : towards a structured programing of (musical) time and space}, author = { David Janin and Florent Berthaut and Myriam Desainte-Catherine and Yann Orlarey and Sylvain Salvati}, url = {T-Calculus.pdf}, doi = {10.1145/2505341.2505347}, year = {2013}, date = {2013-01-01}, booktitle = {FARM 2013}, pages = {23-34}, address = {Boston, United States}, abstract = {In the field of music system programming, the T-calculus is a proposal for combining space modeling and time programming into a single programming feature: spatiotemporal tiled programming. Based on a solid algebraic model, it aims at decomposing every operation on musical objects into the sequence of a synchronization operation that describes how objects are positioned one with respect the other, and a fusion operation that describes how their values are then combined. A first simple version of such a tiled calculus is presented and studied in this paper.}, keywords = {event based programing, Interactive music, synchronous programing, tiled programing}, pubstate = {published}, tppubtype = {inproceedings} } In the field of music system programming, the T-calculus is a proposal for combining space modeling and time programming into a single programming feature: spatiotemporal tiled programming. Based on a solid algebraic model, it aims at decomposing every operation on musical objects into the sequence of a synchronization operation that describes how objects are positioned one with respect the other, and a fusion operation that describes how their values are then combined. A first simple version of such a tiled calculus is presented and studied in this paper.
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Letz, Stéphane; Fober, Dominique; Orlarey, Yann Comment embarquer le compilateur Faust dans vos applications ? (Inproceeding) Actes des Journ’ees d’Informatique Musicale JIM2013, Paris, pp. 137–140, 2013. (Abstract | Links | BibTeX | Étiquettes: compilation, FAUST, programming, signal processing) @inproceedings{letz13,
title = {Comment embarquer le compilateur Faust dans vos applications ?}, author = {Stéphane Letz and Dominique Fober and Yann Orlarey}, url = {jim2013_17.pdf}, year = {2013}, date = {2013-01-01}, booktitle = {Actes des Journ’ees d’Informatique Musicale JIM2013, Paris}, pages = {137–140}, abstract = {Le compilateur Faust est désormais disponible sous la forme d’une librairie nommée libfaust. Associée à la technologie LLVM, cette librairie peut être embarquée dans n’importe quelle application ou plugin audio, leur permet- tant ainsi de compiler et d’exécuter dynamiquement du code Faust de manière native, aussi efficacement que du code compilé traditionnel. L’article présente la libraire libfaust, l’infrastructure de compilation LLVM, et deux applications de cette technologie : faustgen ̃ un plugin Max/MSP permettant d’éditer, de compiler et d’exécuter du code Faust depuis Max, et FaustNode, une extension de la WebAudio API permet- tant de compiler et d’exécuter du code Faust depuis un navigateur Web. }, keywords = {compilation, FAUST, programming, signal processing}, pubstate = {published}, tppubtype = {inproceedings} } Le compilateur Faust est désormais disponible sous la forme d’une librairie nommée libfaust. Associée à la technologie LLVM, cette librairie peut être embarquée dans n’importe quelle application ou plugin audio, leur permet- tant ainsi de compiler et d’exécuter dynamiquement du code Faust de manière native, aussi efficacement que du code compilé traditionnel.
L’article présente la libraire libfaust, l’infrastructure de compilation LLVM, et deux applications de cette technologie : faustgen ̃ un plugin Max/MSP permettant d’éditer, de compiler et d’exécuter du code Faust depuis Max, et FaustNode, une extension de la WebAudio API permet- tant de compiler et d’exécuter du code Faust depuis un navigateur Web. |
2012 |
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Barkati, Karim; Orlarey, Yann; Barthélemy, Jérôme Abstraction du processus temps réel : une stratégie pour la préservation à long terme (Inproceeding) Revue Francophone d’Informatique Musicale, MSH Paris, 2012. (Abstract | Links | BibTeX | Étiquettes: DSP, FAUST, heritage, preservation, programming) @inproceedings{orlarey12w,
title = {Abstraction du processus temps réel : une stratégie pour la préservation à long terme}, author = {Karim Barkati and Yann Orlarey and Jérôme Barthélemy}, url = {faust-preservation-rfim-2012.pdf}, year = {2012}, date = {2012-09-28}, booktitle = {Revue Francophone d’Informatique Musicale, MSH Paris}, abstract = {Les recherches décrites ici abordent la problématique de la préservation à long terme du processus temps réel dans la création contemporaine utilisant le numérique. En effet, nous avons développé une stratégie d’ abstraction, laquelle consiste à générer automatiquement une documentation mathématique qui explicite la sémantique d’un processus, représentée uniquement à l’aide de la notation mathématique et du langage naturel. L’objectif et l’enjeu de cette approche sont à situer dans le statut auto-suffisant de cette documentation, en tant que support autonome pour la réimplémentation.}, keywords = {DSP, FAUST, heritage, preservation, programming}, pubstate = {published}, tppubtype = {inproceedings} } Les recherches décrites ici abordent la problématique de la préservation à long terme du processus temps réel dans la création contemporaine utilisant le numérique. En effet, nous avons développé une stratégie d’ abstraction, laquelle consiste à générer automatiquement une documentation mathématique qui explicite la sémantique d’un processus, représentée uniquement à l’aide de la notation mathématique et du langage naturel. L’objectif et l’enjeu de cette approche sont à situer dans le statut auto-suffisant de cette documentation, en tant que support autonome pour la réimplémentation.
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Fober, Dominique; Orlarey, Yann; Letz, Stéphane SCORES LEVEL COMPOSITION BASED ON THE GUIDO MUSIC NOTATION (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 383–386, 2012. (Abstract | Links | BibTeX | Étiquettes: composition, music score) @inproceedings{fober12b,
title = {SCORES LEVEL COMPOSITION BASED ON THE GUIDO MUSIC NOTATION}, author = {Dominique Fober and Yann Orlarey and Stéphane Letz}, editor = {ICMA}, url = {icmc12-fober.pdf}, year = {2012}, date = {2012-09-13}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {383–386}, abstract = {Based on the Guido Music Notation format, we have developed tools for music score ”composition”, i.e. operators that take scores both as target and arguments of high level transformations, applicable for example to the time domain (e.g. cutting the head or the tail of a score) or to the structural domains (e.g. putting scores in sequence or in parallel). Providing these operations at score level is particularly convenient to express music ideas and to compose these ideas in an homogeneous representation space. However, scores level composition gives raise to a set of issues related to the music notation consistency. This paper introduces the GUIDO Music Notation format, presents the score com- position operations, the notation issues and a proposal to solve them.}, keywords = {composition, music score}, pubstate = {published}, tppubtype = {inproceedings} } Based on the Guido Music Notation format, we have developed tools for music score ”composition”, i.e. operators that take scores both as target and arguments of high level transformations, applicable for example to the time domain (e.g. cutting the head or the tail of a score) or to the structural domains (e.g. putting scores in sequence or in parallel). Providing these operations at score level is particularly convenient to express music ideas and to compose these ideas in an homogeneous representation space. However, scores level composition gives raise to a set of issues related to the music notation consistency. This paper introduces the GUIDO Music Notation format, presents the score com- position operations, the notation issues and a proposal to solve them.
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Dominique Fober Yann Orlarey, Stéphane Letz Composition de partitions musicales (Inproceeding) JIM, (Ed.): Actes des Journées d’Informatique Musicale JIM2012, pp. 263–267, 2012. (Abstract | Links | BibTeX | Étiquettes: processing, score) @inproceedings{fober12j,
title = {Composition de partitions musicales}, author = {Dominique Fober, Yann Orlarey, Stéphane Letz}, editor = {JIM}, url = {fober-jim2012.pdf}, year = {2012}, date = {2012-05-11}, booktitle = {Actes des Journées d’Informatique Musicale JIM2012}, pages = {263–267}, abstract = {Basé sur le format de notation musicale Guido , nous avons développé un ensemble d\’outils pour la composition de partitions musicales. Il s\’agit d\’opérations de transformation de haut niveau, prenant des partitions en entrée pour en générer de nouvelles en sortie. Ces opérations peuvent par exemple s\’appliquer au domaine temporel (e.g. couper le début ou la fin d\’une partition) ou concerner la structure de la partition (mise en séquence, en parallèle). La définition d\’opérateurs applicables au niveau de la notation permet d\’englober l\’expression d\’idées musicales et leur composition dans une même métaphore. Cela soulève toutefois un certain nombres de problèmes liés à la cohérence de la notation. Cet article donne un aperçu du format de notation musicale Guido , puis il présente les opérations de composition de partitions, les problèmes qui se posent pour la cohérence de la notation et les solutions proposées.}, keywords = {processing, score}, pubstate = {published}, tppubtype = {inproceedings} } Basé sur le format de notation musicale Guido , nous avons développé un ensemble d’outils pour la composition de partitions musicales. Il s’agit d’opérations de transformation de haut niveau, prenant des partitions en entrée pour en générer de nouvelles en sortie. Ces opérations peuvent par exemple s’appliquer au domaine temporel (e.g. couper le début ou la fin d’une partition) ou concerner la structure de la partition (mise en séquence, en parallèle).
La définition d’opérateurs applicables au niveau de la notation permet d’englober l’expression d’idées musicales et leur composition dans une même métaphore. Cela soulève toutefois un certain nombres de problèmes liés à la cohérence de la notation. Cet article donne un aperçu du format de notation musicale Guido , puis il présente les opérations de composition de partitions, les problèmes qui se posent pour la cohérence de la notation et les solutions proposées. |
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Michon, Romain; Orlarey, Yann Le compilateur FAUST en ligne : un IDE en ligne pour le langage de programmation FAUST (Inproceeding) Actes des Journées d’Informatique Musicale (JIM) 2012, Mons, Belgique,, 2012. (Abstract | Links | BibTeX | Étiquettes: DSP, FAUST, programming, web) @inproceedings{orlarey12z,
title = {Le compilateur FAUST en ligne : un IDE en ligne pour le langage de programmation FAUST}, author = {Romain Michon and Yann Orlarey}, url = {faust-online-jim-2012.pdf}, year = {2012}, date = {2012-05-09}, booktitle = {Actes des Journées d’Informatique Musicale (JIM) 2012, Mons, Belgique,}, abstract = {FAUST est un langage de programmation fonctionnel pour le traitement du signal et la synthèse de sons en temps réel. Grâce à un système de fichiers d’architectures, un seul et unique programme FAUST peut être utilisé pour générer du code pour un ensemble de types d’applications et de plug-ins. Le compilateur en ligne de FAUST ici présenté est une application Web écrite en PHP et en JavaScript offrant un environnement de développement multiplateforme et multiprocesseur pour le langage FAUST. Cet outil rend possible l’utilisation de la plupart des fonctionnalités de FAUST dans un navigateur Web et intègre un catalogue d’exemples évolutif faisant de lui une plate-forme pour utiliser et échanger facilement tout objet FAUST. Le fonctionnement du compilateur en ligne de FAUST est présenté en détail dans cet article. Les possibilités offertes par cet outil sont discutées et une brève ouverture sur les enjeux de l’utilisation des technologies Web pour l’informatique musicale est faite.}, keywords = {DSP, FAUST, programming, web}, pubstate = {published}, tppubtype = {inproceedings} } FAUST est un langage de programmation fonctionnel pour le traitement du signal et la synthèse de sons en temps réel. Grâce à un système de fichiers d’architectures, un seul et unique programme FAUST peut être utilisé pour générer du code pour un ensemble de types d’applications et de plug-ins. Le compilateur en ligne de FAUST ici présenté est une application Web écrite en PHP et en JavaScript offrant un environnement de développement multiplateforme et multiprocesseur pour le langage FAUST. Cet outil rend possible l’utilisation de la plupart des fonctionnalités de FAUST dans un navigateur Web et intègre un catalogue d’exemples évolutif faisant de lui une plate-forme pour utiliser et échanger facilement tout objet FAUST. Le fonctionnement du compilateur en ligne de FAUST est présenté en détail dans cet article. Les possibilités offertes par cet outil sont discutées et une brève ouverture sur les enjeux de l’utilisation des technologies Web pour l’informatique musicale est faite.
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Michon, Romain; Orlarey, Yann The Faust Online Compiler: a Web-Based IDE for the Faust Programming Language (Inproceeding) Proceedings of the Linux Audio Conference 2012, CCRMA, 2012. (Abstract | Links | BibTeX | Étiquettes: DSP, FAUST, programming, web) @inproceedings{orlarey12y,
title = {The Faust Online Compiler: a Web-Based IDE for the Faust Programming Language}, author = {Romain Michon and Yann Orlarey}, url = {faust-online-lac-2012.pdf}, year = {2012}, date = {2012-04-12}, booktitle = {Proceedings of the Linux Audio Conference 2012, CCRMA}, abstract = {The Faust Online Compiler is a PHP/JavaScript based web application that provides a cross-platform and cross-processor programming environment for the Faust language. It allows to use most of Faust features directly in a web browser and it integrates an editable catalog of examples making it a platform to easily share and use Faust objects.}, keywords = {DSP, FAUST, programming, web}, pubstate = {published}, tppubtype = {inproceedings} } The Faust Online Compiler is a PHP/JavaScript based web application that provides a cross-platform and cross-processor programming environment for the Faust language. It allows to use most of Faust features directly in a web browser and it integrates an editable catalog of examples making it a platform to easily share and use Faust objects.
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Fober, Dominique; Pachet, François; Kilian, Jürgen Real-Time Score Notation from Raw MIDI Inputs (Technical Report) Grame 2012. (Abstract | Links | BibTeX | Étiquettes: MIDI, music score, real-time) @techreport{fober12c,
title = {Real-Time Score Notation from Raw MIDI Inputs}, author = {Dominique Fober and François Pachet and Jürgen Kilian}, editor = {Grame}, url = {TR-120407.pdf}, year = {2012}, date = {2012-04-07}, institution = {Grame}, abstract = {This paper describes tools designed and experiments conducted in the context of MIROR, a European project investigating adaptive systems for early childhood music education based on the paradigm of reflexive interaction. In MIROR, music notation is used as the trace of both the user and the system activity, produced from MIDI instruments. The task of displaying such raw MIDI inputs and outputs is difficult as no a priori information is known concerning the underlying tempo or metrical structure. We describe here a completely automatic processing chain from the raw MIDI input to a fully-fledge music notation. The low level music description is first converted in a score level description and then automatically rendered as a graphic score. The whole process is operating in real-time. The paper describes the various conversion steps and issues, including extensions to support score annotations. The process is validated using about 30,000 musical sequences gathered from MIROR experiments and made available for public use.}, keywords = {MIDI, music score, real-time}, pubstate = {published}, tppubtype = {techreport} } This paper describes tools designed and experiments conducted in the context of MIROR, a European project investigating adaptive systems for early childhood music education based on the paradigm of reflexive interaction. In MIROR, music notation is used as the trace of both the user and the system activity, produced from MIDI instruments. The task of displaying such raw MIDI inputs and outputs is difficult as no a priori information is known concerning the underlying tempo or metrical structure. We describe here a completely automatic processing chain from the raw MIDI input to a fully-fledge music notation. The low level music description is first converted in a score level description and then automatically rendered as a graphic score. The whole process is operating in real-time. The paper describes the various conversion steps and issues, including extensions to support score annotations. The process is validated using about 30,000 musical sequences gathered from MIROR experiments and made available for public use.
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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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2011 |
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Barkati, Karim; Orlarey, Yann Auto-documentation mathématique pour le traitement du signal avec Faust (Inproceeding) Actes des Journées d’Informatique Musicale (JIM) 2011, Saint-Etienne, 2011. (Abstract | Links | BibTeX | Étiquettes: DSP, FAUST, heritage, preservation, programming) @inproceedings{orlarey11w,
title = {Auto-documentation mathématique pour le traitement du signal avec Faust}, author = {Karim Barkati and Yann Orlarey}, url = {faust-mathdoc-jim-2011.pdf}, year = {2011}, date = {2011-05-09}, booktitle = {Actes des Journées d’Informatique Musicale (JIM) 2011, Saint-Etienne}, abstract = {L’article aborde le problème de la préservation à long terme des processus numériques temps réel utilisés dans la création musicale contemporaine. Nous présentons une stratégie de préservation par abstraction mathématique. Elle consiste à générer automatiquement une documentation mathématique qui décrit de manière précise la sémantique complète de tels processus.}, keywords = {DSP, FAUST, heritage, preservation, programming}, pubstate = {published}, tppubtype = {inproceedings} } L’article aborde le problème de la préservation à long terme des processus numériques temps réel utilisés dans la création musicale contemporaine. Nous présentons une stratégie de préservation par abstraction mathématique. Elle consiste à générer automatiquement une documentation mathématique qui décrit de manière précise la sémantique complète de tels processus.
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Jouvelot, Pierre; Orlarey, Yann Dependent vector types for data structuring in multirate Faust (Journal Article) 2011. (Abstract | Links | BibTeX | Étiquettes: computing, Denotational, Dependent, Domainspecificlanguages, multirate, semantics, Static, Synchronoussignalprocessing, systems, type) @article{ Jouv11 ,
title = {Dependent vector types for data structuring in multirate Faust}, author = {Pierre Jouvelot and Yann Orlarey}, editor = {Elsevier}, url = {faust-elsevier2011.pdf}, year = {2011}, date = {2011-01-01}, booktitle = {Computer Languages, Systems & Structures}, abstract = {Faust is a functional programming language dedicated to the specification of ex- ecutable monorate synchronous musical applications. To extend Faust capabil- ities to important domains such as FFT-based spectral processing, we introduce here a multirate extension of the core Faust language. The novel idea is to link rate changes to data structure manipulation operations. Creating a vector-valued output signal divides the rate of input signals by the vector size, while serializ- ing vectors multiplies rates accordingly. As duals to vectors, we also introduce record-like data structures, which are used to gather data but do not change sig- nal rates. This interplay between data structures and rates is made possible in the language static semantics by the introduction of dependent types. We present a typing semantics, a denotational semantics and correctness theorems that show that this data structuring/multirate extension preserves the language synchronous characteristics. This new design is under implementation in the Faust compiler.}, keywords = {computing, Denotational, Dependent, Domainspecificlanguages, multirate, semantics, Static, Synchronoussignalprocessing, systems, type}, pubstate = {published}, tppubtype = {article} } Faust is a functional programming language dedicated to the specification of ex- ecutable monorate synchronous musical applications. To extend Faust capabil- ities to important domains such as FFT-based spectral processing, we introduce here a multirate extension of the core Faust language. The novel idea is to link rate changes to data structure manipulation operations. Creating a vector-valued output signal divides the rate of input signals by the vector size, while serializ- ing vectors multiplies rates accordingly. As duals to vectors, we also introduce record-like data structures, which are used to gather data but do not change sig- nal rates. This interplay between data structures and rates is made possible in the language static semantics by the introduction of dependent types. We present a typing semantics, a denotational semantics and correctness theorems that show that this data structuring/multirate extension preserves the language synchronous characteristics. This new design is under implementation in the Faust compiler.
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Fober, Dominique; Orlarey, Yann; Letz, Stephane INScore An Environment for the Design of Live Music Scores (Journal Article) Audio-graphic Modeling and Interaction Workshop at NIME 2011, 2011. (Abstract | Links | BibTeX | Étiquettes: inscore, interaction, music score) @article{ fober11a ,
title = {INScore An Environment for the Design of Live Music Scores}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, url = {inscore-nime2011.pdf}, year = {2011}, date = {2011-01-01}, journal = {Audio-graphic Modeling and Interaction Workshop at NIME 2011}, abstract = {INScore is an open source framework for the design of interactive, augmented, live music score. An augmented score is a graphic space 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 provides 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 inter- action 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.}, keywords = {inscore, interaction, music score}, pubstate = {published}, tppubtype = {article} } INScore is an open source framework for the design of interactive, augmented, live music score. An augmented score is a graphic space 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 provides 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 inter- action 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.
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Fober, Dominique INScore OSC Messages Reference v.0.96 (Technical Manual) Grame, (Ed.): 2011. (Abstract | Links | BibTeX | Étiquettes: inscore, reference) @manual{ INScore0.96 ,
title = {INScore OSC Messages Reference v.0.96}, author = {Dominique Fober}, editor = {Grame}, url = {OSCMsg-0.96.pdf}, year = {2011}, date = {2011-01-01}, abstract = {INScore scripting API version 0.96. INScore is a system for the design of live music scores. It is basically driven by OSC messages. This document describes the set of OSC messages supported by the system.}, keywords = {inscore, reference}, pubstate = {published}, tppubtype = {manual} } INScore scripting API version 0.96. INScore is a system for the design of live music scores. It is basically driven by OSC messages. This document describes the set of OSC messages supported by the system.
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Fober, Dominique; Orlarey, Yann; Letz, Stephane FAUST Architectures Design and OSC Support. (Inproceeding) IRCAM, (Ed.): Proc. of the 14th Int. Conference on Digital Audio Effects (DAFx-11), pp. 231–216, 2011. (Abstract | Links | BibTeX | Étiquettes: architecture, FAUST) @inproceedings{ Fober:11b ,
title = {FAUST Architectures Design and OSC Support.}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {IRCAM}, url = {faustarch-dafx11-final.pdf}, year = {2011}, date = {2011-01-01}, booktitle = {Proc. of the 14th Int. Conference on Digital Audio Effects (DAFx-11)}, pages = {231–216}, abstract = {FAUST [Functional Audio Stream] is a functional programming language specifically designed for real-time signal processing and synthesis. It consists in a compiler that translates a FAUST program into an equivalent C++ program, taking care of generating the most efficient code. The FAUST environment also includes various architecture files, providing the glue between the FAUST C++ output and the host audio and GUI environments. The combination of architecture files and FAUST output gives ready to run applications or plugins for various systems, which makes a single FAUST specification available on different platforms and environments without additional cost. This article presents the overall design of the architecture files and gives more details on the recent OSC architecture.}, keywords = {architecture, FAUST}, pubstate = {published}, tppubtype = {inproceedings} } FAUST [Functional Audio Stream] is a functional programming language specifically designed for real-time signal processing and synthesis. It consists in a compiler that translates a FAUST program into an equivalent C++ program, taking care of generating the most efficient code. The FAUST environment also includes various architecture files, providing the glue between the FAUST C++ output and the host audio and GUI environments. The combination of architecture files and FAUST output gives ready to run applications or plugins for various systems, which makes a single FAUST specification available on different platforms and environments without additional cost. This article presents the overall design of the architecture files and gives more details on the recent OSC architecture.
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2010 |
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Fober, Dominique; Daudin, Chirstophe; Letz, Stephane; Orlarey, Yann Partitions musicales augmentées (Inproceeding) JIM, (Ed.): Actes des Journées d’Informatique Musicale JIM2010, Rennes, pp. 97–103, 2010. (Abstract | Links | BibTeX | Étiquettes: graphique, interprétation, musicale, partition, signal, synchronization) @inproceedings{ fober:10a ,
title = {Partitions musicales augmentées}, author = {Dominique Fober and Chirstophe Daudin and Stephane Letz and Yann Orlarey}, editor = {JIM}, url = {Interlude-JIM10-final.pdf}, year = {2010}, date = {2010-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM2010, Rennes}, pages = {97–103}, abstract = {Une partition musicale augmentée est une partition mettant en relation un objet musical symbolique avec différentes représentations de son interprétation. La partition musicale est à considérer au sens large, comme un objet graphique permettant de représenter un objet temporel. L\’interprétation représente une instance sonore ou gestuelle particulière de la partition. Nous présenterons les fondements théoriques qui sous-tendent la partition augmentée, ainsi qu\’une application sous forme d\’afficheur mettant en oeuvre les solutions proposées.}, keywords = {graphique, interprétation, musicale, partition, signal, synchronization}, pubstate = {published}, tppubtype = {inproceedings} } Une partition musicale augmentée est une partition mettant en relation un objet musical symbolique avec différentes représentations de son interprétation. La partition musicale est à considérer au sens large, comme un objet graphique permettant de représenter un objet temporel. L’interprétation représente une instance sonore ou gestuelle particulière de la partition. Nous présenterons les fondements théoriques qui sous-tendent la partition augmentée, ainsi qu’une application sous forme d’afficheur mettant en oeuvre les solutions proposées.
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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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Letz, Stephane; Orlarey, Yann; Fober, Dominique Work Stealing Scheduler for Automatic Parallelization in Faust (Inproceeding) LAC, (Ed.): Proceedings of Linux Audio Conference, 2010. (Abstract | Links | BibTeX | Étiquettes: compiler, dataflow, functional, processing, programming, real-time, signal) @inproceedings{ Letz:10a ,
title = {Work Stealing Scheduler for Automatic Parallelization in Faust}, author = {Stephane Letz and Yann Orlarey and Dominique Fober}, editor = {LAC}, url = {FAUST_LAC2010.pdf}, year = {2010}, date = {2010-01-01}, booktitle = {Proceedings of Linux Audio Conference}, abstract = {Faust 0.9.10 introduces an alternative to OpenMP based parallel code generation using a Work Steal- ing Scheduler and explicit management of worker threads. This paper explains the new option and presents some benchmarks.}, keywords = {compiler, dataflow, functional, processing, programming, real-time, signal}, pubstate = {published}, tppubtype = {inproceedings} } Faust 0.9.10 introduces an alternative to OpenMP based parallel code generation using a Work Steal- ing Scheduler and explicit management of worker threads. This paper explains the new option and presents some benchmarks.
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Orlarey, Yann; Letz, Stephane; Fober, Dominique Automatic Paralllelization of Audio Applications with Faust (Inproceeding) Actes du Congrès Français d’Acoustique, 2010. (Abstract | Links | BibTeX | Étiquettes: compiler, dataflow, functional, processing, programming, real-time, signal) @inproceedings{ Orlarey:10a ,
title = {Automatic Paralllelization of Audio Applications with Faust}, author = {Yann Orlarey and Stephane Letz and Dominique Fober}, url = {faust-CFA-2010.pdf}, year = {2010}, date = {2010-01-01}, booktitle = {Actes du Congrès Français d’Acoustique}, abstract = {Faust (Functional AUdio STreams) [1] stands for both a programming language and its compiler. Being fully compiled allows Faust to be used as an alternative to C/C++ to develop high-performance audio signal processing applications, DSP libraries and plug-ins for a variety of audio platforms and standards.}, keywords = {compiler, dataflow, functional, processing, programming, real-time, signal}, pubstate = {published}, tppubtype = {inproceedings} } Faust (Functional AUdio STreams) [1] stands for both a programming language and its compiler. Being fully compiled allows Faust to be used as an alternative to C/C++ to develop high-performance audio signal processing applications, DSP libraries and plug-ins for a variety of audio platforms and standards.
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Barthélemy,; Bonardi,; Orlarey, Yann; Lemouton,; Ciavarella,; Barkati, First Steps Towards an Organology Of Virtual Instruments In Computer Music (Inproceeding) ICMA, (Ed.): Proceedings of the 2010 International Computer Music Conference, pp. 369-372, 2010. (Abstract | Links | BibTeX | Étiquettes: FAUST) @inproceedings{ barth10 ,
title = {First Steps Towards an Organology Of Virtual Instruments In Computer Music}, author = {J. Barthélemy and A Bonardi and Yann Orlarey and S Lemouton and R Ciavarella and K Barkati}, editor = {ICMA}, url = {astree-icmc2010.pdf}, year = {2010}, date = {2010-01-01}, booktitle = {Proceedings of the 2010 International Computer Music Conference}, pages = {369-372}, abstract = {In this paper, we will first take assess of 25 years of interactive real-time music, and introduce the problem of preservation of this music for the future generations, that is to say its ability to be re-performed, and not only to preserve the recordings. We present the state of the art in the field of active preservation of real-time works. We then give an overview of the solutions developed by IRCAM and its partners Grame, Armines ParisTech and CIEREC, in the framework of the ASTREE project, and explain the possibilities envisioned in a case study that is En Echo by Philippe Manoury.}, keywords = {FAUST}, pubstate = {published}, tppubtype = {inproceedings} } In this paper, we will first take assess of 25 years of interactive real-time music, and introduce the problem of preservation of this music for the future generations, that is to say its ability to be re-performed, and not only to preserve the recordings. We present the state of the art in the field of active preservation of real-time works. We then give an overview of the solutions developed by IRCAM and its partners Grame, Armines ParisTech and CIEREC, in the framework of the ASTREE project, and explain the possibilities envisioned in a case study that is En Echo by Philippe Manoury.
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Jouvelot, Pierre; Orlarey, Yann Dependent Vector Types for Multirate Faust (Inproceeding) Proceedings of the Sound and Music Computing Conference – SMC’10, pp. 345–352, 2010. (Abstract | Links | BibTeX | Étiquettes: FAUST) @inproceedings{ Jouv10 ,
title = {Dependent Vector Types for Multirate Faust}, author = {Pierre Jouvelot and Yann Orlarey}, url = {Faust-SMC2010.pdf}, year = {2010}, date = {2010-01-01}, booktitle = {Proceedings of the Sound and Music Computing Conference – SMC’10}, pages = {345–352}, abstract = {Faust is a functional programming language dedicated to the specification of executable monorate synchronous mu- sical applications. To extend Faust capabilities to domains such as spectral processing, we introduce here a multi- rate extension of the core Faust language. The key idea is to link rate changes to data structure manipulation op- erations: creating a vector-valued output signal divides the rate of input signals by the vector size, while serializing vectors multiplies rates accordingly. This interplay be- tween vectors and rates is made possible in the language static semantics by the introduction of dependent types. We present a typing semantics, a denotational semantics and a correctness theorem that show that this extension preserves the language synchonous characteristics. This new design is under implementation in the Faust compiler.}, keywords = {FAUST}, pubstate = {published}, tppubtype = {inproceedings} } Faust is a functional programming language dedicated to the specification of executable monorate synchronous mu- sical applications. To extend Faust capabilities to domains such as spectral processing, we introduce here a multi- rate extension of the core Faust language. The key idea is to link rate changes to data structure manipulation op- erations: creating a vector-valued output signal divides the rate of input signals by the vector size, while serializing vectors multiplies rates accordingly. This interplay be- tween vectors and rates is made possible in the language static semantics by the introduction of dependent types. We present a typing semantics, a denotational semantics and a correctness theorem that show that this extension preserves the language synchonous characteristics. This new design is under implementation in the Faust compiler.
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2009 |
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Orlarey, Yann; Fober, Dominique; Letz, Stephane Adding Automatic Parallelization to Faust (Inproceeding) Grame, (Ed.): Linux Audio Conference 2009, 2009. (Abstract | Links | BibTeX | Étiquettes: FAUST, OpenMP, Parallelism, processing, signal) @inproceedings{ orlarey:09a ,
title = {Adding Automatic Parallelization to Faust}, author = {Yann Orlarey and Dominique Fober and Stephane Letz}, editor = {Grame}, url = {faustLAC09.pdf}, year = {2009}, date = {2009-01-01}, booktitle = {Linux Audio Conference 2009}, abstract = {Faust 0.9.9.5 introduces new compilation options to do automatic parallelization of code using OpenMP. This paper explains how the automatic parallelization is done and presents some benchmarks.}, keywords = {FAUST, OpenMP, Parallelism, processing, signal}, pubstate = {published}, tppubtype = {inproceedings} } Faust 0.9.9.5 introduces new compilation options to do automatic parallelization of code using OpenMP. This paper explains how the automatic parallelization is done and presents some benchmarks.
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Daudin,; Fober, Dominique; Letz, Stephane; Orlarey, Yann La librairie GUIDO – Une boite à outils pour le rendu de partitions musicales. (Inproceeding) ACROE, (Ed.): Actes des Journées d’Informatique Musicale JIM’09 – Grenoble, pp. 59–64, 2009. (Abstract | Links | BibTeX | Étiquettes: musicale, notation) @inproceedings{ Dau:09a ,
title = {La librairie GUIDO – Une boite à outils pour le rendu de partitions musicales.}, author = {C. Daudin and Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {ACROE}, url = {jim2009.pdf}, year = {2009}, date = {2009-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM’09 – Grenoble}, pages = {59–64}, abstract = {Le format GUIDO Music Notation (GMN) est un langage textuel et lisible de représentation de partitions musicales. Basée sur ce format, la GUIDOLib est une librairie multi-plateformes offrant une API de rendu graphique de partitions musicales. Cet article présente le format GMN et le moteur de rendu GUIDO. Un exemple d’application, le GUIDO Scene Composer, est ensuite décrit.}, keywords = {musicale, notation}, pubstate = {published}, tppubtype = {inproceedings} } Le format GUIDO Music Notation (GMN) est un langage textuel et lisible de représentation de partitions musicales. Basée sur ce format, la GUIDOLib est une librairie multi-plateformes offrant une API de rendu graphique de partitions musicales. Cet article présente le format GMN et le moteur de rendu GUIDO. Un exemple d’application, le GUIDO Scene Composer, est ensuite décrit.
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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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Letz, Stephane; N.Arnaudov,; R.Moret, What’s new in JACK2? (Inproceeding) LAC, (Ed.): Proceedings of Linux Audio Conference 2009, 2009. (Abstract | Links | BibTeX | Étiquettes: audio, D-Bus, networked, real-time, server) @inproceedings{ Letz:09a ,
title = {What’s new in JACK2?}, author = {Stephane Letz and N.Arnaudov and R.Moret}, editor = {LAC}, url = {JACK2_lac2009.pdf}, year = {2009}, date = {2009-01-01}, booktitle = {Proceedings of Linux Audio Conference 2009}, abstract = {JACK2 is the future JACK version based on the C++ multi-processors Jackdmp version. This paper presents recent developments: the D-Bus based server control system, NetJack2 the redesigned network components for JACK and profiling tools developed during port on Solaris.}, keywords = {audio, D-Bus, networked, real-time, server}, pubstate = {published}, tppubtype = {inproceedings} } JACK2 is the future JACK version based on the C++ multi-processors Jackdmp version. This paper presents recent developments: the D-Bus based server control system, NetJack2 the redesigned network components for JACK and profiling tools developed during port on Solaris.
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Jouvelot, Pierre; Orlarey, Yann Semantics for multirate Faust (Technical Report) 2009. (Abstract | Links | BibTeX | Étiquettes: FAUST, multirate, processing, signal) @techreport{ jouvorl:09a ,
title = {Semantics for multirate Faust}, author = {Pierre Jouvelot and Yann Orlarey}, editor = {CRI MINES Paris Tech}, url = {20091015-multirate-faust.pdf}, year = {2009}, date = {2009-01-01}, abstract = {Faust is a functional programming language dedicated to the specification of executable monorate musical applications. We present here a multirate extension of the core of the Faust language, called MR Faust, together with a typing semantics, a denotational semantics and correctness theorems that link them together.}, keywords = {FAUST, multirate, processing, signal}, pubstate = {published}, tppubtype = {techreport} } Faust is a functional programming language dedicated to the specification of executable monorate musical applications. We present here a multirate extension of the core of the Faust language, called MR Faust, together with a typing semantics, a denotational semantics and correctness theorems that link them together.
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Orlarey, Yann; Fober, Dominique; Letz, Stephane PARALLELIZATION OF AUDIO APPLICATIONS WITH FAUST (Inproceeding) Proceedings of the first Sound and Music Computing conference – SMC’09, pp. 99–112, 2009. (Abstract | Links | BibTeX | Étiquettes: compiler, dataflow, functional, processing, programming, real-time, signal) @inproceedings{ orlarey:09b ,
title = {PARALLELIZATION OF AUDIO APPLICATIONS WITH FAUST}, author = {Yann Orlarey and Dominique Fober and Stephane Letz}, url = {faust_SMC2009.pdf}, year = {2009}, date = {2009-01-01}, booktitle = {Proceedings of the first Sound and Music Computing conference – SMC’09}, pages = {99–112}, abstract = {Faust 0.9.9.6 introduces new compilation options to automatically parallelize audio applications 1 . This paper explains how the automatic parallelization is done and presents some benchmarks.}, keywords = {compiler, dataflow, functional, processing, programming, real-time, signal}, pubstate = {published}, tppubtype = {inproceedings} } Faust 0.9.9.6 introduces new compilation options to automatically parallelize audio applications 1 . This paper explains how the automatic parallelization is done and presents some benchmarks.
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Orlarey, Yann; Fober, Dominique; Letz, Stephane FAUST : an Efficient Functional Approach to DSP Programming (Book Chapter) FRANCE, Editions DELATOUR (Ed.): NEW COMPUTATIONAL PARADIGMS FOR COMPUTER MUSIC, pp. 65–96, 2009. (Abstract | Links | BibTeX | Étiquettes: compiler, dataflow, functional, processing, programming, real-time, signal) @inbook{ orlarey:09c ,
title = {FAUST : an Efficient Functional Approach to DSP Programming}, author = {Yann Orlarey and Dominique Fober and Stephane Letz}, editor = {Editions DELATOUR FRANCE}, url = {faust-chapter.pdf}, year = {2009}, date = {2009-01-01}, booktitle = {NEW COMPUTATIONAL PARADIGMS FOR COMPUTER MUSIC}, pages = {65–96}, abstract = {FAUST is a programming language that provides a purely functional approach to signal processing while offering a high level of performance. FAUST aims at being complementary to existing audio languages by offering a viable and efficient alternative to C/C++ to develop signal processing libraries, audio plug-ins or standalone applications. The language is based on a simple and well defined formal semantics. A FAUST program denotes a signal processor, a mathematical function that transforms input signals into output signals. Being able to know precisely what a program computes is important not only for programmers, but also for compilers needing to generate the best possible code. Moreover these semantics questions are crucial for the long term preservation of music programs. The following paragraphs will give an overview of the language as well as a description of the compiler, including the generation of parallel code.}, keywords = {compiler, dataflow, functional, processing, programming, real-time, signal}, pubstate = {published}, tppubtype = {inbook} } FAUST is a programming language that provides a purely functional approach to signal processing while offering a high level of performance. FAUST aims at being complementary to existing audio languages by offering a viable and efficient alternative to C/C++ to develop signal processing libraries, audio plug-ins or standalone applications. The language is based on a simple and well defined formal semantics. A FAUST program denotes a signal processor, a mathematical function that transforms input signals into output signals. Being able to know precisely what a program computes is important not only for programmers, but also for compilers needing to generate the best possible code. Moreover these semantics questions are crucial for the long term preservation of music programs. The following paragraphs will give an overview of the language as well as a description of the compiler, including the generation of parallel code.
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Orlarey, Yann Entre Calcul, Programmation et Création (Book Chapter) Etienne, PU Saint (Ed.): Le Calcul de la Musique : Composition, Modèles et Outils, pp. 331–365, 2009. (Abstract | Links | BibTeX | Étiquettes: création, de, language, musique, programmation) @inbook{ orlarey:09d ,
title = {Entre Calcul, Programmation et Création}, author = {Yann Orlarey}, editor = {PU Saint Etienne}, url = {CalculDeLaMusique-Orlarey.pdf}, year = {2009}, date = {2009-01-01}, booktitle = {Le Calcul de la Musique : Composition, Modèles et Outils}, pages = {331–365}, abstract = {L’objectif de ce texte est d’essayer de répondre à la question suivante: qu’est-ce qui fait qu’un ordinateur et un langage de programmation deviennent des outils d’aide à la création ?}, keywords = {création, de, language, musique, programmation}, pubstate = {published}, tppubtype = {inbook} } L’objectif de ce texte est d’essayer de répondre à la question suivante: qu’est-ce qui fait qu’un ordinateur et un langage de programmation deviennent des outils d’aide à la création ?
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Letz, Stephane; Fober, Dominique; Orlarey, Yann TIMING MEASUREMENTS IN JACK2 (Technical Report) 2009. (Abstract | Links | BibTeX | Étiquettes: audio, profiling, real-time, server, timing) @techreport{ Letz:09b ,
title = {TIMING MEASUREMENTS IN JACK2}, author = {Stephane Letz and Dominique Fober and Yann Orlarey}, editor = {Grame}, url = {Timing.pdf}, year = {2009}, date = {2009-01-01}, abstract = {Timing measurements allow developers to help under- standing the behaviour of their JACK based applications. The server code base now allows to record various tim- ing while the server and clients are running and generate scripts to interpret them.}, keywords = {audio, profiling, real-time, server, timing}, pubstate = {published}, tppubtype = {techreport} } Timing measurements allow developers to help under- standing the behaviour of their JACK based applications. The server code base now allows to record various tim- ing while the server and clients are running and generate scripts to interpret them.
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2008 |
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Orlarey, Yann; Letz, Stephane; Fober, Dominique Multicore technologies in Jack and Faust (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, 2008. (Abstract | Links | BibTeX | Étiquettes: jack) @inproceedings{ orlarey:08 ,
title = {Multicore technologies in Jack and Faust}, author = {Yann Orlarey and Stephane Letz and Dominique Fober}, editor = {ICMA}, url = {jack-faust-multicore.pdf}, year = {2008}, date = {2008-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, abstract = {Two ongoing research projects at Grame aim at providing efficient solution for audio applications on many/multi core systems. The first one is Jack- dmp, a C++ version of the Jack low-latency audio server for multi-core machines. The second is Faust, a compiled DSP language with auto parallelization features. This paper will briefly describe these two projects focusing on multi-core related questions.}, keywords = {jack}, pubstate = {published}, tppubtype = {inproceedings} } Two ongoing research projects at Grame aim at providing efficient solution for audio applications on many/multi core systems. The first one is Jack- dmp, a C++ version of the Jack low-latency audio server for multi-core machines. The second is Faust, a compiled DSP language with auto parallelization features. This paper will briefly describe these two projects focusing on multi-core related questions.
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2007 |
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Fober, Dominique; Letz, Stephane; Orlarey, Yann VEMUS – Une école de musique européenne virtuelle (Inproceeding) Grame, (Ed.): Actes des Journées d’Informatique Musicale JIM’07 – Lyon, pp. 57–63, 2007. (Abstract | Links | BibTeX | Étiquettes: feedback, musicale, pédagogie, pratique) @inproceedings{ Fober:07a ,
title = {VEMUS – Une école de musique européenne virtuelle}, author = {Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {Grame}, url = {vemus-jim07.pdf}, year = {2007}, date = {2007-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM’07 – Lyon}, pages = {57–63}, abstract = {VEMUS est un projet de recherche européen qui a pour objectif le développement et la validation d’un système ouvert et interactif d’apprentissage de la pratique instrumentale. Il traite d’instruments à vent tels que la flûte traversière, le saxophone, la clarinette et la flûte à bec. Il s’adresse à des étudiants de niveau débutant à intermédiaire. Il propose une démarche innovante, tant d’un point de vue technologique que sur un plan pédagogique. L’article présente le projet avec un accent particulier sur les technologies de feedback mises en oeuvre pour étendre les pratiques instrumentales et pédagogiques.}, keywords = {feedback, musicale, pédagogie, pratique}, pubstate = {published}, tppubtype = {inproceedings} } VEMUS est un projet de recherche européen qui a pour objectif le développement et la validation d’un système ouvert et interactif d’apprentissage de la pratique instrumentale. Il traite d’instruments à vent tels que la flûte traversière, le saxophone, la clarinette et la flûte à bec. Il s’adresse à des étudiants de niveau débutant à intermédiaire. Il propose une démarche innovante, tant d’un point de vue technologique que sur un plan pédagogique. L’article présente le projet avec un accent particulier sur les technologies de feedback mises en oeuvre pour étendre les pratiques instrumentales et pédagogiques.
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Chapuis,; Fober, Dominique; Letz, Stephane; Orlarey, Yann; Daudin, Annotation de partitions musicales dynamiques (Inproceeding) Grame, (Ed.): Actes des Journées d’Informatique Musicale JIM’07 – Lyon, pp. 18–27, 2007. (Abstract | Links | BibTeX | Étiquettes: annotation, musique, partition) @inproceedings{ chapuis07 ,
title = {Annotation de partitions musicales dynamiques}, author = {Y. Chapuis and Dominique Fober and Stephane Letz and Yann Orlarey and C. Daudin}, editor = {Grame}, url = {chapuis-jim07.pdf}, year = {2007}, date = {2007-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM’07 – Lyon}, pages = {18–27}, abstract = {Cet article traite de l’annotation visuelle à main levée de partitions musicales dynamiques : par dynamique, nous entendons la possibilité de recomposer, à la volée, les différents objets graphiques à l’intérieur de la page, ce qui nécessite de représenter les différentes annotations en conséquence. Nous décrivons ici les difficultés rencontrées et les solutions apportées au fil du développement de cet outil.}, keywords = {annotation, musique, partition}, pubstate = {published}, tppubtype = {inproceedings} } Cet article traite de l’annotation visuelle à main levée de partitions musicales dynamiques : par dynamique, nous entendons la possibilité de recomposer, à la volée, les différents objets graphiques à l’intérieur de la page, ce qui nécessite de représenter les différentes annotations en conséquence. Nous décrivons ici les difficultés rencontrées et les solutions apportées au fil du développement de cet outil.
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Daudin,; Fober, Dominique; Letz, Stephane; Orlarey, Yann; Chapuis, Visualisation du jeu instrumental (Inproceeding) Grame, (Ed.): Actes des Journées d’Informatique Musicale JIM’07 – Lyon, pp. 64–72, 2007. (Abstract | Links | BibTeX | Étiquettes: musique, pédagogie, visualisation) @inproceedings{ daudin07 ,
title = {Visualisation du jeu instrumental}, author = {C. Daudin and Dominique Fober and Stephane Letz and Yann Orlarey and Y. Chapuis}, editor = {Grame}, url = {daudin-jim07.pdf}, year = {2007}, date = {2007-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM’07 – Lyon}, pages = {64–72}, abstract = {Nous abordons la visualisation du jeu instrumental sous l’angle de la représentation objective du son, avec pour objectif de rendre apparentes des caractéristiques du signal en termes d’interprétation musicale. Cet article expose les différentes stratégies mises en oeuvre pour exploiter voire amplifier la complémentarité des perceptions visuelles et sonores, avec un point de vue particulier sur les applications dans le domaine de la pédagogie de la pratique instrumentale.}, keywords = {musique, pédagogie, visualisation}, pubstate = {published}, tppubtype = {inproceedings} } Nous abordons la visualisation du jeu instrumental sous l’angle de la représentation objective du son, avec pour objectif de rendre apparentes des caractéristiques du signal en termes d’interprétation musicale. Cet article expose les différentes stratégies mises en oeuvre pour exploiter voire amplifier la complémentarité des perceptions visuelles et sonores, avec un point de vue particulier sur les applications dans le domaine de la pédagogie de la pratique instrumentale.
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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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Fober, Dominique Miroirs technologiques pour la pratique instrumentale (Inproceeding) Grame, (Ed.): Actes des Rencontres Musicales Pluridisciplinaires, pp. 87–92, 2006. (Abstract | Links | BibTeX | Étiquettes: feedback, musicale, pédagogie, pratique) @inproceedings{ Fober:06a ,
title = {Miroirs technologiques pour la pratique instrumentale}, author = {Dominique Fober}, editor = {Grame}, url = {rmpd2006-fober.pdf}, year = {2006}, date = {2006-01-01}, booktitle = {Actes des Rencontres Musicales Pluridisciplinaires}, pages = {87–92}, abstract = {La pratique d’un instrument de musique, le travail instrumental, son apprentissage, peuvent être vus comme des activités où le feedback joue un rôle prépondérant. Les technologies actuelles permettent d’envisager l’extension des pratiques instrumentales comme une extension du feedback fournit à l’instrumentiste, aussi bien dans les domaines sonores que visuels. Ce sont ces perspectives nouvelles qui sont présentées, avec leurs implications pour le travail instrumental et leurs applications dans le domaine pédagogique.}, keywords = {feedback, musicale, pédagogie, pratique}, pubstate = {published}, tppubtype = {inproceedings} } La pratique d’un instrument de musique, le travail instrumental, son apprentissage, peuvent être vus comme des activités où le feedback joue un rôle prépondérant. Les technologies actuelles permettent d’envisager l’extension des pratiques instrumentales comme une extension du feedback fournit à l’instrumentiste, aussi bien dans les domaines sonores que visuels. Ce sont ces perspectives nouvelles qui sont présentées, avec leurs implications pour le travail instrumental et leurs applications dans le domaine pédagogique.
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Orlarey, Yann Faust 0.9.8 Quick Reference (Technical Manual) Grame, (Ed.): 2006. (Abstract | Links | BibTeX | Étiquettes: digital, functional, processing, programming, signal) @manual{ Orlarey:06a ,
title = {Faust 0.9.8 Quick Reference}, author = {Yann Orlarey}, editor = {Grame}, url = {faust-quick-reference.pdf}, year = {2006}, date = {2006-01-01}, abstract = {This document is a quick-reference to the Faust language (version 0.9.8), a programming language for real-time signal processing and synthesis that targets high-performance signal processing applications and audio plugins.}, keywords = {digital, functional, processing, programming, signal}, pubstate = {published}, tppubtype = {manual} } This document is a quick-reference to the Faust language (version 0.9.8), a programming language for real-time signal processing and synthesis that targets high-performance signal processing applications and audio plugins.
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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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Orlarey, Yann Faust : functional programming for signal processing (slides) (Technical Manual) Grame, (Ed.): 2006. (Abstract | Links | BibTeX | Étiquettes: digital, functional, processing, programming, signal) @manual{ Orlarey:06b ,
title = {Faust : functional programming for signal processing (slides)}, author = {Yann Orlarey}, editor = {Grame}, url = {faust-den-haag-april-2006-v6.pdf}, year = {2006}, date = {2006-01-01}, abstract = {Slides presenting Faust at the Royal Conservatory in Den Haag, in April 2006}, keywords = {digital, functional, processing, programming, signal}, pubstate = {published}, tppubtype = {manual} } Slides presenting Faust at the Royal Conservatory in Den Haag, in April 2006
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Trausmuth, Robert; Dusek, Christian; Orlarey, Yann USING FAUST FOR FPGA PROGRAMMING (Inproceeding) Grame, (Ed.): Proc. of the 9th Int. Conference on Digital Audio Effects (DAFx-06), Montreal, Canada, September 18-20, 2006, pp. 287–290, 2006. (Abstract | Links | BibTeX | Étiquettes: FAUST) @inproceedings{ Orlarey:06c ,
title = {USING FAUST FOR FPGA PROGRAMMING}, author = {Robert Trausmuth and Christian Dusek and Yann Orlarey}, editor = {Grame}, url = {faust-dafx06-v2.pdf}, year = {2006}, date = {2006-01-01}, booktitle = {Proc. of the 9th Int. Conference on Digital Audio Effects (DAFx-06), Montreal, Canada, September 18-20, 2006}, pages = {287–290}, abstract = {In this paper we show the possibility of using FAUST (a programming language for function based block oriented programming) to create a fast audio processor in a single chip FPGA environment. The produced VHDL code is embedded in the on-chip processor system and utilizes the FPGA fabric for parallel processing. For the purpose of implementing and testing the code a complete System-On-Chip framework has been created. We use a Digilent board with a XILINX Virtex 2 Pro FPGA. The chip has a PowerPC 405 core and the framework uses the on chip peripheral bus to interface the core. The content of this paper presents a proof-of-concept implementation using a simple two pole IIR filter. The produced code is working, although more work has to be done for implementing complex arithmetic operations support.}, keywords = {FAUST}, pubstate = {published}, tppubtype = {inproceedings} } In this paper we show the possibility of using FAUST (a programming language for function based block oriented programming) to create a fast audio processor in a single chip FPGA environment. The produced VHDL code is embedded in the on-chip processor system and utilizes the FPGA fabric for parallel processing. For the purpose of implementing and testing the code a complete System-On-Chip framework has been created. We use a Digilent board with a XILINX Virtex 2 Pro FPGA. The chip has a PowerPC 405 core and the framework uses the on chip peripheral bus to interface the core. The content of this paper presents a proof-of-concept implementation using a simple two pole IIR filter. The produced code is working, although more work has to be done for implementing complex arithmetic operations support.
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2005 |
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Fober, Dominique; Letz, Stephane; Orlarey, Yann Optimized Lock-Free FIFO Queue continued (Technical Report) 2005. (Abstract | Links | BibTeX | Étiquettes: concurrency, fifo, lifo, lock-free) @techreport{ Fober:05a ,
title = {Optimized Lock-Free FIFO Queue continued}, author = {Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {Grame}, url = {TR-050523.pdf}, year = {2005}, date = {2005-01-01}, booktitle = {Technical Report – 01-05-23}, abstract = {We have proposed algorithms for lock-free lifo and fifo queue management. This technical report proposes an improved version of the lock-free fifo management algorithm previously defined.}, keywords = {concurrency, fifo, lifo, lock-free}, pubstate = {published}, tppubtype = {techreport} } We have proposed algorithms for lock-free lifo and fifo queue management. This technical report proposes an improved version of the lock-free fifo management algorithm previously defined.
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N.Falquet,; Fober, Dominique Implémentation d’un flot de données MIDI sur RTP (Inproceeding) MSH, CICM (Ed.): Actes des Journées d’Informatique Musicale JIM2005, Paris, pp. 13–19, 2005. (Abstract | Links | BibTeX | Étiquettes: communication, MidiShare, real-time, RTP) @inproceedings{ Falquet:05a ,
title = {Implémentation d’un flot de données MIDI sur RTP}, author = {N.Falquet and Dominique Fober}, editor = {CICM – MSH}, url = {falquet05.pdf}, year = {2005}, date = {2005-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM2005, Paris}, pages = {13–19}, abstract = {RTP MIDI est une extension du protocole RTP (Real-Time Transport Protocol) pour la transmission de flux MIDI. Ce standard décrit un format permettant la paquetisation de toute commande pouvant apparaître légalement sur un câble DIN MIDI 1.0. Il utilise le cadre générique fourni par RTP et les outils qui lui sont associés afin de permettre une transmission de ces données MIDI en temps réel. Un tel protocole pourrait être utilisé dans le cadre d’applications interactives ou pour le streaming de fichiers. Le format propose également un mécanisme de réparation en cas de pertes de paquets lorsque le flux est transmis à travers un environnement réseau incertain. Après une brève présentation de MIDI et de RTP, l’article présente le domaine et les enjeux de RTP MIDI puis le format des paquets et les mécanismes de réparation décrits dans ce standard ainsi que, pour finir, nos travaux d’implémentation d’une bibliothèque permettant la création et l’analyse de payloads au format RTP MIDI et pouvant s’intégrer au système MidiShare.}, keywords = {communication, MidiShare, real-time, RTP}, pubstate = {published}, tppubtype = {inproceedings} } RTP MIDI est une extension du protocole RTP (Real-Time Transport Protocol) pour la transmission de flux MIDI. Ce standard décrit un format permettant la paquetisation de toute commande pouvant apparaître légalement sur un câble DIN MIDI 1.0. Il utilise le cadre générique fourni par RTP et les outils qui lui sont associés afin de permettre une transmission de ces données MIDI en temps réel. Un tel protocole pourrait être utilisé dans le cadre d’applications interactives ou pour le streaming de fichiers. Le format propose également un mécanisme de réparation en cas de pertes de paquets lorsque le flux est transmis à travers un environnement réseau incertain. Après une brève présentation de MIDI et de RTP, l’article présente le domaine et les enjeux de RTP MIDI puis le format des paquets et les mécanismes de réparation décrits dans ce standard ainsi que, pour finir, nos travaux d’implémentation d’une bibliothèque permettant la création et l’analyse de payloads au format RTP MIDI et pouvant s’intégrer au système MidiShare.
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Letz, Stephane; Orlarey, Yann; Fober, Dominique jackdmp: Jack server for multi-processor machines (Inproceeding) LAC, (Ed.): pp. 29–36, 2005. (Abstract | Links | BibTeX | Étiquettes: audio, lock-free, multi-processor, Parallelism, real-time) @inproceedings{ letz:05a ,
title = {jackdmp: Jack server for multi-processor machines}, author = {Stephane Letz and Yann Orlarey and Dominique Fober}, editor = {LAC}, url = {Jackdmp-lac2005.pdf}, year = {2005}, date = {2005-01-01}, pages = {29–36}, abstract = {jackdmp is a C++ version of the Jack low-latency audio server for multi-processor machines. It is a new implementation of the jack server core features that aims in removing some limitations of the current design. The activation system has been changed for a data flow model and lock-free programming techniques for graph access have been used to have a more dynamic and robust system. We present the new design and the implementation for MacOSX.}, keywords = {audio, lock-free, multi-processor, Parallelism, real-time}, pubstate = {published}, tppubtype = {inproceedings} } jackdmp is a C++ version of the Jack low-latency audio server for multi-processor machines. It is a new implementation of the jack server core features that aims in removing some limitations of the current design. The activation system has been changed for a data flow model and lock-free programming techniques for graph access have been used to have a more dynamic and robust system. We present the new design and the implementation for MacOSX.
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N.Falquet,; Fober, Dominique RTP MIDI : Recovery Journal Evaluation and Alternative Proposal (Technical Report) 2005. (Abstract | Links | BibTeX | Étiquettes: communication, MidiShare, real-time, RTP) @techreport{ Falquet:05b ,
title = {RTP MIDI : Recovery Journal Evaluation and Alternative Proposal}, author = {N.Falquet and Dominique Fober}, editor = {Grame}, url = {TR-050622.pdf}, year = {2005}, date = {2005-01-01}, booktitle = {Technical Report – 05-06-22}, abstract = {An RTP payload for MIDI commands is under development. As a part of this draft, a default resiliency mechanism for the transport over lossy networks defines a journalling method called recovery journal. But the theoretical size of this recovery journal can be very large and its format is complex. This report will present an empirical evaluation of the recovery journal size based on a few MidiFiles. We will also propose an alternative solution for the resiliency of RTP MIDI streams based on the combined use of redundancy and retransmissions. Our solution is simpler and might be interesting for some scenarios, typically: short grouping times, complex streams or unconventional semantics.}, keywords = {communication, MidiShare, real-time, RTP}, pubstate = {published}, tppubtype = {techreport} } An RTP payload for MIDI commands is under development. As a part of this draft, a default resiliency mechanism for the transport over lossy networks defines a journalling method called recovery journal. But the theoretical size of this recovery journal can be very large and its format is complex. This report will present an empirical evaluation of the recovery journal size based on a few MidiFiles. We will also propose an alternative solution for the resiliency of RTP MIDI streams based on the combined use of redundancy and retransmissions. Our solution is simpler and might be interesting for some scenarios, typically: short grouping times, complex streams or unconventional semantics.
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Fober, Dominique; Letz, Stephane; Orlarey, Yann Real Time Clock Skew Estimation over Network Delays (Technical Report) 2005. (Abstract | Links | BibTeX | Étiquettes: clock, networking, real, skew, time) @techreport{ Fober:05b ,
title = {Real Time Clock Skew Estimation over Network Delays}, author = {Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {Grame}, url = {TR-050601.pdf}, year = {2005}, date = {2005-01-01}, booktitle = {Technical Report – 05-06-01}, abstract = {Clock skew is one of the significant issues of real-time networking. We have previously proposed a new algorithm for clock skew detection that operates one a one-way measurement, simply based on time stamped packets. This algorithm was initially targeted to Internet transport context. It has been showed that it is also suitable to low latency transport conditions using an adequate parameters set. This report presents improvements to the algorithm as well as as well as parameters characterization, along with the corresponding performance measurements.}, keywords = {clock, networking, real, skew, time}, pubstate = {published}, tppubtype = {techreport} } Clock skew is one of the significant issues of real-time networking. We have previously proposed a new algorithm for clock skew detection that operates one a one-way measurement, simply based on time stamped packets. This algorithm was initially targeted to Internet transport context. It has been showed that it is also suitable to low latency transport conditions using an adequate parameters set. This report presents improvements to the algorithm as well as as well as parameters characterization, along with the corresponding performance measurements.
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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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Letz, Stephane; Orlarey, Yann; Fober, Dominique Jack audio server for multi-processor machines (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 1–4, 2005. (Abstract | Links | BibTeX | Étiquettes: audio, lock-free, multi-processor, Parallelism, real-time) @inproceedings{ Letz:05b ,
title = {Jack audio server for multi-processor machines}, author = {Stephane Letz and Yann Orlarey and Dominique Fober}, editor = {ICMA}, url = {Jackdmp-ICMC2005.pdf}, year = {2005}, date = {2005-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {1–4}, abstract = {Jack is a low-latency audio server, written for POSIX conformant operating systems such as GNU/Linux. It can connect a number of different applications to an audio device, as well as allowing them to share audio between themselves. We present a new C++ version for multi-processor machines that aims at removing some limitations of the current design: the activation system has been changed for a data flow model and lock-free programming techniques for graph access have been used.}, keywords = {audio, lock-free, multi-processor, Parallelism, real-time}, pubstate = {published}, tppubtype = {inproceedings} } Jack is a low-latency audio server, written for POSIX conformant operating systems such as GNU/Linux. It can connect a number of different applications to an audio device, as well as allowing them to share audio between themselves. We present a new C++ version for multi-processor machines that aims at removing some limitations of the current design: the activation system has been changed for a data flow model and lock-free programming techniques for graph access have been used.
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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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Orlarey, Yann; Fober, Dominique; Letz, Stephane Syntactical and Semantical Aspects of Faust (Journal Article) 2004. (Abstract | Links | BibTeX | Étiquettes: compiler, dataflow, functional, processing, programming, real-time, signal) @article{ orlarey:04a ,
title = {Syntactical and Semantical Aspects of Faust}, author = {Yann Orlarey and Dominique Fober and Stephane Letz}, url = {faust-soft-computing.pdf}, year = {2004}, date = {2004-01-01}, booktitle = {Soft Computing}, abstract = {This paper presents some syntactical and semantical aspects of FAUST (Functional AUdio STreams), a programming language for real-time sound processing and synthesis. The programming model of FAUST combines two approaches : functional programming and block-diagrams composition. It is based on a block-diagram algebra. It has a well defined formal semantic and can be compiled into efficient C/C++ code.}, keywords = {compiler, dataflow, functional, processing, programming, real-time, signal}, pubstate = {published}, tppubtype = {article} } This paper presents some syntactical and semantical aspects of FAUST (Functional AUdio STreams), a programming language for real-time sound processing and synthesis. The programming model of FAUST combines two approaches : functional programming and block-diagrams composition. It is based on a block-diagram algebra. It has a well defined formal semantic and can be compiled into efficient C/C++ code.
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Fober, Dominique; Letz, Stephane; Orlarey, Yann MidiShare : une architecture logicielle pour la musique (Book Chapter) Hermes, (Ed.): Informatique musicale : du signal au signe musical, pp. 175–194, 2004. (Abstract | Links | BibTeX | Étiquettes: communication, network, real-time, wireless) @inbook{ Fober:04a ,
title = {MidiShare : une architecture logicielle pour la musique}, author = {Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {Hermes}, url = {MSHermes04.pdf}, year = {2004}, date = {2004-01-01}, booktitle = {Informatique musicale : du signal au signe musical}, pages = {175–194}, abstract = {Le développeur d’une application musicale est souvent confronté à des problèmes difficiles à résoudre, notamment parce qu’ils sont relatifs à la maîtrise du temps. Le manque de support des systèmes d’exploitations courants, l’absence de standard, les problèmes de portabilité qui en résultent ne facilitent pas la tâche du programmeur. Nous présentons MidiShare, une architecture logicielle qui a été conçue dans le but de couvrir les besoins des applications musicales de manière homogène, durable et portable. Nous montrons également à travers plusieurs exemples, comment cette architecture facilite le développement, notamment grâce à des mécanismes simples et efficaces de gestion du temps et de communication en temps réel.}, keywords = {communication, network, real-time, wireless}, pubstate = {published}, tppubtype = {inbook} } Le développeur d’une application musicale est souvent confronté à des problèmes difficiles à résoudre, notamment parce qu’ils sont relatifs à la maîtrise du temps. Le manque de support des systèmes d’exploitations courants, l’absence de standard, les problèmes de portabilité qui en résultent ne facilitent pas la tâche du programmeur. Nous présentons MidiShare, une architecture logicielle qui a été conçue dans le but de couvrir les besoins des applications musicales de manière homogène, durable et portable. Nous montrons également à travers plusieurs exemples, comment cette architecture facilite le développement, notamment grâce à des mécanismes simples et efficaces de gestion du temps et de communication en temps réel.
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Letz, Stephane; Fober, Dominique; Orlarey, Yann Les normes MIDI et MIDIFiles (Book Chapter) Hermes, (Ed.): Informatique musicale : du signal au signe musical, 2004. (Links | BibTeX | Étiquettes: MIDI, MIDI File) @inbook{ Letz:04a ,
title = {Les normes MIDI et MIDIFiles}, author = {Stephane Letz and Dominique Fober and Yann Orlarey}, editor = {Hermes}, url = {MIDIHermes.pdf}, year = {2004}, date = {2004-01-01}, booktitle = {Informatique musicale : du signal au signe musical}, keywords = {MIDI, MIDI File}, pubstate = {published}, tppubtype = {inbook} } |
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Orlarey, Yann; Fober, Dominique; Letz, Stephane Un algorithme efficace d’ordonnancement pour les systèmes musicaux temps-réel (Book Chapter) Hermes, (Ed.): Informatique musicale : du signal au signe musical, pp. 157–174, 2004. (Abstract | Links | BibTeX | Étiquettes: MidiShare, real-time, scheduling) @inbook{ Orlarey:04b ,
title = {Un algorithme efficace d’ordonnancement pour les systèmes musicaux temps-réel}, author = {Yann Orlarey and Dominique Fober and Stephane Letz}, editor = {Hermes}, url = {Hermes-Sorter-Chapitre-4.pdf}, year = {2004}, date = {2004-01-01}, booktitle = {Informatique musicale : du signal au signe musical}, pages = {157–174}, abstract = {Une gestion efficace et précise du temps est essentielle au bon fonctionnement des logiciels musicaux. Le problème se pose en particulier pour les logiciels MIDI et tous les logiciels qui sont amenés à traiter et à produire de manière asynchrone des quantités importantes d’événements musicaux datés. Bien souvent l’ordre de production des événements n’est pas celui souhaité pour la restitution. Il convient alors de disposer d’un mécanisme d’ordonnancement qui va servir de tampon entre la production et la restitution des événements et qui sera chargé de délivrer chaque événement à la date qui lui a été assignée. Dans ce chapitre nous présentons un algorithme d’ordonnancement conçu pour traiter efficacement ce problème. Il garantit un coût d’ordonnancement par événement traité faible et borné en toutes circonstances quelque soit le nombre d’événements en attente et l’avance avec laquelle ils sont produits. Son principe est de maintenir les événements d’autant mieux triés qu’ils sont proches de leur date d’échéance.}, keywords = {MidiShare, real-time, scheduling}, pubstate = {published}, tppubtype = {inbook} } Une gestion efficace et précise du temps est essentielle au bon fonctionnement des logiciels musicaux. Le problème se pose en particulier pour les logiciels MIDI et tous les logiciels qui sont amenés à traiter et à produire de manière asynchrone des quantités importantes d’événements musicaux datés. Bien souvent l’ordre de production des événements n’est pas celui souhaité pour la restitution. Il convient alors de disposer d’un mécanisme d’ordonnancement qui va servir de tampon entre la production et la restitution des événements et qui sera chargé de délivrer chaque événement à la date qui lui a été assignée. Dans ce chapitre nous présentons un algorithme d’ordonnancement conçu pour traiter efficacement ce problème. Il garantit un coût d’ordonnancement par événement traité faible et borné en toutes circonstances quelque soit le nombre d’événements en attente et l’avance avec laquelle ils sont produits. Son principe est de maintenir les événements d’autant mieux triés qu’ils sont proches de leur date d’échéance.
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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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Letz, Stephane; Fober, Dominique; Orlarey, Yann; P.Davis, Jack Audio Server: MacOSX port and multi-processor version (Inproceeding) IRCAM, (Ed.): Proceedings of the first Sound and Music Computing conference – SMC’04, pp. 177–183, 2004. (Abstract | Links | BibTeX | Étiquettes: architecture, audio, real-time) @inproceedings{ Letz:04b ,
title = {Jack Audio Server: MacOSX port and multi-processor version}, author = {Stephane Letz and Dominique Fober and Yann Orlarey and P.Davis}, editor = {IRCAM}, url = {SMC-2004-033.pdf}, year = {2004}, date = {2004-01-01}, booktitle = {Proceedings of the first Sound and Music Computing conference – SMC’04}, pages = {177–183}, abstract = {Jack is a low-latency audio server, written for POSIX conformant operating systems such as GNU/Linux. It can connect a number of different applications to an audio device, as well as allowing them to share audio between themselves. We present the port for Apple’s MacOS X, and new developments to take advantage of multi-processor architecture.}, keywords = {architecture, audio, real-time}, pubstate = {published}, tppubtype = {inproceedings} } Jack is a low-latency audio server, written for POSIX conformant operating systems such as GNU/Linux. It can connect a number of different applications to an audio device, as well as allowing them to share audio between themselves. We present the port for Apple’s MacOS X, and new developments to take advantage of multi-processor architecture.
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2003 |
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Scaringella,; Orlarey, Yann; Letz, Stephane; Fober, Dominique Automatic vectorization in Faust (Inproceeding) JIM, (Ed.): Actes des Journées d’Informatique Musicale JIM2003, Montbeliard, 2003. (Abstract | Links | BibTeX | Étiquettes: audio, compiler, processing, signal, vectorization) @inproceedings{ Scaringella:03 ,
title = {Automatic vectorization in Faust}, author = {N. Scaringella and Yann Orlarey and Stephane Letz and Dominique Fober}, editor = {JIM}, url = {JIM2003vect.pdf}, year = {2003}, date = {2003-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM2003, Montbeliard}, abstract = {Faust is a Block-Diagram language for sound signal processing and synthesis. It implements a new algebraic representation of block-diagrams and adopts a functional model of semantics instead of a data flow model. Based on these elements, a compiler able to translate DSP block diagram specification into C code is briefly presented. The code produced proves to be efficient and can compete with a hand written code. The optimization process is even pushed further: the C code produced can be automatically vectorized to address Altivec extension for PowerPC (instruction-motorola) and SSE and SSE2 extensions for Intel architecture (instruction-intel). A method is proposed to determine whether or not a Faust expression can be vectorized by crossing a type information (synthesized during an upward run-around in the syntactic tree to be compiled) and a contextual information (inherited during a downward run-around in the syntactic tree). Thanks to this method, we are able to find expressions that can be vectorized inside recursive expressions that are not supposed to be vectorizable. The quality of the code produced by Faust is evaluated. On one hand, scalar code produced by Faust is compared to vector code produced by Faust, on the other hand, scalar and vector code are compared to code optimized by hand. In the end, we briefly present code transformations to vectorize the expressions classed as non-vectorizable by the previous method so that even better performances can be achieved in the future.}, keywords = {audio, compiler, processing, signal, vectorization}, pubstate = {published}, tppubtype = {inproceedings} } Faust is a Block-Diagram language for sound signal processing and synthesis. It implements a new algebraic representation of block-diagrams and adopts a functional model of semantics instead of a data flow model. Based on these elements, a compiler able to translate DSP block diagram specification into C code is briefly presented. The code produced proves to be efficient and can compete with a hand written code. The optimization process is even pushed further: the C code produced can be automatically vectorized to address Altivec extension for PowerPC (instruction-motorola) and SSE and SSE2 extensions for Intel architecture (instruction-intel). A method is proposed to determine whether or not a Faust expression can be vectorized by crossing a type information (synthesized during an upward run-around in the syntactic tree to be compiled) and a contextual information (inherited during a downward run-around in the syntactic tree). Thanks to this method, we are able to find expressions that can be vectorized inside recursive expressions that are not supposed to be vectorizable. The quality of the code produced by Faust is evaluated. On one hand, scalar code produced by Faust is compared to vector code produced by Faust, on the other hand, scalar and vector code are compared to code optimized by hand. In the end, we briefly present code transformations to vectorize the expressions classed as non-vectorizable by the previous method so that even better performances can be achieved in the future.
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Fober, Dominique; S.Trebuchon, Evaluation des performances de 802.11b (Technical Report) 2003. (Abstract | Links | BibTeX | Étiquettes: communication, network, real-time, wireless) @techreport{ Fober:03a ,
title = {Evaluation des performances de 802.11b}, author = {Dominique Fober and S.Trebuchon}, editor = {Grame}, url = {TR-030613.pdf}, year = {2003}, date = {2003-01-01}, booktitle = {Technical Report – 03-06-13}, abstract = {L’utilisation de réseaux sans fil dans le domaine musical ouvre des perspectives prometteuses, tant d’un point de vue artistique que technique. Ce domaine d’application impose cependant des contraintes de fiabilité et de temps réel spécifiques. Nous avons donc mesuré les performances de 802.11b en fonction de ces contraintes et nous présentons les résultats correspondants ainsi que leur analyse.}, keywords = {communication, network, real-time, wireless}, pubstate = {published}, tppubtype = {techreport} } L’utilisation de réseaux sans fil dans le domaine musical ouvre des perspectives prometteuses, tant d’un point de vue artistique que technique. Ce domaine d’application impose cependant des contraintes de fiabilité et de temps réel spécifiques. Nous avons donc mesuré les performances de 802.11b en fonction de ces contraintes et nous présentons les résultats correspondants ainsi que leur analyse.
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Gaudrain,; Orlarey, Yann A FAUST Tutorial (Technical Manual) Grame, (Ed.): 2003. (Abstract | Links | BibTeX | Étiquettes: audio, block-diagrams, functionnal, processing, programming, real, signal, time) @manual{ Gaudrain:03a ,
title = {A FAUST Tutorial}, author = {E. Gaudrain and Yann Orlarey}, editor = {Grame}, url = {faust_tutorial.pdf}, year = {2003}, date = {2003-01-01}, abstract = {This document presents the language FAUST, its syntax and grammar as well as several commented examples. FAUST (the name stands for Functional Audio Streams) is a programming language specifically designed to develop and implement efficient real time digital signal processors.}, keywords = {audio, block-diagrams, functionnal, processing, programming, real, signal, time}, pubstate = {published}, tppubtype = {manual} } This document presents the language FAUST, its syntax and grammar as well as several commented examples. FAUST (the name stands for Functional Audio Streams) is a programming language specifically designed to develop and implement efficient real time digital signal processors.
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2002 |
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Fober, Dominique Audio Cards Clock Skew Compensation over a Local Network (Technical Report) 2002. (Abstract | Links | BibTeX | Étiquettes: audio, clock, network, real-time, skew) @techreport{ Fober:02a ,
title = {Audio Cards Clock Skew Compensation over a Local Network}, author = {Dominique Fober}, editor = {Grame}, url = {AudioClockSkew.pdf}, year = {2002}, date = {2002-01-01}, booktitle = {Technical Report – 02-04-01}, abstract = {This paper is the continuation of a previous work done on clock skew compensation over a high latency network. It evaluates the efficiency of the EPTMA clock skew detection algorithm applied to real-time audio streaming over a local network. The presented results include real world apparent deviations of audio card clocks and acuracy of the skew detection. It appears that EPMTA is very suitable to measure clocks deviation in the context of audio transport. Finally, a simple method to compensate for the clock skew is presented, mainly to evaluate a complete solution for audio streaming.}, keywords = {audio, clock, network, real-time, skew}, pubstate = {published}, tppubtype = {techreport} } This paper is the continuation of a previous work done on clock skew compensation over a high latency network. It evaluates the efficiency of the EPTMA clock skew detection algorithm applied to real-time audio streaming over a local network. The presented results include real world apparent deviations of audio card clocks and acuracy of the skew detection. It appears that EPMTA is very suitable to measure clocks deviation in the context of audio transport. Finally, a simple method to compensate for the clock skew is presented, mainly to evaluate a complete solution for audio streaming.
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Fober, Dominique; Letz, Stephane; Orlarey, Yann Lock-Free Techniques for Concurrent Access to Shared Objects (Inproceeding) GMEM, (Ed.): Actes des Journées d’Informatique Musicale JIM2002, Marseille, pp. 143–150, 2002. (Abstract | Links | BibTeX | Étiquettes: access, computation, concurrent, lock-free, parallel, real-time) @inproceedings{ Fober:02b ,
title = {Lock-Free Techniques for Concurrent Access to Shared Objects}, author = {Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {GMEM}, url = {fober-JIM2002.pdf}, year = {2002}, date = {2002-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM2002, Marseille}, pages = {143–150}, abstract = {Concurrent access to shared data in preemptive multi-tasks environment and in multi-processors architecture have been subject of many works. Proposed solutions are commonly based on semaphores which have several drawbacks. For many cases, lock-free techniques constitute an alternate solution and avoid the disadvantages of semaphore based techniques. We present the principle of these lock-free techniques with the simple example of a LIFO stack. Then, based on Michael-Scott previous work, we propose a new algorithm to implements lock-free FIFO stacks with a simple constraint on the data structure.}, keywords = {access, computation, concurrent, lock-free, parallel, real-time}, pubstate = {published}, tppubtype = {inproceedings} } Concurrent access to shared data in preemptive multi-tasks environment and in multi-processors architecture have been subject of many works. Proposed solutions are commonly based on semaphores which have several drawbacks. For many cases, lock-free techniques constitute an alternate solution and avoid the disadvantages of semaphore based techniques. We present the principle of these lock-free techniques with the simple example of a LIFO stack. Then, based on Michael-Scott previous work, we propose a new algorithm to implements lock-free FIFO stacks with a simple constraint on the data structure.
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Orlarey, Yann; Fober, Dominique; Letz, Stephane An Algebraic approach to Block Diagram Constructions (Inproceeding) GMEM, (Ed.): Actes des Journées d’Informatique Musicale JIM2002, Marseille, pp. 151–158, 2002. (Abstract | Links | BibTeX | Étiquettes: algebra, block-diagram, dataflow, Denotational, DSP, graph, semantic) @inproceedings{ Orlarey:02a ,
title = {An Algebraic approach to Block Diagram Constructions}, author = {Yann Orlarey and Dominique Fober and Stephane Letz}, editor = {GMEM}, url = {faust-jim2002.pdf}, year = {2002}, date = {2002-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM2002, Marseille}, pages = {151–158}, abstract = {We propose an algebraic approach to block diagram construction as an alternative to the classical graph approach inspired by dataflow models. This block diagram algebra is based on three binary operations : sequential, parallel and recursive constructions. These operations can be seen as high level connection schemes that set several connections at once in order to combine two block diagrams to form a new one. Such algebraic representations have interesting applications for visual languages based on block diagrams. In particular they are very useful to specify the formal semantic of these languages.}, keywords = {algebra, block-diagram, dataflow, Denotational, DSP, graph, semantic}, pubstate = {published}, tppubtype = {inproceedings} } We propose an algebraic approach to block diagram construction as an alternative to the classical graph approach inspired by dataflow models. This block diagram algebra is based on three binary operations : sequential, parallel and recursive constructions. These operations can be seen as high level connection schemes that set several connections at once in order to combine two block diagrams to form a new one. Such algebraic representations have interesting applications for visual languages based on block diagrams. In particular they are very useful to specify the formal semantic of these languages.
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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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Orlarey, Yann; Fober, Dominique; Letz, Stephane An Algebra for Block Diagram Languages (Inproceeding) ICMA, (Ed.): Proceedings of International Computer Music Conference, pp. 542–547, 2002. (Abstract | Links | BibTeX | Étiquettes: algebra, block-diagram, dataflow, Denotational, DSP, graph, semantic) @inproceedings{ Orlarey:02b ,
title = {An Algebra for Block Diagram Languages}, author = {Yann Orlarey and Dominique Fober and Stephane Letz}, editor = {ICMA}, url = {faust-icmc2002.pdf}, year = {2002}, date = {2002-01-01}, booktitle = {Proceedings of International Computer Music Conference}, pages = {542–547}, abstract = {We propose an algebraic approach to block diagram construction as an alternative to the classical graph approach inspired by dataflow models. The proposed algebra is based on three binary operations of construction : sequential, parallel and recursive constructions. These operations can be seen as high level connection schemes that set several connections at once in order to combine two block diagrams to form a new one. Algebraic representations have interesting application for visual languages based on block diagrams and are useful to specify the formal semantic of these languages.}, keywords = {algebra, block-diagram, dataflow, Denotational, DSP, graph, semantic}, pubstate = {published}, tppubtype = {inproceedings} } We propose an algebraic approach to block diagram construction as an alternative to the classical graph approach inspired by dataflow models. The proposed algebra is based on three binary operations of construction : sequential, parallel and recursive constructions. These operations can be seen as high level connection schemes that set several connections at once in order to combine two block diagrams to form a new one. Algebraic representations have interesting application for visual languages based on block diagrams and are useful to specify the formal semantic of these languages.
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2001 |
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Fober, Dominique; Orlarey, Yann; Letz, Stephane Real Time Musical Events Streaming over Internet (Inproceeding) IEEE, (Ed.): Proceedings of the International Conference on WEB Delivering of Music, pp. 147–154, 2001. (Abstract | Links | BibTeX | Étiquettes: Internet, MIDI, real-time) @inproceedings{ Fober:01b ,
title = {Real Time Musical Events Streaming over Internet}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {IEEE}, url = {RTESPWedel.pdf}, year = {2001}, date = {2001-01-01}, booktitle = {Proceedings of the International Conference on WEB Delivering of Music}, pages = {147–154}, abstract = {We present a new protocol to transmit time ordered events in real-time over Internet and to operate a correct time rendering on the receiver side. This protocol provides solutions to compensate for the network latency, to optimize the bandwidth use and to take account of the clock drift of the different stations involved in a transmission. It is particularly suitable to transmit musical events such as MIDI events. The implementation is based on the User Datagram Protocol (UDP) however, the proposed solution is independant of the underlying network layers.}, keywords = {Internet, MIDI, real-time}, pubstate = {published}, tppubtype = {inproceedings} } We present a new protocol to transmit time ordered events in real-time over Internet and to operate a correct time rendering on the receiver side. This protocol provides solutions to compensate for the network latency, to optimize the bandwidth use and to take account of the clock drift of the different stations involved in a transmission. It is particularly suitable to transmit musical events such as MIDI events. The implementation is based on the User Datagram Protocol (UDP) however, the proposed solution is independant of the underlying network layers.
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Fober, Dominique; Orlarey, Yann; Letz, Stephane Optimised Lock-Free FIFO Queue (Technical Report) 2001. (Abstract | Links | BibTeX | Étiquettes: concurrency, fifo, lifo, lock-free) @techreport{ Fober:01d ,
title = {Optimised Lock-Free FIFO Queue}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {Grame}, url = {LockFree.pdf}, year = {2001}, date = {2001-01-01}, booktitle = {Technical Report – 01-01-01}, abstract = {Concurrent access to shared data in preemptive multi-tasks environment and in multi-processors architecture have been subject to many works. Based on these works, we present a new algorithm to implements lock-free fifo stacks with a minimum constraints on the data structure. Compared to the previous solutions, this algorithm is more simple and more efficient. We’ll present its implementation and it’s performances.}, keywords = {concurrency, fifo, lifo, lock-free}, pubstate = {published}, tppubtype = {techreport} } Concurrent access to shared data in preemptive multi-tasks environment and in multi-processors architecture have been subject to many works. Based on these works, we present a new algorithm to implements lock-free fifo stacks with a minimum constraints on the data structure. Compared to the previous solutions, this algorithm is more simple and more efficient. We’ll present its implementation and it’s performances.
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Fober, Dominique; Orlarey, Yann; Letz, Stephane Real-Time IPC on a client / server model: Multiple OS performances benchmark (Technical Report) 2001. (Abstract | Links | BibTeX | Étiquettes: IPC, operating, real-time, systems) @techreport{ Fober:01c ,
title = {Real-Time IPC on a client / server model: Multiple OS performances benchmark}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {Grame}, url = {IPCBenchs.pdf}, year = {2001}, date = {2001-01-01}, booktitle = {Technical Report – 01-08-03}, abstract = {This paper presents inter processus communication (IPC) real-time performances measured on different operating systems, including GNU/Linux, Windows 98, 2000, NT 4.0 and MacOS X. The adopted point of view is based on a client / server model. The operating systems behavior and message transmission latency times are evaluated in different contexts: with one to ten clients for the server, with systems more or less busy with alternate tasks. As we wanted to measure real world performances, the benchmarks have been applied to operating systems running standard default configurations. Each time it was possible, we compared the different systems on the base of local Unix sockets communication way. But above all, we choose the most efficient communication way per system to evaluate the overall best performances that one can expect in a client / server model.}, keywords = {IPC, operating, real-time, systems}, pubstate = {published}, tppubtype = {techreport} } This paper presents inter processus communication (IPC) real-time performances measured on different operating systems, including GNU/Linux, Windows 98, 2000, NT 4.0 and MacOS X. The adopted point of view is based on a client / server model. The operating systems behavior and message transmission latency times are evaluated in different contexts: with one to ten clients for the server, with systems more or less busy with alternate tasks. As we wanted to measure real world performances, the benchmarks have been applied to operating systems running standard default configurations. Each time it was possible, we compared the different systems on the base of local Unix sockets communication way. But above all, we choose the most efficient communication way per system to evaluate the overall best performances that one can expect in a client / server model.
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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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Letz, Stephane Porting PortAudio API on ASIO (Technical Report) 2001. (Abstract | Links | BibTeX | Étiquettes: audio, portability, techniques) @techreport{ Letz:01a ,
title = {Porting PortAudio API on ASIO}, author = {Stephane Letz}, editor = {Grame}, url = {Pa_ASIO.pdf}, year = {2001}, date = {2001-01-01}, booktitle = {Technical Note – 01-11-06}, abstract = {This document describes a port of the PortAudio API using the ASIO API on Macintosh and Windows. It explains technical choices used, buffer size adaptation techniques that guarantee minimal additional latency, results and limitations.}, keywords = {audio, portability, techniques}, pubstate = {published}, tppubtype = {techreport} } This document describes a port of the PortAudio API using the ASIO API on Macintosh and Windows. It explains technical choices used, buffer size adaptation techniques that guarantee minimal additional latency, results and limitations.
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Letz, Stephane Callback adaptation techniques (Technical Report) 2001. (Abstract | Links | BibTeX | Étiquettes: audio, techniques) @techreport{ Letz:01b ,
title = {Callback adaptation techniques}, author = {Stephane Letz}, editor = {Grame}, url = {CallbackAdaptation.pdf}, year = {2001}, date = {2001-01-01}, booktitle = {Technical Note – 01-11-07}, abstract = {This document describes a callback adaptation technique developed for the PortAudio port on ASIO. This method handle buffers of different sizes and guarantee lowest latency added by buffer size adaptation.}, keywords = {audio, techniques}, pubstate = {published}, tppubtype = {techreport} } This document describes a callback adaptation technique developed for the PortAudio port on ASIO. This method handle buffers of different sizes and guarantee lowest latency added by buffer size adaptation.
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Fober, Dominique; Orlarey, Yann; Letz, Stephane Transmission d’événements musicaux en temps réel sur Internet (Inproceeding) IMEB, (Ed.): Actes des Journées d’Informatique Musicale JIM2001, Bourges, pp. 225–236, 2001. (Abstract | Links | BibTeX | Étiquettes: MIDI, real-time, streaming, UDP) @inproceedings{ Fober:01f ,
title = {Transmission d\’événements musicaux en temps réel sur Internet}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {IMEB}, url = {RTESP-JIM2001.pdf}, year = {2001}, date = {2001-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM2001, Bourges}, pages = {225–236}, abstract = {Nous présentons un nouveau protocole s’appuyant sur UDP, permettant de transmettre des événements datés en temps réel et fournissant au récepteur, les moyens d’une restitution temporelle correcte. Ce protocole inclus des mécanismes permettant de compenser la latence du réseau et d’optimiser l’utilisation de la bande passante. Il prend également en compte les dérives d’horloges des différentes machines impliquées dans une transmission. Il est particulièrement adapté à la transmission d’événements musicaux tels que les messages MIDI.}, keywords = {MIDI, real-time, streaming, UDP}, pubstate = {published}, tppubtype = {inproceedings} } Nous présentons un nouveau protocole s’appuyant sur UDP, permettant de transmettre des événements datés en temps réel et fournissant au récepteur, les moyens d’une restitution temporelle correcte. Ce protocole inclus des mécanismes permettant de compenser la latence du réseau et d’optimiser l’utilisation de la bande passante. Il prend également en compte les dérives d’horloges des différentes machines impliquées dans une transmission. Il est particulièrement adapté à la transmission d’événements musicaux tels que les messages MIDI.
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Cirotteau, Dominique; Fober, Dominique; Letz, Stephane; Orlarey, Yann Un pitchtracker monophonique (Inproceeding) IMEB, (Ed.): Actes des Journées d’Informatique Musicale JIM2001, Bourges, pp. 217–223, 2001. (Abstract | Links | BibTeX | Étiquettes: analysis, FFT, MIDI, pitch, real-time, sound, to, tracker) @inproceedings{ Cirotteau:01 ,
title = {Un pitchtracker monophonique}, author = {Dominique Cirotteau and Dominique Fober and Stephane Letz and Yann Orlarey}, editor = {IMEB}, url = {pitchtracker-JIM2001.pdf}, year = {2001}, date = {2001-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM2001, Bourges}, pages = {217–223}, abstract = {Nous présentons ici un détecteur de hauteur de note basé sur une amélioration du vocodeur de phase. Cette amélioration, permettant une meilleure précision en temps et en fréquence, est parfaitement adaptée à une utilisation en temps réel. Une attention particulière a été portée sur la possibilité d’intégration de ce détecteur dans différents systèmes.}, keywords = {analysis, FFT, MIDI, pitch, real-time, sound, to, tracker}, pubstate = {published}, tppubtype = {inproceedings} } Nous présentons ici un détecteur de hauteur de note basé sur une amélioration du vocodeur de phase. Cette amélioration, permettant une meilleure précision en temps et en fréquence, est parfaitement adaptée à une utilisation en temps réel. Une attention particulière a été portée sur la possibilité d’intégration de ce détecteur dans différents systèmes.
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2000 |
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Letz, Stephane; Orlarey, Yann; Fober, Dominique Real-time Composition in Elody (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 336–339, 2000. (Abstract | Links | BibTeX | Étiquettes: composition, Elody, real-time) @inproceedings{ Letz:00 ,
title = {Real-time Composition in Elody}, author = {Stephane Letz and Yann Orlarey and Dominique Fober}, editor = {ICMA}, url = {ICMC2000elod.pdf}, year = {2000}, date = {2000-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {336–339}, abstract = {Elody was initially an environment for musical composition allowing the description and algorithmic manipulation of non real-time musical structures. To allow the definition of real-time transformation processes, we have added a new primitive in the language : the real-time input stream. This object can be manipulated and transformed like non real-time objects even before being known. Evaluating a real-time expression gives as result a command sequence which drives a transformation engine. This one transforms a real-time input stream in an output stream.}, keywords = {composition, Elody, real-time}, pubstate = {published}, tppubtype = {inproceedings} } Elody was initially an environment for musical composition allowing the description and algorithmic manipulation of non real-time musical structures. To allow the definition of real-time transformation processes, we have added a new primitive in the language : the real-time input stream. This object can be manipulated and transformed like non real-time objects even before being known. Evaluating a real-time expression gives as result a command sequence which drives a transformation engine. This one transforms a real-time input stream in an output stream.
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Fober, Dominique; Orlarey, Yann; Letz, Stephane Le projet MidiShare / Open Source (Inproceeding) Grame, (Ed.): Actes des Journées d’Informatique Musicale JIM2000, Bordeaux, pp. 7–13, 2000. (Abstract | Links | BibTeX | Étiquettes: linux, MidiShare, open, source) @inproceedings{ Fober:00 ,
title = {Le projet MidiShare / Open Source}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {Grame}, url = {JIM2000ms.pdf}, year = {2000}, date = {2000-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM2000, Bordeaux}, pages = {7–13}, abstract = {MidiShare est un système d’exploitation musical temps-réel, dédié aux applications MIDI. Originellement conçu en 1989, il a été récompensé depuis du prix Apple Trophy (1989), du prix Paris-Cité (1990) et plus récemment du Max d’Or au concours international du logiciel musical de Bourges (1999). Parmi les éléments remarquables du système figurent sa disponibilité sur les principales plates-formes matérielles, son puissant système de communication inter-applications ainsi que ses performances temps réel. Il faut également mentionner la simplicité d’utilisation et de programmation de MidiShare qui ont certainement contribué à en faire un système supporté par un nombre grandissant de projets. L’ampleur actuelle du projet ainsi que l’évolution du contexte dans lequel MidiShare est amené à opérer nous ont conduit à en faire un projet “Open Source†et à repenser l’architecture même du noyau, de telle sorte qu’elle permette une meilleure prise en compte des problèmes de portabilité ainsi qu’une plus grande souplesse dans le design de composants tels que les drivers. Ce sont ces évolutions qui sont présentées, notamment à travers une implémentation récente de MidiShare pour GNU/Linux, réalisée sur la base de cette nouvelle architecture.}, keywords = {linux, MidiShare, open, source}, pubstate = {published}, tppubtype = {inproceedings} } MidiShare est un système d’exploitation musical temps-réel, dédié aux applications MIDI. Originellement conçu en 1989, il a été récompensé depuis du prix Apple Trophy (1989), du prix Paris-Cité (1990) et plus récemment du Max d’Or au concours international du logiciel musical de Bourges (1999). Parmi les éléments remarquables du système figurent sa disponibilité sur les principales plates-formes matérielles, son puissant système de communication inter-applications ainsi que ses performances temps réel. Il faut également mentionner la simplicité d’utilisation et de programmation de MidiShare qui ont certainement contribué à en faire un système supporté par un nombre grandissant de projets. L’ampleur actuelle du projet ainsi que l’évolution du contexte dans lequel MidiShare est amené à opérer nous ont conduit à en faire un projet “Open Source†et à repenser l’architecture même du noyau, de telle sorte qu’elle permette une meilleure prise en compte des problèmes de portabilité ainsi qu’une plus grande souplesse dans le design de composants tels que les drivers. Ce sont ces évolutions qui sont présentées, notamment à travers une implémentation récente de MidiShare pour GNU/Linux, réalisée sur la base de cette nouvelle architecture.
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Grame, MidiShare Developer Documentation v.1.80 Release Notes (Technical Manual) Grame, (Ed.): 2000. (Abstract | Links | BibTeX | Étiquettes: MidiShare, operating, real-time, system) @manual{ Grame00 ,
title = {MidiShare Developer Documentation v.1.80 Release Notes}, author = {Grame}, editor = {Grame}, url = {MidiShare-ReleaseNotes180.pdf}, year = {2000}, date = {2000-01-01}, abstract = {MidiShare version 1.80 is an Open Source Release: its source code is publicly available under the GNU Library General Public License. The kernel architecture has been slightly revised in order to facilitates porting on new platforms. A GNU/Linux version has been designed, based on this architecture. The main change consists in removing the IO drivers from the kernel itself and in providing mechanisms to plug these drivers dynamically as external ressources. Therefore, a new manager, the Drivers Manager, is part of the MidiShare kernel architecture: it is in charge of the drivers activation, it also routes the events to their final destination according to the drivers setup. This document describes these changes and gives the reference of the new functions and data structures introduced with this new architecture. The reader is supposed to be familiar with the MidiShare Developer Documentation.}, keywords = {MidiShare, operating, real-time, system}, pubstate = {published}, tppubtype = {manual} } MidiShare version 1.80 is an Open Source Release: its source code is publicly available under the GNU Library General Public License. The kernel architecture has been slightly revised in order to facilitates porting on new platforms. A GNU/Linux version has been designed, based on this architecture. The main change consists in removing the IO drivers from the kernel itself and in providing mechanisms to plug these drivers dynamically as external ressources. Therefore, a new manager, the Drivers Manager, is part of the MidiShare kernel architecture: it is in charge of the drivers activation, it also routes the events to their final destination according to the drivers setup. This document describes these changes and gives the reference of the new functions and data structures introduced with this new architecture. The reader is supposed to be familiar with the MidiShare Developer Documentation.
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1999 |
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Orlarey, Yann Lambda-Calcul, Programmabilité et Composition Musicale (Book Chapter) Hermes, (Ed.): Interfaces homme-machine dans la création musicale, 1999. (BibTeX | Étiquettes: ) @inbook{Orlarey:99a,
title = {Lambda-Calcul, Programmabilité et Composition Musicale}, author = {Yann Orlarey}, editor = {Hermes}, year = {1999}, date = {1999-11-01}, booktitle = {Interfaces homme-machine dans la création musicale}, keywords = {}, pubstate = {published}, tppubtype = {inbook} } |
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Fober, Dominique; Orlarey, Yann; Letz, Stephane MidiShare joins the Open Source Softwares (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 311–313, 1999. (Abstract | Links | BibTeX | Étiquettes: linux, MidiShare, open, source) @inproceedings{ Fober:99a ,
title = {MidiShare joins the Open Source Softwares}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {ICMA}, url = {ICMC99msos.pdf}, year = {1999}, date = {1999-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {311–313}, abstract = {MidiShare is a realtime, multi-tasks operating system dedicated to musical MIDI applications. It was awarded the Apple Trophy (1989), the Paris-City price (1990) and more recently, the Max d’Or at the Bourges International Musical Software Competition (1999). Multi-platform support, powerful inter-applications communication, accurate realtime performances are among the significant services provided by the kernel. Freely available on the Internet to developers since several years, MidiShare is now supported by a growing number of projects. Its developers mailing list count 250 members on average. The MidiShare project itself is reaching a state which requires a different management policy: the MidiShare source code is now publicly available to allow collaborative contributions over the Internet. The poster session will present this new project, including changes in the kernel architecture, the source code portability issues and the organization of the collaborative development over the Internet.}, keywords = {linux, MidiShare, open, source}, pubstate = {published}, tppubtype = {inproceedings} } MidiShare is a realtime, multi-tasks operating system dedicated to musical MIDI applications. It was awarded the Apple Trophy (1989), the Paris-City price (1990) and more recently, the Max d’Or at the Bourges International Musical Software Competition (1999). Multi-platform support, powerful inter-applications communication, accurate realtime performances are among the significant services provided by the kernel. Freely available on the Internet to developers since several years, MidiShare is now supported by a growing number of projects. Its developers mailing list count 250 members on average. The MidiShare project itself is reaching a state which requires a different management policy: the MidiShare source code is now publicly available to allow collaborative contributions over the Internet. The poster session will present this new project, including changes in the kernel architecture, the source code portability issues and the organization of the collaborative development over the Internet.
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Fober, Dominique; Letz, Stephane Les logiciels d’aide à la composition musicale (Inproceeding) Grame, (Ed.): Actes des Rencontres Musicales Pluridisciplinaires, pp. 13–19, 1999. (Abstract | Links | BibTeX | Étiquettes: composition, formel, langage, musicale) @inproceedings{ Fober:99b ,
title = {Les logiciels d’aide à la composition musicale}, author = {Dominique Fober and Stephane Letz}, editor = {Grame}, url = {RMPD99.pdf}, year = {1999}, date = {1999-01-01}, booktitle = {Actes des Rencontres Musicales Pluridisciplinaires}, pages = {13–19}, abstract = {Le XXème siècle aura vu le champ d’action du domaine musical prodigieusement élargi, à la fois par l’apparition de nouveaux moyens techniques de production du son, que par l’apparition de nouveaux modes d’investigation de la pensée musicale. Celle-ci s’affranchit des procédés classiques de composition pour explorer une grande variété et une grande richesse de modèles de pensée qui naissent notamment de la confrontation et de l’échange avec des domaines scientifiques eux aussi en pleine mutation. C’est à la fin des années 50 que naîtra l’informatique musicale. Cette discipline créera progressivement des outils qui vont s’inscrire en prolongement de ces évolutions, mais vont surtout leur ouvrir des perspectives beaucoup plus vastes tout en modifiant radicalement les moyens d’action de la pensée musicale. Ce sont ces nouveaux outils, le contexte de leur apparition ainsi que leur lien avec la pensée musicale qui sont présentés avec un point de vue particulier sur les langages formels pour l’écriture musicale.}, keywords = {composition, formel, langage, musicale}, pubstate = {published}, tppubtype = {inproceedings} } Le XXème siècle aura vu le champ d’action du domaine musical prodigieusement élargi, à la fois par l’apparition de nouveaux moyens techniques de production du son, que par l’apparition de nouveaux modes d’investigation de la pensée musicale. Celle-ci s’affranchit des procédés classiques de composition pour explorer une grande variété et une grande richesse de modèles de pensée qui naissent notamment de la confrontation et de l’échange avec des domaines scientifiques eux aussi en pleine mutation. C’est à la fin des années 50 que naîtra l’informatique musicale. Cette discipline créera progressivement des outils qui vont s’inscrire en prolongement de ces évolutions, mais vont surtout leur ouvrir des perspectives beaucoup plus vastes tout en modifiant radicalement les moyens d’action de la pensée musicale. Ce sont ces nouveaux outils, le contexte de leur apparition ainsi que leur lien avec la pensée musicale qui sont présentés avec un point de vue particulier sur les langages formels pour l’écriture musicale.
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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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1998 |
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Letz, Stephane; Orlarey, Yann; Fober, Dominique The Role of Lambda-Abstraction in Elody (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 377–384, 1998. (Abstract | Links | BibTeX | Étiquettes: Elody, functional programming, lambda calculus) @inproceedings{ Letz:98 ,
title = {The Role of Lambda-Abstraction in Elody}, author = {Stephane Letz and Yann Orlarey and Dominique Fober}, editor = {ICMA}, url = {ICMC97elod.pdf}, year = {1998}, date = {1998-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {377–384}, abstract = {The Elody music composition environment proposes lambda-abstraction on musical structures as a fundamental mechanism to represent user-defined musical concepts and compositional processes. The user can define new musical concepts either on top of concrete musical objects by generalizing them via an abstraction operation, or by composing and transforming previously defined abstractions. As the paper will show through several examples, this approach leads to a quite natural formalization as well as a convenient active notation for many musical notions and compositional techniques.}, keywords = {Elody, functional programming, lambda calculus}, pubstate = {published}, tppubtype = {inproceedings} } The Elody music composition environment proposes lambda-abstraction on musical structures as a fundamental mechanism to represent user-defined musical concepts and compositional processes. The user can define new musical concepts either on top of concrete musical objects by generalizing them via an abstraction operation, or by composing and transforming previously defined abstractions. As the paper will show through several examples, this approach leads to a quite natural formalization as well as a convenient active notation for many musical notions and compositional techniques.
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Fober, Dominique; Carron, Thierry; Letz, Stéphane; Orlarey, Yann Cristallisation d’applications musicales par collaboration (Inproceeding) LMA, (Ed.): Actes des Journées d’Informatique Musicale JIM98, Marseille, pp. A2-1, A2-7, 1998. (Abstract | Links | BibTeX | Étiquettes: architecture, collaboration, communication, logicielle, MidiShare, temps-reel) @inproceedings{Fober:98,
title = {Cristallisation d’applications musicales par collaboration}, author = {Dominique Fober and Thierry Carron and Stéphane Letz and Yann Orlarey}, editor = {LMA}, url = {JIM98crist.pdf}, year = {1998}, date = {1998-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM98, Marseille}, pages = {A2-1, A2-7}, abstract = {Le développement de la communication et de la collaboration inter-applications conduisent à l’élaboration de systèmes de plus en plus modulaires, basés sur des composants élémentaires et spécialisés qui sont amenés à collaborer pour produire des comportements émergents complexes. Dans le domaine musical, MidiShare fournit les fondements à de tels systèmes en prenant en compte les besoins spécifiques des applications musicales. L’étape ultérieure de la collaboration entre applications consiste naturellement à fournir des systèmes permettant de la simplifier et de l’automatiser. C’est en ce sens que nous présentons un nouveau concept : la “cristallisation de programme†qui consiste à assembler dynamiquement des applications séparées.}, keywords = {architecture, collaboration, communication, logicielle, MidiShare, temps-reel}, pubstate = {published}, tppubtype = {inproceedings} } Le développement de la communication et de la collaboration inter-applications conduisent à l’élaboration de systèmes de plus en plus modulaires, basés sur des composants élémentaires et spécialisés qui sont amenés à collaborer pour produire des comportements émergents complexes. Dans le domaine musical, MidiShare fournit les fondements à de tels systèmes en prenant en compte les besoins spécifiques des applications musicales. L’étape ultérieure de la collaboration entre applications consiste naturellement à fournir des systèmes permettant de la simplifier et de l’automatiser. C’est en ce sens que nous présentons un nouveau concept : la “cristallisation de programme†qui consiste à assembler dynamiquement des applications séparées.
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1997 |
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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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Letz, Stephane; Orlarey, Yann; Fober, Dominique L’environnement de composition musicale Elody (Inproceeding) Grame, (Ed.): Actes des Journées d’Informatique Musicale JIM97, Lyon, pp. 122–136, 1997. (Abstract | Links | BibTeX | Étiquettes: composition musicale, Elody) @inproceedings{ Letz:97 ,
title = {L\’environnement de composition musicale Elody}, author = {Stephane Letz and Yann Orlarey and Dominique Fober}, editor = {Grame}, url = {ElodyJIM97.pdf}, year = {1997}, date = {1997-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM97, Lyon}, pages = {122–136}, abstract = {Elody est un environnement pour la composition musicale permettant la description et la manipulation algorithmique de structures musicales et de procédés compositionnels. Son interface utilisateur est basée sur la manipulation directe d?objets musicaux et algorithmiques par le biais du glisser-déposer et de constructeurs visuels. Elody intègre également des fonctionnalités internet afin de faciliter l?échange et la collaboration entre utilisateurs. Tout l?environnement est écrit en Java et utilise les services de MidiShare pour les communications Midi et les fonctionnalités temps-réel.}, keywords = {composition musicale, Elody}, pubstate = {published}, tppubtype = {inproceedings} } Elody est un environnement pour la composition musicale permettant la description et la manipulation algorithmique de structures musicales et de procédés compositionnels. Son interface utilisateur est basée sur la manipulation directe d?objets musicaux et algorithmiques par le biais du glisser-déposer et de constructeurs visuels. Elody intègre également des fonctionnalités internet afin de faciliter l?échange et la collaboration entre utilisateurs. Tout l?environnement est écrit en Java et utilise les services de MidiShare pour les communications Midi et les fonctionnalités temps-réel.
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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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1996 |
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Fober, Dominique; Orlarey, Yann; Letz, Stephane Recent developments of MidiShare (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 40–42, 1996. (Abstract | Links | BibTeX | Étiquettes: MidiShare, operating, real-time, system) @inproceedings{ Fober:96 ,
title = {Recent developments of MidiShare}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {ICMA}, url = {ICMC96ms.pdf}, year = {1996}, date = {1996-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {40–42}, abstract = {MidiShare is a real-time multi-tasks musical operating system first presented at the ICMC 89. Based on a client/server model, MidiShare offers fast and accurate real-time performances, multi-platform support, powerful inter-application communications, while considerably simplifying the development of complex real-time musical applications. MidiShare has been used by our institution for internal developments for more than 7 years. It was awarded by the Apple Trophy 89 and the Paris-Cité 90 prize. Today, it is evolving toward a distributed multi-platform environment. The poster session will present and demonstrate its recent developments: the MidiShare environment, the developer’s kit and documentation, multi-platform development issues, libraries, Ethernet support, compatibility with other systems and third parties applications.}, keywords = {MidiShare, operating, real-time, system}, pubstate = {published}, tppubtype = {inproceedings} } MidiShare is a real-time multi-tasks musical operating system first presented at the ICMC 89. Based on a client/server model, MidiShare offers fast and accurate real-time performances, multi-platform support, powerful inter-application communications, while considerably simplifying the development of complex real-time musical applications. MidiShare has been used by our institution for internal developments for more than 7 years. It was awarded by the Apple Trophy 89 and the Paris-Cité 90 prize. Today, it is evolving toward a distributed multi-platform environment. The poster session will present and demonstrate its recent developments: the MidiShare environment, the developer’s kit and documentation, multi-platform development issues, libraries, Ethernet support, compatibility with other systems and third parties applications.
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1995 |
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Letz, Stephane; Orlarey, Yann; Fober, Dominique Real Time Functional Languages (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 549–552, 1995. (Abstract | Links | BibTeX | Étiquettes: functional programming, real-time) @inproceedings{ Letz:95 ,
title = {Real Time Functional Languages}, author = {Stephane Letz and Yann Orlarey and Dominique Fober}, editor = {ICMA}, url = {ICMC95rtfunc.pdf}, year = {1995}, date = {1995-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {549–552}, abstract = {This paper introduces two real-time functional programming languages. The first one aims to describe temporal trajectories. The second allows the manipulation of both real-time and deferred time streams. We shall describe the architecture of the real-time reduction machine used for evaluation. We shall also review the expected consequences of this approach.}, keywords = {functional programming, real-time}, pubstate = {published}, tppubtype = {inproceedings} } This paper introduces two real-time functional programming languages. The first one aims to describe temporal trajectories. The second allows the manipulation of both real-time and deferred time streams. We shall describe the architecture of the real-time reduction machine used for evaluation. We shall also review the expected consequences of this approach.
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Fober, Dominique; Orlarey, Yann; Letz, Stephane MidiShare, un système d’exploitation musical pour la communication et la collaboration (Inproceeding) JIM, (Ed.): Actes des Journées d’Informatique Musicale JIM95, Paris, pp. 91-100, 1995. (Abstract | Links | BibTeX | Étiquettes: architectures, collaboration, communication, ethernet, logicielles, MIDI, MidiShare, musique, systeme, temps-reel) @inproceedings{ Fober:95a ,
title = {MidiShare, un système d’exploitation musical pour la communication et la collaboration}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, editor = {JIM}, url = {JIM95ms.pdf}, year = {1995}, date = {1995-01-01}, booktitle = {Actes des Journées d’Informatique Musicale JIM95, Paris}, pages = {91-100}, abstract = {Des architectures logicielles particulières sont nécessaires au domaine de l’informatique musicale. Outre qu?elles permettent le partage des ressources critiques de la machine entre plusieurs applications, elles conditionnent très fortement leurs activités de communication et de collaboration. Après un bref rappel sur les carences des systèmes d?exploitation relativement aux besoins des applications musicales, nous présenterons MidiShare, une architecture qui leur est dédiée, en insistant sur la prise en compte particulière du temps et de la communication. Nous montrerons ensuite que la souplesse du modèle de communication adopté permet son extension aux réseaux locaux avec l?exemple d?une implémentation pour Ethernet. Enfin, nous présenterons les perspectives de l?organisation de la collaboration entre les applications.}, keywords = {architectures, collaboration, communication, ethernet, logicielles, MIDI, MidiShare, musique, systeme, temps-reel}, pubstate = {published}, tppubtype = {inproceedings} } Des architectures logicielles particulières sont nécessaires au domaine de l’informatique musicale. Outre qu?elles permettent le partage des ressources critiques de la machine entre plusieurs applications, elles conditionnent très fortement leurs activités de communication et de collaboration. Après un bref rappel sur les carences des systèmes d?exploitation relativement aux besoins des applications musicales, nous présenterons MidiShare, une architecture qui leur est dédiée, en insistant sur la prise en compte particulière du temps et de la communication. Nous montrerons ensuite que la souplesse du modèle de communication adopté permet son extension aux réseaux locaux avec l?exemple d?une implémentation pour Ethernet. Enfin, nous présenterons les perspectives de l?organisation de la collaboration entre les applications.
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Fober, Dominique; Orlarey, Yann; Letz, Stephane Architectures logicielles pour la musique (Inproceeding) Proceedings of 01Design’95, pp. 261–274, 1995. (Abstract | Links | BibTeX | Étiquettes: architectures, collaboration, communication, ethernet, logicielles, MIDI, MidiShare, musique, systeme, temps-reel) @inproceedings{ Fober:95b ,
title = {Architectures logicielles pour la musique}, author = {Dominique Fober and Yann Orlarey and Stephane Letz}, url = {01Design95.pdf}, year = {1995}, date = {1995-01-01}, booktitle = {Proceedings of 01Design’95}, pages = {261–274}, abstract = {Le propos de cet article est de montrer d’une part, pourquoi des architectures logicielles particulières sont nécessaires au domaine de l’informatique musicale et d’autre part, comment les différents problèmes qui requièrent ces architectures peuvent être résolus. En adoptant un point de vue particulier qui est celui du temps et de la communication, nous présenterons un système d?exploitation dédié au domaine musical. Nous présenterons son extension aux réseaux locaux de type Ethernet et montrerons enfin comment cette architecture induit la collaboration entre applications.}, keywords = {architectures, collaboration, communication, ethernet, logicielles, MIDI, MidiShare, musique, systeme, temps-reel}, pubstate = {published}, tppubtype = {inproceedings} } Le propos de cet article est de montrer d’une part, pourquoi des architectures logicielles particulières sont nécessaires au domaine de l’informatique musicale et d’autre part, comment les différents problèmes qui requièrent ces architectures peuvent être résolus. En adoptant un point de vue particulier qui est celui du temps et de la communication, nous présenterons un système d?exploitation dédié au domaine musical. Nous présenterons son extension aux réseaux locaux de type Ethernet et montrerons enfin comment cette architecture induit la collaboration entre applications.
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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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Fober, Dominique Real-Time Midi data flow on Ethernet and the software architecture of MidiShare (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 447–450, 1994. (Abstract | Links | BibTeX | Étiquettes: communication, ethernet, real-time) @inproceedings{ Fober:94 ,
title = {Real-Time Midi data flow on Ethernet and the software architecture of MidiShare}, author = {Dominique Fober}, editor = {ICMA}, url = {ICMC94enet.pdf}, year = {1994}, date = {1994-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {447–450}, abstract = {We propose a way to transmit real-time musical data flow on Ethernet. The presented implementation is based on the software archi-tecture of MidiShare. After some reminders about Ethernet and MidiShare, we shall present an overview of the intended solution. Then we shall examine the chosen protocols, the implementa-tion and its performance.}, keywords = {communication, ethernet, real-time}, pubstate = {published}, tppubtype = {inproceedings} } We propose a way to transmit real-time musical data flow on Ethernet. The presented implementation is based on the software archi-tecture of MidiShare. After some reminders about Ethernet and MidiShare, we shall present an overview of the intended solution. Then we shall examine the chosen protocols, the implementa-tion and its performance.
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1992 |
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Fober, Dominique; Letz, Stéphane; Orlarey, Yann Notation et représentation formelle des processus de composition (Technical Report) GRAME 1992. (Links | BibTeX | Étiquettes: composition musicale, programmation) @techreport{FLO92,
title = {Notation et représentation formelle des processus de composition}, author = {Fober, Dominique and Letz, Stéphane and Yann Orlarey}, url = {Rapport-Notation-92.pdf}, year = {1992}, date = {1992-01-01}, institution = {GRAME}, keywords = {composition musicale, programmation}, pubstate = {published}, tppubtype = {techreport} } |
1991 |
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Orlarey, Yann Hierarchical Real Time Interapplication Communications (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 408–415, 1991. (Abstract | Links | BibTeX | Étiquettes: communications, interapplication, operating, real, systems, time) @inproceedings{ Orlarey:91 ,
title = {Hierarchical Real Time Interapplication Communications}, author = {Yann Orlarey}, editor = {ICMA}, url = {ICMC91hier.pdf}, year = {1991}, date = {1991-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {408–415}, abstract = {Real time interapplication communications are a key feature in musical multi-task operating systems. Independent applications can therefore be connected and collaborate by exchanging messages and data through communication channels. All these collaborating applications define a virtual network the user can dynamically configurate. The topology of such virtual network specifies the way applications can be connected together. This paper introduces a new hierarchical topology we recently implemented in our MidiShare multi-task operating system. This approach offers several advantages and particularly when a large number of applications are involved or in a multi-user context.}, keywords = {communications, interapplication, operating, real, systems, time}, pubstate = {published}, tppubtype = {inproceedings} } Real time interapplication communications are a key feature in musical multi-task operating systems. Independent applications can therefore be connected and collaborate by exchanging messages and data through communication channels. All these collaborating applications define a virtual network the user can dynamically configurate. The topology of such virtual network specifies the way applications can be connected together. This paper introduces a new hierarchical topology we recently implemented in our MidiShare multi-task operating system. This approach offers several advantages and particularly when a large number of applications are involved or in a multi-user context.
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1990 |
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Orlarey, Yann An Efficient Scheduling Algorithm for Real-Time Musical Systems (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 194–198, 1990. (Abstract | Links | BibTeX | Étiquettes: real-time, scheduling) @inproceedings{ Orlarey:90 ,
title = {An Efficient Scheduling Algorithm for Real-Time Musical Systems}, author = {Yann Orlarey}, editor = {ICMA}, url = {ICMC90sched.pdf}, year = {1990}, date = {1990-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {194–198}, abstract = {Scheduling problems hold an important place in most real-time musical systems. We here present an algorithm allowing to solve these problems efficiently and ensuring a bounded low scheduling cost per event in any circumstances. Its principle is to maintain events all the better sorted out as their running time gets closer.}, keywords = {real-time, scheduling}, pubstate = {published}, tppubtype = {inproceedings} } Scheduling problems hold an important place in most real-time musical systems. We here present an algorithm allowing to solve these problems efficiently and ensuring a bounded low scheduling cost per event in any circumstances. Its principle is to maintain events all the better sorted out as their running time gets closer.
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Grame, MidiShare Developer Documentation (Technical Manual) Grame, (Ed.): 1990. (Abstract | Links | BibTeX | Étiquettes: MidiShare, operating, real-time, system) @manual{ Grame90 ,
title = {MidiShare Developer Documentation}, author = {Grame}, editor = {Grame}, url = {MidiShare.pdf}, year = {1990}, date = {1990-01-01}, abstract = {This manual is intended for developers who wish to write MIDI applications using MidiShare. It contains a complete description of all the MidiShare functions and data structures, as well as several examples of code.}, keywords = {MidiShare, operating, real-time, system}, pubstate = {published}, tppubtype = {manual} } This manual is intended for developers who wish to write MIDI applications using MidiShare. It contains a complete description of all the MidiShare functions and data structures, as well as several examples of code.
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1989 |
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Orlarey, Yann; Lequay, MidiShare : a Real Time multi-tasks software module for Midi applications (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 234–237, 1989. (Abstract | Links | BibTeX | Étiquettes: communication, MIDI, operating, real-time, system) @inproceedings{ Orlarey:89 ,
title = {MidiShare : a Real Time multi-tasks software module for Midi applications}, author = {Yann Orlarey and H. Lequay}, editor = {ICMA}, url = {ICMC89ms.pdf}, year = {1989}, date = {1989-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {234–237}, abstract = {This paper introduces MidiShare, a real time software module meant for the development of Midi applications in a multi-tasks context. MidiShare brings facility in most of the fields concerned with the development of musical applications: communications management, precise time control, tasks scheduling. The originality of MidiShare lies in its capacity to deal with multiple Midi applications running at the same time. Besides, MidiShare offers some interesting possibilities, particularly the one consisting in a dynamic connection between Midi applications through internal links. MidiShare was at first designed for the Macintosh under MultiFinder, it is now available on other machines.}, keywords = {communication, MIDI, operating, real-time, system}, pubstate = {published}, tppubtype = {inproceedings} } This paper introduces MidiShare, a real time software module meant for the development of Midi applications in a multi-tasks context. MidiShare brings facility in most of the fields concerned with the development of musical applications: communications management, precise time control, tasks scheduling. The originality of MidiShare lies in its capacity to deal with multiple Midi applications running at the same time. Besides, MidiShare offers some interesting possibilities, particularly the one consisting in a dynamic connection between Midi applications through internal links. MidiShare was at first designed for the Macintosh under MultiFinder, it is now available on other machines.
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1986 |
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Boynton,; Lavoie,; Orlarey,; Rueda,; Wessel, MIDI-LISP, a LISP-based music programming environment for the Macintosh (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 183–186, 1986. (BibTeX | Étiquettes: ) @inproceedings{ Orlarey:86a ,
title = {MIDI-LISP, a LISP-based music programming environment for the Macintosh}, author = {Boynton and Lavoie and Orlarey and Rueda and Wessel}, editor = {ICMA}, year = {1986}, date = {1986-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {183–186}, keywords = {}, pubstate = {published}, tppubtype = {inproceedings} } |
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Orlarey, Yann MidiLogo : a Midi Composing Environment for the Apple IIe (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, pp. 211–213, 1986. (BibTeX | Étiquettes: ) @inproceedings{ Orlarey:86b ,
title = {MidiLogo : a Midi Composing Environment for the Apple IIe}, author = {Yann Orlarey}, editor = {ICMA}, year = {1986}, date = {1986-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, pages = {211–213}, keywords = {}, pubstate = {published}, tppubtype = {inproceedings} } |
1984 |
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Champenois,; Jaffrenou,; Jaubert, Un dispositif de saisie gestuelle et de commande à vocation multiple (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, 1984. (BibTeX | Étiquettes: ) @inproceedings{ Jaffrennou:84 ,
title = {Un dispositif de saisie gestuelle et de commande à vocation multiple}, author = {Champenois and Jaffrenou and Jaubert}, editor = {ICMA}, year = {1984}, date = {1984-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, keywords = {}, pubstate = {published}, tppubtype = {inproceedings} } |
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Orlarey, Yann M-LOGO : un langage de programmation orienté composition musicale (Inproceeding) ICMA, (Ed.): Proceedings of the International Computer Music Conference, 1984. (BibTeX | Étiquettes: ) @inproceedings{ Orlarey:84 ,
title = {M-LOGO : un langage de programmation orienté composition musicale}, author = {Yann Orlarey}, editor = {ICMA}, year = {1984}, date = {1984-01-01}, booktitle = {Proceedings of the International Computer Music Conference}, keywords = {}, pubstate = {published}, tppubtype = {inproceedings} } |