In the past few decades, the lack of interest for symbolic calculation tools in the major part of... more In the past few decades, the lack of interest for symbolic calculation tools in the major part of musical compositions led to a critical deadlock. The language has failed us, and the discourse is wearing off. Where can we find then the “true” discourse, if not in the historical approach to language itself and, in this case, to the musical form? We all know that the main issue in music is musical time. Yet studies dedicated to the subject of musical time are filled with mere commentary; the articles that really get to the heart of the matter are rare.1 The reflections worth of mention generally broach the issue from a purely practical side, displaying hesitations between phenomenological temporality and symbolic temporality, i.e., perception and notation, between musica speculative and musica mensurabilis, between experienced time and calculated time. We shall here focus on the latter, which seems appropriate in the present volume. The practice of computer-aided composition (CAC) was...
We notice already that this conception diverges from our own traditional musical notation system ... more We notice already that this conception diverges from our own traditional musical notation system which represents a compact, readable time event + duration. The only reason for this is that generally the computer representation of time is made not with symbols but with digits.2 That, I believe, is why today’s composers should make themselves familiar with a “listing” representation of musical events.
A Sounding Body in a Sounding Space: the Building of Space in Choreography – Focus on Auditory-motor Interactions
Dance Research, 2011
In the last 4 years, we have developed a partnership between dance and neuroscience to study the ... more In the last 4 years, we have developed a partnership between dance and neuroscience to study the relationships between body space in dance and the surrounding space, and the link between movement and audition as experienced by the dancer. The opportunity to work with a dancer/choreographer, an expert in movement, gives neuroscientists better access to the significance of the auditory-motor loop and its role in perception of the surrounding space. Given that a dancer has a very strong sense of body ownership (probably through a very accurate dynamic body schema) ( Walsh et al. 2011 ), she is an ideal subject to investigate the feeling of controlling one's own body movements, and, through them, events in the external environment ( Moore et al. 2009 , Jola et al in press). We conducted several work sessions, which brought together a choreographer/dancer, a neuroscientist, a composer, and two researchers in acoustics and audio signal processing. These sessions were held at IRCAM (In...
This paper describes the design, the development, the usage, limitations and prospect of future d... more This paper describes the design, the development, the usage, limitations and prospect of future development of Omlily, an OpenMusic library, for editing scores with Lilypond, using OM musical editors.
Nous proposons un format de représentation ainsi qu'un ensemble d'outils pour la notation musical... more Nous proposons un format de représentation ainsi qu'un ensemble d'outils pour la notation musicale sur ordinateur. Cette proposition ne se veut pas universelle, elle offre plutôt une approche efficace au problème de notation musicale. Ce format pourrait contribuer à l'implémentation d'éditeurs musicaux dans divers environnements existants. Nous essayerons de fournir un cadre de travail général qui s'adapterait à tout type de langage de programmation. Ce protocole fut implémenté dans l'environnement OpenMusic qui utilise le langage CLOS. Ce papier est une généralisation a posteriori de cette implémentation.
We propose a format and a set of tools for the rendering of computer musical notation. The propos... more We propose a format and a set of tools for the rendering of computer musical notation. The proposed format is not to be considered as a universal standard. Nevertheless, it appears to be an efficient approach to musical notation. The proposed format might be thought of as a contribution to future or existing implementations of musical editors. We try to provide general guidelines and schemes that will be compatible with any type of programming language. This protocol has been implemented in the OpenMusic environment using the CLOS language environment. This paper is an a posteriori generalization of this implementation.
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