DOCSLIB.ORG

Combining Analysis and Synthesis in the Chuck Programming Language

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Combining Analysis and Synthesis in the Chuck Programming Language COMBINING ANALYSIS AND SYNTHESIS IN THE CHUCK PROGRAMMING LANGUAGE Ge Wang Rebecca Fiebrink Perry R. Cook Princeton University Princeton University Princeton University Dept. of Computer Science Dept. of Computer Science Dept. of Computer Science Princeton, NJ USA Princeton, NJ USA (also Music) [email protected] [email protected] Princeton, NJ USA [email protected] Figure 0. A ChucK-based programming model for building audio analysis and synthesis programs. ABSTRACT Such a unified programming platform, we believe, should successfully address the following issues. First, In this paper, we present a new programming model for in many musical applications, analysis and synthesis performing audio analysis, spectral processing, and inform one another. Therefore, the environment should feature extraction in the ChucK programming language. facilitate and encourage this symbiotic relationship, The solution unifies analysis and synthesis in the same placing equal emphasis on the two, and providing high-level, strongly-timed, and concurrent environment, flexibility and ease of programming for both. Next, the extending and fully integrating with the existing system should present a precise and flexible language framework. In particular, we introduce the programming model with which programmers can notion of a Unit Analyzer (UAna) and new constructs rapidly prototype and implement analysis and synthesis for dataflow, data types and semantics for operations in tasks – and perhaps even do on-the-fly. Additionally, analysis domains, and mechanisms for seamlessly the high-level abstractions in the system should expose combining analysis and synthesis tasks in a precise, essential low-level parameters while doing away with sample-synchronous manner. We present the motivation syntactic overhead, thereby providing a highly flexible of our system, and describe new language-level and open framework that can be easily used for a variety syntaxes, semantics, and the underlying implementation. of tasks. Finally, it’s extremely important that the We provide code examples and discuss potential uses written code represent the underlying algorithms and and benefits of the system for audio researchers, dataflow precisely and clearly. Overall, we envision a performers, and teachers. language that meets these criteria and that can be equally suitable for audio research (e.g., synthesis, 1. MOTIVATION spectral processing, feature extraction), pedagogy, composition, and musical performance. Combining analysis and synthesis in the same There exist frameworks and languages that framework can lead to interesting applications, as effectively address some components of our goals, exemplified by the works of Roger Dannenberg and including synthesis systems that accommodate analysis Chris Raphael [7], Nick Collins [4], and many others. tasks and vice versa, and standalone systems that Existing systems are mostly implemented in perform a specialized analysis/synthesis task. What we combinations of low-level C modules, open source hope to achieve, in this work, is to produce a single libraries and frameworks, high-level languages, and programming platform that meets the need of a broad proprietary software. We’d like to enable more people audience by offering solutions from programming to experiment with, prototype, and create new tools and language perspective. In doing so, we hope to encourage systems like these, starting from a single unified, high- new and different ways to think about audio level platform, without minimizing the need to develop programming for audio and synthesis. plug-ins in other languages (e.g., C) or to write custom In this paper, we present our programming model for low-level modules from scratch. specifying precise audio analysis and synthesis tasks in the ChucK programming language – specifically designed to address the goals we outlined above. We have designed and implemented new language 2.2. Frameworks for Audio Analysis constructs and integrated them into the existing ChucK Recent years have seen a proliferation of general tools framework, in a way that strives to capitalize on and frameworks to perform audio analysis, particularly programmers’ understanding of the existing language in the area of music information retrieval (MIR). features, making analysis objects, dataflow, and control Commonly used tools specialized for MIR include analogous to (but appropriately distinct from) their MARSYAS [23], CLAM [1], SndObj [12], synthesis counterparts. The new system inherits the MATLAB/Octave [14], M2K [8], and jAudio [16] / precise timing and concurrency model of ChucK and jMIR [17]. These tools support feature extraction from supports a syntax that clearly delineates dataflow and audio files, and classification and learning from these control in both analysis and synthesis processes. features. MARSYAS, SndObj, and CLAM also provide The rest of this paper is organized in the following objects for high-level analysis/resynthesis (e.g., way. In Section 2, we situate our motivations and goals phasevocoder, sinusoidal resynthesis, spectral modeling in the context of existing analysis and synthesis synthesis). These are primarily libraries and environments and tools. Section 3 presents our design of frameworks; as such, they offer programmability at a a new hybrid analysis/synthesis programming model. In different level than languages such as ChucK. As far as Section 4, we illustrate this system using several we can tell, there is no high-level language specialized examples of basic building blocks for analysis tasks. for analysis tasks, much less one focused on support for Section 5 addresses the implementation decisions real-time combined analysis and synthesis. Therefore, involved in creating and integrating this model into we feel that a ChucK-oriented programming model can ChucK. We conclude by discussing potential be potentially interesting in its own right, and may serve applications of a unified ChucK analysis/synthesis as a complimentary tool to existing systems. environment in Section 6 and future work in Section 7. Rapid prototyping tools have an established role in MIR. M2K, for example, has been developed for this 2. RELATED WORK purpose. It provides a graphical patching environment for feature extractors, classifiers, and other modules. 2.1. Analysis In Synthesis Environments Dataflow and functionality in M2K itineraries are There are several high-level synthesis programming determined by connections between built-in and user- environments that provide modules for analysis-related created objects, implemented in Java. MARSYAS also tasks. Max/MSP [20] provides objects for forward and provides support for rapid prototyping, via Python and inverse FFT (via the fft~, ifft~, and related MARSYAS Scripting Language [3]. Our approach objects), constructs to facilitate windowing and overlap differs from these in that we hope to enable rapid (e.g., pfft~), and support for frame-based operations. experimentation from a single, high-level programming SuperCollider [15] provides FFT/IFFT Unit Generators platform, further reducing turnaround time. as well as a variety of specialized objects for spectral 2.3. Analysis and Resynthesis Applications processing (e.g., the PV_* objects as well as third-party objects for feature extraction and onset detection [5]). There exists a set of applications such as AudioSculpt CSound [24] includes a variety of FFT-based spectral [2], SPEAR [10], and TAPESTREA [18] that integrate processing tools (e.g., cvanal, hetro, lpanal, analysis and synthesis capabilities, in order to perform pvanal). The analysis functionality of these systems tasks such as transformation and resynthesis of existing relies on pre-made, “black-box” objects (e.g., coded and sounds, and other processing such as cross-synthesis. imported from C/C++) to meet the needs for common, These are specialized and do not intrinsically offer specific analysis tasks. While these are powerful for programmability, whereas we are interested in allowing many types of tasks, these environments, in general, are programmers to implement similar tasks “from scratch” more intended for synthesis and less for designing and and to do so in real-time. implementing new, low-level analysis systems directly 2.4. ChucK in the language. Furthermore, many low-level analysis design tasks demand clear and precise control over time, ChucK [25] is a programming language for audio and we believe that this may be difficult to achieve for synthesis, whose programming model promotes a strong many analysis tasks in existing systems. awareness of time and concurrency, and encourages Nyquist [6] allows programs to perform FFT/IFFT rapid experimentation via on-the-fly programming. Unit and directly access and manipulate frame-level data, generators can be dynamically connected and control which opens the door to explicit, low-level analysis and can be asserted at any unit generator at any time and at spectral manipulation in the program. Our system builds any rate. ChucK also supports a precise concurrent on this idea by providing a distinct, general class of programming model in which processes (called shreds) analysis objects and by allowing a generic can be naturally synchronized via the timing mechanism representation of the data passed between analysis and events. The property of precise low-level control modules (including, but not limited to, FFT frames). over time and parallelism embedded in a high-level Furthermore, our analysis system applies the
Load more

Recommended publications
  • Synchronous Programming in Audio Processing Karim Barkati, Pierre Jouvelot
    Synchronous programming in audio processing Karim Barkati, Pierre Jouvelot To cite this version: Karim Barkati, Pierre Jouvelot. Synchronous programming in audio processing. ACM Computing Surveys, Association for Computing Machinery, 2013, 46 (2), pp.24. 10.1145/2543581.2543591. hal- 01540047 HAL Id: hal-01540047 https://hal-mines-paristech.archives-ouvertes.fr/hal-01540047 Submitted on 15 Jun 2017 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. A Synchronous Programming in Audio Processing: A Lookup Table Oscillator Case Study KARIM BARKATI and PIERRE JOUVELOT, CRI, Mathématiques et systèmes, MINES ParisTech, France The adequacy of a programming language to a given software project or application domain is often con- sidered a key factor of success in software development and engineering, even though little theoretical or practical information is readily available to help make an informed decision. In this paper, we address a particular version of this issue by comparing the adequacy of general-purpose synchronous programming languages to more domain-specific
    [Show full text]
  • Peter Blasser CV
    Peter Blasser – [email protected] - 410 362 8364 Experience Ten years running a synthesizer business, ciat-lonbarde, with a focus on touch, gesture, and spatial expression into audio. All the while, documenting inventions and creations in digital video, audio, and still image. Disseminating this information via HTML web page design and YouTube. Leading workshops at various skill levels, through manual labor exploring how synthesizers work hand and hand with acoustics, culminating in montage of participants’ pieces. Performance as touring musician, conceptual lecturer, or anything in between. As an undergraduate, served as apprentice to guild pipe organ builders. Experience as racquetball coach. Low brass wind instrumentalist. Fluent in Java, Max/MSP, Supercollider, CSound, ProTools, C++, Sketchup, Osmond PCB, Dreamweaver, and Javascript. Education/Awards • 2002 Oberlin College, BA in Chinese, BM in TIMARA (Technology in Music and Related Arts), minors in Computer Science and Classics. • 2004 Fondation Daniel Langlois, Art and Technology Grant for the project “Shinths” • 2007 Baltimore City Grant for Artists, Craft Category • 2008 Baltimore City Grant for Community Arts Projects, Urban Gardening List of Appearances "Visiting Professor, TIMARA dep't, Environmental Studies dep't", Oberlin College, Oberlin, Ohio, Spring 2011 “Babier, piece for Dancer, Elasticity Transducer, and Max/MSP”, High Zero Festival of Experimental Improvised Music, Theatre Project, Baltimore, September 2010. "Sejayno:Cezanno (Opera)", CEZANNE FAST FORWARD. Baltimore Museum of Art, May 21, 2010. “Deerhorn Tapestry Installation”, Curators Incubator, 2009. MAP Maryland Art Place, September 15 – October 24, 2009. Curated by Shelly Blake-Pock, teachpaperless.blogspot.com “Deerhorn Micro-Cottage and Radionic Fish Drier”, Electro-Music Gathering, New Jersey, October 28-29, 2009.
    [Show full text]
  • Chuck: a Strongly Timed Computer Music Language
    Ge Wang,∗ Perry R. Cook,† ChucK: A Strongly Timed and Spencer Salazar∗ ∗Center for Computer Research in Music Computer Music Language and Acoustics (CCRMA) Stanford University 660 Lomita Drive, Stanford, California 94306, USA {ge, spencer}@ccrma.stanford.edu †Department of Computer Science Princeton University 35 Olden Street, Princeton, New Jersey 08540, USA [email protected] Abstract: 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. What Is ChucK? form the notion of a strongly timed computer music programming language. ChucK (Wang 2008) is a computer music program- ming language. First released in 2003, it is designed to support a wide array of real-time and interactive Two Observations about Audio Programming tasks such as sound synthesis, physical modeling, gesture mapping, algorithmic composition, sonifi- Time is intimately connected with sound and is cation, audio analysis, and live performance.
    [Show full text]
  • Proceedings of the Fourth International Csound Conference
    Proceedings of the Fourth International Csound Conference Edited by: Luis Jure [email protected] Published by: Escuela Universitaria de Música, Universidad de la República Av. 18 de Julio 1772, CP 11200 Montevideo, Uruguay ISSN 2393-7580 © 2017 International Csound Conference Conference Chairs Paper Review Committee Luis Jure (Chair) +yvind Brandtsegg Martín Rocamora (Co-Chair) Pablo Di Liscia John -tch Organization Team Michael Gogins Jimena Arruti Joachim )eintz Pablo Cancela Alex )ofmann Guillermo Carter /armo Johannes Guzmán Calzada 0ictor Lazzarini Ignacio Irigaray Iain McCurdy Lucía Chamorro Rory 1alsh "eli#e Lamolle Juan Martín L$#ez Music Review Committee Gusta%o Sansone Pablo Cetta Sofía Scheps Joel Chadabe Ricardo Dal "arra Sessions Chairs Pablo Di Liscia Pablo Cancela "olkmar )ein Pablo Di Liscia Joachim )eintz Michael Gogins Clara Ma3da Joachim )eintz Iain McCurdy Luis Jure "lo Menezes Iain McCurdy Daniel 4##enheim Martín Rocamora Juan Pampin Steven *i Carmelo Saitta Music Curator Rodrigo Sigal Luis Jure Clemens %on Reusner Index Preface Keynote talks The 60 years leading to Csound 6.09 Victor Lazzarini Don Quijote, the Island and the Golden Age Joachim Heintz The ATS technique in Csound: theoretical background, present state and prospective Oscar Pablo Di Liscia Csound – The Swiss Army Synthesiser Iain McCurdy How and Why I Use Csound Today Steven Yi Conference papers Working with pch2csd – Clavia NM G2 to Csound Converter Gleb Rogozinsky, Eugene Cherny and Michael Chesnokov Daria: A New Framework for Composing, Rehearsing and Performing Mixed Media Music Guillermo Senna and Juan Nava Aroza Interactive Csound Coding with Emacs Hlöðver Sigurðsson Chunking: A new Approach to Algorithmic Composition of Rhythm and Metre for Csound Georg Boenn Interactive Visual Music with Csound and HTML5 Michael Gogins Spectral and 3D spatial granular synthesis in Csound Oscar Pablo Di Liscia Preface The International Csound Conference (ICSC) is the principal biennial meeting for members of the Csound community and typically attracts worldwide attendance.
    [Show full text]
  • Computer Music
    THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself.
    [Show full text]
  • Implementing Stochastic Synthesis for Supercollider and Iphone
    Implementing stochastic synthesis for SuperCollider and iPhone Nick Collins Department of Informatics, University of Sussex, UK N [dot] Collins ]at[ sussex [dot] ac [dot] uk - http://www.cogs.susx.ac.uk/users/nc81/index.html Proceedings of the Xenakis International Symposium Southbank Centre, London, 1-3 April 2011 - www.gold.ac.uk/ccmc/xenakis-international-symposium This article reflects on Xenakis' contribution to sound synthesis, and explores practical tools for music making touched by his ideas on stochastic waveform generation. Implementations of the GENDYN algorithm for the SuperCollider audio programming language and in an iPhone app will be discussed. Some technical specifics will be reported without overburdening the exposition, including original directions in computer music research inspired by his ideas. The mass exposure of the iGendyn iPhone app in particular has provided a chance to reach a wider audience. Stochastic construction in music can apply at many timescales, and Xenakis was intrigued by the possibility of compositional unification through simultaneous engagement at multiple levels. In General Dynamic Stochastic Synthesis Xenakis found a potent way to extend stochastic music to the sample level in digital sound synthesis (Xenakis 1992, Serra 1993, Roads 1996, Hoffmann 2000, Harley 2004, Brown 2005, Luque 2006, Collins 2008, Luque 2009). In the central algorithm, samples are specified as a result of breakpoint interpolation synthesis (Roads 1996), where breakpoint positions in time and amplitude are subject to probabilistic perturbation. Random walks (up to second order) are followed with respect to various probability distributions for perturbation size. Figure 1 illustrates this for a single breakpoint; a full GENDYN implementation would allow a set of breakpoints, with each breakpoint in the set updated by individual perturbations each cycle.
    [Show full text]
  • Isupercolliderkit: a Toolkit for Ios Using an Internal Supercollider Server As a Sound Engine
    ICMC 2015 – Sept. 25 - Oct. 1, 2015 – CEMI, University of North Texas iSuperColliderKit: A Toolkit for iOS Using an Internal SuperCollider Server as a Sound Engine Akinori Ito Kengo Watanabe Genki Kuroda Ken’ichiro Ito Tokyo University of Tech- Watanabe-DENKI Inc. Tokyo University of Tech- Tokyo University of Tech- nology [email protected] nology nology [email protected]. [email protected]. [email protected]. ac.jp ac.jp ac.jp The editor client sends the OSC code-fragments to its server. ABSTRACT Due to adopting the model, SuperCollider has feature that a iSuperColliderKit is a toolkit for iOS using an internal programmer can dynamically change some musical ele- SuperCollider Server as a sound engine. Through this re- ments, phrases, rhythms, scales and so on. The real-time search, we have adapted the exiting SuperCollider source interactivity is effectively utilized mainly in the live-coding code for iOS to the latest environment. Further we attempt- field. If the iOS developers would make their application ed to detach the UI from the sound engine so that the native adopting the “sound-server” model, using SuperCollider iOS visual objects built by objective-C or Swift, send to the seems to be a reasonable choice. However, the porting situa- internal SuperCollider server with any user interaction tion is not so good. SonicPi[5] is the one of a musical pro- events. As a result, iSuperColliderKit makes it possible to gramming environment that has SuperCollider server inter- utilize the vast resources of dynamic real-time changing nally. However, it is only for Raspberry Pi, Windows and musical elements or algorithmic composition on SuperCol- OSX.
    [Show full text]
  • The Viability of the Web Browser As a Computer Music Platform
    Lonce Wyse and Srikumar Subramanian The Viability of the Web Communications and New Media Department National University of Singapore Blk AS6, #03-41 Browser as a Computer 11 Computing Drive Singapore 117416 Music Platform [email protected] [email protected] Abstract: The computer music community has historically pushed the boundaries of technologies for music-making, using and developing cutting-edge computing, communication, and interfaces in a wide variety of creative practices to meet exacting standards of quality. Several separate systems and protocols have been developed to serve this community, such as Max/MSP and Pd for synthesis and teaching, JackTrip for networked audio, MIDI/OSC for communication, as well as Max/MSP and TouchOSC for interface design, to name a few. With the still-nascent Web Audio API standard and related technologies, we are now, more than ever, seeing an increase in these capabilities and their integration in a single ubiquitous platform: the Web browser. In this article, we examine the suitability of the Web browser as a computer music platform in critical aspects of audio synthesis, timing, I/O, and communication. We focus on the new Web Audio API and situate it in the context of associated technologies to understand how well they together can be expected to meet the musical, computational, and development needs of the computer music community. We identify timing and extensibility as two key areas that still need work in order to meet those needs. To date, despite the work of a few intrepid musical Why would musicians care about working in explorers, the Web browser platform has not been the browser, a platform not specifically designed widely considered as a viable platform for the de- for computer music? Max/MSP is an example of a velopment of computer music.
    [Show full text]
  • Interactive Csound Coding with Emacs
    Interactive Csound coding with Emacs Hlöðver Sigurðsson Abstract. This paper will cover the features of the Emacs package csound-mode, a new major-mode for Csound coding. The package is in most part a typical emacs major mode where indentation rules, comple- tions, docstrings and syntax highlighting are provided. With an extra feature of a REPL1, that is based on running csound instance through the csound-api. Similar to csound-repl.vim[1] csound- mode strives to enable the Csound user a faster feedback loop by offering a REPL instance inside of the text editor. Making the gap between de- velopment and the final output reachable within a real-time interaction. 1 Introduction After reading the changelog of Emacs 25.1[2] I discovered a new Emacs feature of dynamic modules, enabling the possibility of Foreign Function Interface(FFI). Being insired by Gogins’s recent Common Lisp FFI for the CsoundAPI[3], I decided to use this new feature and develop an FFI for Csound. I made the dynamic module which ports the greater part of the C-lang’s csound-api and wrote some of Steven Yi’s csound-api examples for Elisp, which can be found on the Gihub page for CsoundAPI-emacsLisp[4]. This sparked my idea of creating a new REPL based Csound major mode for Emacs. As a composer using Csound, I feel the need to be close to that which I’m composing at any given moment. From previous Csound front-end tools I’ve used, the time between writing a Csound statement and hearing its output has been for me a too long process of mouseclicking and/or changing windows.
    [Show full text]
  • Expanding the Power of Csound with Integrated Html and Javascript
    Michael Gogins. Expanding the Power of Csound with Intergrated HTML and JavaScript EXPANDING THE POWER OF CSOUND WITH INTEGRATED HTML AND JAVA SCRIPT Michael Gogins [email protected] https://michaelgogins.tumblr.com http://michaelgogins.tumblr.com/ This paper presents recent developments integrating Csound [1] with HTML [2] and JavaScript [3, 4]. For those new to Csound, it is a “MUSIC N” style, user- programmable software sound synthesizer, one of the first yet still being extended, written mostly in the C language. No synthesizer is more powerful. Csound can now run in an interactive Web page, using all the capabilities of current Web browsers: custom widgets, 2- and 3-dimensional animated and interactive graphics canvases, video, data storage, WebSockets, Web Audio, mathematics typesetting, etc. See the whole list at HTML5 TEST [5]. Above all, the JavaScript programming language can be used to control Csound, extend its capabilities, generate scores, and more. JavaScript is the “glue” that binds together the components and capabilities of HTML5. JavaScript is a full-featured, dynamically typed language that supports functional programming and prototype-based object- oriented programming. In most browsers, the JavaScript virtual machine includes a just- in-time compiler that runs about 4 times slower than compiled C, very fast for a dynamic language. JavaScript has limitations. It is single-threaded, and in standard browsers, is not permitted to access the local file system outside the browser's sandbox. But most musical applications can use an embedded browser, which bypasses the sandbox and accesses the local file system. HTML Environments for Csound There are two approaches to integrating Csound with HTML and JavaScript.
    [Show full text]
  • DVD Program Notes
    DVD Program Notes Part One: Thor Magnusson, Alex Click Nilson is a Swedish avant McLean, Nick Collins, Curators garde codisician and code-jockey. He has explored the live coding of human performers since such Curators’ Note early self-modifiying algorithmic text pieces as An Instructional Game [Editor’s note: The curators attempted for One to Many Musicians (1975). to write their Note in a collaborative, He is now actively involved with improvisatory fashion reminiscent Testing the Oxymoronic Potency of of live coding, and have left the Language Articulation Programmes document open for further interaction (TOPLAP), after being in the right from readers. See the following URL: bar (in Hamburg) at the right time (2 https://docs.google.com/document/d/ AM, 15 February 2004). He previously 1ESzQyd9vdBuKgzdukFNhfAAnGEg curated for Leonardo Music Journal LPgLlCe Mw8zf1Uw/edit?hl=en GB and the Swedish Journal of Berlin Hot &authkey=CM7zg90L&pli=1.] Drink Outlets. Alex McLean is a researcher in the area of programming languages for Figure 1. Sam Aaron. the arts, writing his PhD within the 1. Overtone—Sam Aaron Intelligent Sound and Music Systems more effectively and efficiently. He group at Goldsmiths College, and also In this video Sam gives a fast-paced has successfully applied these ideas working within the OAK group, Uni- introduction to a number of key and techniques in both industry versity of Sheffield. He is one-third of live-programming techniques such and academia. Currently, Sam the live-coding ambient-gabba-skiffle as triggering instruments, scheduling leads Improcess, a collaborative band Slub, who have been making future events, and synthesizer design.
    [Show full text]
  • Rock Around Sonic Pi Sam Aaron, Il Live Coding E L’Educazione Musicale
    Rock around Sonic Pi Sam Aaron, il live coding e l’educazione musicale Roberto Agostini IC9 Bologna, Servizio Marconi TSI (USR-ER) 1. Formazione “Hands-On” con Sam Aaron “Imagine if the only allowed use of reading and writing was to make legal documents. Would that be a nice world? Now, today’s programmers are all like that”1. In questa immagine enigmatica e un po’ provocatoria proposta da Sam Aaron nelle prime fasi di una sua recente conferenza è racchiusa un’originale visione della programmazione ricca di implicazioni, e non solo per l’educazione musicale. Ma andiamo con ordine: il 14 febbraio 2020, all’Opificio Golinelli di Bologna, Sam Aaron, ​ ​ creatore del software per live coding musicale Sonic Pi, è stato protagonista di un denso ​ ​ pomeriggio dedicato al pensiero computazionale nella musica intitolato “Rock around Sonic Pi”. L’iniziativa rientrava nell’ambito della “Formazione Hands-On” promossa dal Future Lab dell’Istituto Comprensivo di Ozzano dell’Emilia in collaborazione con il Servizio Marconi TSI ​ dell’USR-ER. Oltre alla menzionata conferenza, aperta a tutti, Sam Aaron ha tenuto un laboratorio di tre ore a numero chiuso per i docenti delle scuole2. ● Presentazione e programma dettagliato della giornata “Rock Around Sonic Pi” (presentazione a cura ​ di Rosa Maria Caffio). ● Ripresa integrale della conferenza di Sam Aaron (20.2.2020) (registrazione a cura dello staff ​ dell’Opificio Golinelli). 1 “Immaginate che l’unico modo consentito di usare la lettura e la scrittura fosse quello di produrre documenti legali. Sarebbe un bel mondo? Ora, i programmatori di oggi sono nella stessa situazione”.
    [Show full text]