OpenMusic

Bresson, Jean; Agón, Carlos; Assayag, Gérard

doi:10.1145/2072298.2072434

Cited by 24 publications

(2 citation statements)

References 13 publications

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“…OMax uses a combination of OpenMusic (Assayag et al 1999;Bresson et al 2005) and Max/MSP (www.cycling74.com) to handle static data and real-time information, with OpenSound Control (opensoundcontrol.org) serving as the communication and coordination protocol. In OMax, offline versions of the learning and generation algorithms are implemented in OpenMusic.…”

Section: Related Work On Improvisation Systemsmentioning

confidence: 99%

Improvising with Digital Auto-Scaffolding: How Mimi Changes and Enhances the Creative Process

Schankler¹,

Chew

François

2014

Digital Da Vinci

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This chapter poses, and proposes some answers to, questions about the origins and nature of creativity when digital media takes an active role in the music-making process. The discussions are centered on François' Mimi (Multimodal Interaction for Musical Improvisation) system, which enables a musician to seed the computer with musical ideas and then improvise atop re-combinations of these ideas; the system provides the musician with visual foreknowledge of the machine's intent and review of the interaction. They extend to the different instantiations of, and extensions to, the Mimi system, which are designed with various interaction nuances in mind, and engender new forms of creativity. We review each Mimi version, from the original blue-and-white silhouette display, to the Scriabin-inspired varicolored panels, to the multi-paneled user-directed Mimi4x. In each scenario, we consider the impact of Mimi on the creative process and the resulting performance; specifically, we describe the interaction between a performer, the composer (when this is different from the performer), and the system, analyzing the techniques used to successfully negotiate a performance with Mimi, and the formal musical structures that result from this interaction 3 .

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Section: Related Work On Improvisation Systemsmentioning

confidence: 99%

Improvising with Digital Auto-Scaffolding: How Mimi Changes and Enhances the Creative Process

Schankler¹,

Chew

François

2014

Digital Da Vinci

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“…Many other graphical notations exist, including those of Farbood (2004) and Hope and Vickery (2015). As an intermediary between conventional notation and digital sound, OpenMusic (Bresson & Assayag, 2011), a programming environment designed for composition and analysis, allows notes to be positioned on staff lines in continuous locations indicating the times at which they sound, with impact on the readability of the score. A goal here will be to explore the limits of using conventional music notation to represent continuous time, bearing in mind that not all locations on the continuous time axis are equally likely, given the pulse-based origin of the input.…”

Section: Introductionmentioning

confidence: 99%

Notating disfluencies and temporal deviations in music and arrhythmia

Chew

2018

Music & Science

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Expressive music performance and cardiac arrhythmia can be viewed as deformations of, or deviations from, an underlying pulse stream. I propose that the results of these pulse displacements can be treated as actual rhythms and represented accurately via a literal application of common music notation, which encodes proportional relations among duration categories, and figural and metric groupings. I apply the theory to recorded music containing extreme timing deviations and to electrocardiographic (ECG) recordings of cardiac arrhythmias. The rhythm transcriptions are based on rigorous computer-assisted quantitative measurements of onset timings and durations. The root-mean-square error ranges for the rhythm transcriptions were (19.1, 87.4) ms for the music samples and (24.8, 53.0) ms for the arrhythmia examples. For the performed music, the representation makes concrete the gap between the score and performance. For the arrhythmia ECGs, the transcriptions show rhythmic patterns evolving through time, progressions which are obscured by predominant individual beat morphology-and frequency-based representations. To make tangible the similarities between cardiac and music rhythms, I match the heart rhythms to music with similar rhythms to form assemblage pieces. The use of music notation leads to representations that enable formal comparisons and automated as well as human-readable analysis of the time structures of performed music and of arrhythmia ECG sequences beyond what is currently possible.

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Computer-Human Interaction in Music Composition Through Petri Nets

Baratè

Haus

Ludovico

2021

Communications in Computer and Information Science

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Petri nets are a well-known mathematical formalism usually applied to the fields of information representation and manipulation. Scientific literature has demonstrated their applicability to the field of music analysis, thanks to the possibility to achieve a clear description of music processes and transformations, to obtain easy-to-understand graphical representation, and to use formal tools for net analysis. More remarkably, the adoption of Petri nets can foster also music creation, above all for compositions based on the transformation of music objects. Nevertheless, there is a gap between the way a music piece is typically conceived and the way it can be described in terms of Petri nets, or another equivalent formal tools. The goal of the present work is to demonstrate how digital approaches rooted in computer-human interaction can bridge such a gap, thus fostering both creativity and analytical activities in music composition processes.

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OpenMusic

Cited by 24 publications

References 13 publications

Improvising with Digital Auto-Scaffolding: How Mimi Changes and Enhances the Creative Process

Improvising with Digital Auto-Scaffolding: How Mimi Changes and Enhances the Creative Process

Notating disfluencies and temporal deviations in music and arrhythmia

Computer-Human Interaction in Music Composition Through Petri Nets

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