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Antescofo is a coupling of a real-time listening machine with a reactive synchronous and timed scripting language. The language is used for authoring of music pieces involving live musicians and computer processes, and the real-time system assures its correct performance and synchronization despite listening or performance errors. See the project Home Page: http://repmus.ircam.fr/antescofo and the dedicated forum at IRCAM: http://forumnet.ircam.fr/product/antescofo/
HAL (Le Centre pour la Communication Scientifique Directe), 2013
In this paper, we present the programing of time and interaction in Antescofo, a real-time system for performance coordination between musicians and computer processes during live music performance. To this end, Antescofo relies on artificial machine listening and a domain specific real-time programing language. It extends each paradigm through strong coupling of the two and strong emphasis on temporal semantics and behavior of the system. The challenge in bringing human actions in the loop of computing is strongly related to temporal semantics of the language, and timeliness of live execution despite heterogeneous nature of time in the two mediums. Interaction scenarii are expressed at a symbolic level through the management of musical time (i.e. events like notes or beats in relative tempi) and of the 'physical' time (with relationships like succession, delay, duration, speed). Antescofo unique features are presented through a series of paradigmatic program samples which illustrate how to manage execution of different audio processes through time and their interactions with an external environment. The Antescofo approach has been validated through numerous uses of the system in live electronic performances in contemporary music repertoire by various international music ensembles.
Antescofo is a coupling of a real-time listening machine with a reactive and timed synchronous language. The language is used for authoring of music pieces involving live musicians and computer processes, and the real-time system assures its correct performance and synchronization despite listening or performance errors. This document is a reference for the language starting from version 0.5. The presentation is mainly syntax driven and it supposes that you are familiar with Antescofo. The objective is to give enough syntax to upgrade the old Antescofo score in the few place where it is needed and to enable the reader to start experimenting with the new features. Please refer to the examples and tutorial to have sensible illustrations of the language. Additional information on Antescofo can be found at: • Antescofo home page http://repmus.ircam.fr/antescofo • on Antescofo's Ircam Forum User Group http://forumnet.ircam.fr/user-groups/antescofo/ where you can find tutorials to download with bundles for MAX and PureData • on Project Development Forge http://forge.ircam.fr/p/antescofo/ • on the web site of the MuTAnt team-project http://repmus.ircam.fr/mutant where you can find the scientific and technical publications on Antescofo.
Discrete Event Dynamic Systems: Theory and Applications, 2013
With the advent and availability of powerful personal computing, the computer music research and industry have been focusing on real-time musical interactions between musicians and computers; delegating human-like actions to computers who interact with a musical environment. One common use-case of this kind is Automatic Accompaniment where the system is comprised of a real-time machine listening system that in reaction to recognition of events in a score from a human performer, launches necessary actions for the accompaniment section. While the real-time detection of score events out of live musicians' performance has been widely addressed in the literature, score accompaniment (or the reactive part of the process) has been rarely discussed.
2008
The computer has long been considered an extremely attractive tool for creating, manipulating, and analyzing sound. Its precision, possibilities for new timbres, and potential for fantastical automation make it a compelling platform for expression and experimentation -but only to the extent that we are able to express to the computer what to do, and how to do it. To this end, the programming language has perhaps served as the most general, and yet most precise and intimate interface between humans and computers. Furthermore, "domain-specific" languages can bring additional expressiveness, conciseness, and perhaps even different ways of thinking to their users. This thesis argues for the philosophy, design, and development of ChucK, a general-purpose programming language tailored for computer music. The goal is to create a language that is expressive and easy to write and read with respect to time and parallelism, and to provide a platform for precise audio synthesis/analysis and rapid experimentation in computer music. In particular, ChucK provides a syntax for representing information flow, a new time-based concurrent programming model that allows programmers to flexibly and precisely control the flow of time in code (we call this "strongly-timed"), and facilities to develop programs on-the-fly -as they run. A ChucKian approach to live coding as a new musical performance paradigm is also described. In turn, this motivates the Audicle, a specialized graphical environment designed to facilitate on-the-fly programming, to visualize and monitor ChucK programs in real-time, and to provide a platform for building highly customizable user interfaces.
2013 Proceedings of the International Conference on Embedded Software (EMSOFT), 2013
Antescofo is recently developed software for musical score following and mixed music: it automatically, and in realtime, synchronizes electronic instruments with a musician playing on a classical instrument. Therefore, it faces some of the same major challenges as embedded systems. The system provides a programming language used by composers to specify musical pieces that mix interacting electronic and classical instruments. This language is developed with and for musicians and it continues to evolve according to their needs. Yet its semantics has only recently been formally defined. This paper presents a synchronous semantics for the core language of Antescofo and an alternative implementation based on an embedding inside an existing synchronous language, namely ReactiveML. The semantics reduces to a few rules, is mathematically precise and leads to an interpretor of only a few hundred lines. The efficiency of this interpretor compares well with that of the actual implementation: on all musical pieces we have tested, response times have been less than the reaction time of the human ear. Moreover, this embedding permitted the prototyping of several new programming constructs, some of which are described in this paper.
Proc. ICMC, 2000
Open Sound World (OSW) is a scalable, extensible objectoriented language that allows sound designers and musicians to process sound in response to expressive real-time control. OSW allows users to develop at different levels, including visual patching, XML editing, scripting and high-level C++. Components called transforms are combined to form programs called patches. The set of included transforms can be extended using the "Externalizer," a tool for writing high-level specifications of new transforms.
2016
The develop of Antescofo software has allowed contemporary musicians to create interactive music pieces in a more precise way in terms of the synchronization between human and machine. INRIA's MUTANT team has been developing a version of Antescof that changes the DSP computation paradigm and translates the responsibility to the software and no longer to the host environment. Thus, the composer gets more freedom t create his own effects. Plus, it allows the composer to change the sound link network in execution time. Also, the computational power required for the DSP is optimized. Lastly, this new version creates the possibility of generating a self-contained score for UDOO platform, creating this way the first steps toward the preservation of interactive musical pieces through time. In this article the context of the new version of Antescofo is presented, as well as the benefits of it. The methodology of compilation of the Faust DSP tool in Antescofo is described and a compariso...
4th Sound and Music Computing Conference, …, 2007
This paper starts from an experimental interactive musical installation designed at IRCAM: "LISTEN LISBOA". This installation relies on a perceptual paradox: spectators are walking into a real space, see this space and at the same time hears through headphones a virtual sound space, mapped to the real one. In the first part of this paper we present this installation and more precisely the interactive musical "scenario" designed by the composer. We derive from this example general need for tools, used by composers working on this kind of installation. We show that these needs are close to those of video game level designers and associated scene languages with some extensions.
1989
Real-time systems are commonly regarded as the most complex form of computer program due to parallelism, the use of special purpose input/output devices, and the fact that time-dependent errors are hard to reproduce. Several practical techniques can be used to limit the complexity of implementing real- time interactive music and animation programs. The techniques are: (1) a program structure in which input events are translated into procedure calls, (2) the use of non-preemptiv e programs where possible, (3) event-based programming which allows interleaved program execution, automatic storage management, and a single run-time stack, (4) multiple processes communicating by messages where task preemption is necessary, and (5) interface construction tools to facilitate experimentation and program refinement. These techniques are supported by software developed by the author for real- time interactive music programs and more recently for animation. Although none of these techniques are ...
Computer Music Journal, 2015
ChucK is a programming language designed for computer music. It aims to be expressive and straightforward to read and write with respect to time and concurrency, and to provide a platform for precise audio synthesis and analysis and for rapid experimentation in computer music. In particular, ChucK defines the notion of a strongly timed audio programming language, comprising a versatile time-based programming model that allows programmers to flexibly and precisely control the flow of time in code and use the keyword now as a time-aware control construct, and gives programmers the ability to use the timing mechanism to realize sample-accurate concurrent programming. Several case studies are presented that illustrate the workings, properties, and personality of the language. We also discuss applications of ChucK in laptop orchestras, computer music pedagogy, and mobile music instruments. Properties and affordances of the language and its future directions are outlined.
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