LISP in Max: Exploratory Computer-Aided Composition in Real-Time
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Introduction to Programming in Lisp
Introduction to Programming in Lisp Supplementary handout for 4th Year AI lectures · D W Murray · Hilary 1991 1 Background There are two widely used languages for AI, viz. Lisp and Prolog. The latter is the language for Logic Programming, but much of the remainder of the work is programmed in Lisp. Lisp is the general language for AI because it allows us to manipulate symbols and ideas in a commonsense manner. Lisp is an acronym for List Processing, a reference to the basic syntax of the language and aim of the language. The earliest list processing language was in fact IPL developed in the mid 1950’s by Simon, Newell and Shaw. Lisp itself was conceived by John McCarthy and students in the late 1950’s for use in the newly-named field of artificial intelligence. It caught on quickly in MIT’s AI Project, was implemented on the IBM 704 and by 1962 to spread through other AI groups. AI is still the largest application area for the language, but the removal of many of the flaws of early versions of the language have resulted in its gaining somewhat wider acceptance. One snag with Lisp is that although it started out as a very pure language based on mathematic logic, practical pressures mean that it has grown. There were many dialects which threaten the unity of the language, but recently there was a concerted effort to develop a more standard Lisp, viz. Common Lisp. Other Lisps you may hear of are FranzLisp, MacLisp, InterLisp, Cambridge Lisp, Le Lisp, ... Some good things about Lisp are: • Lisp is an early example of an interpreted language (though it can be compiled). -
Objects, Time and Constraints in Openmusic
OBJECTS, TIME AND CONSTRAINTS IN OPENMUSIC Carlos Agon, Gérard Assayag, Olivier Delerue, Camilo Rueda. {agonc,assayag,delerue,crueda}@ircam.fr IRCAM - 1 Pl. Stravinsky. F-75004 Paris, France. 1. Abstract OpenMusic is a object oriented visual programming environment for music composers. It is based on Macintosh CommonLisp and Common Lisp Object System. It shows several original features, such as reflexivity, metaprogrammation capacities, handling of the duality between musical time and computational time, and provides with a framework of predefined musical objects for handling sound, midi and musical notation. Common Music Notation in OpenMusic is an extension of CMN, a public domain notation package by Bill Schottstaedt [SCO98]. 2. Objects 2.1. Underlying Object Model. Broadly speaking, basic calculus for object-oriented programming inherited the approach imposed by the precursory language Simula and its followers. The tentatives to formalize this family of object models used the concepts of parametric polymorphism or true polymorphism [CaWe85]. More recently, languages based on multiple-dispatching (methods that dispatch on a product of types rather than a single type) such as CLOS [Steel90] were also formalized [Cast98], using concepts of overloading or ad-hoc polymorphism. As OpenMusic, based on CLOS, may very well be formally described in this way, we will give here a brief summary of the λ&− calculus used by [Cast98]. We restrain to the extension of λ−calculus by the concept of generic functions which is at the base of λ&−calculus. A generic function is simply a collection of simple functions (λ−abstractions), which we will call methods. We must also distinguish the simple application indicated by «.» from the application of generic functions indicated by the operator . -
Processing Sound and Music Description Data Using Openmusic
PROCESSING SOUND AND MUSIC DESCRIPTION DATA USING OPENMUSIC Jean Bresson, Carlos Agon IRCAM – CNRS UMR STMS Paris, France fbresson,[email protected] ABSTRACT graphs corresponding to functional expressions. The lan- guage provides a set of graphical control structures, such as This paper deals with the processing and manipulation of iterations and conditional controls, as well as the possibility music and sound description data using functional programs to carry out other programming concepts like abstraction, in the OpenMusic visual programming environment. We go higher-order functions or recursion [4]. through several general features and present some toolkits OM includes specialized functions and data structures created in this environment for the manipulation of different designed for musical applications. The different musical or data formats (audio, MIDI, SDIF). extra-musical objects are represented by classes (as meant by object-oriented programming) and used in the visual 1. INTRODUCTION programs by means of factory boxes, i.e. boxes generating instances of these classes and allowing to access their dif- Musical information processing often requires manipulating ferent attributes (called slots). large musical or sound description data bases. Ordering, Compared to most existing visual programming envi- sorting, renaming files, automatic indexing, contents brows- ronments, OM has the particularity to run a demand-driven ing or transformations are basic operations in compositional, execution model. In this model, the user triggers execution analytical, or other experimental applications. by evaluating a box somewhere in the visual program graph, Visual music programming environments make it possi- which recursively evaluates the upstream connected boxes ble to define specialized and personalized programs and to and returns a value. -
Macaque – a Tool for Spectral Processing and Transcription
MACAQUE – A TOOL FOR SPECTRAL PROCESSING AND TRANSCRIPTION Georg Hajdu Center for Microtonal Music and Multimedia (ZM4) Hamburg University of Music and Theater (HfMT) Harvestehuder Weg 12 20148 Hamburg [email protected] ABSTRACT act of my opera Der Sprung – Beschreibung einer Oper [7] I used the MIDI velocity information of the transcribed note This paper describes Macaque, a tool for spectral process- events to alter the size of their note heads so that the sight- ing and transcription, in development since 1996. Macaque reading musicians had instantaneous visual feedback per- was programmed in Max and, in 2013, embedded into the taining to the dynamics of the music to be performed. In MaxScore ecosystem. Its GUI offers several choices for the other instances, I have used a technique called “velocoding” processing and transcription of SDIF partial-track files into to encode microtonal pitch deviation in eighth-tone resolu- standard music notation. At the core of partial-track tran- tion into the velocity part of a MIDI note-on message to scription is an algorithm capable of “attracting” partial modify the Enigma file in such ways that the resulting score tracks (and fragments thereof) into single staves, thereby displayed the corresponding pitch alterations. Another early performing an important aspect of “spectral orchestration.” example of using Macaque is my piece Herzstück for two player pianos from 1999 which premiered at the Cologne 1. INTRODUCTION Triennale in 2000. This piece was written for two of Jürgen Hocker’s instruments which he also used to tour Conlon Macaque is a component of the MaxScore notation soft- Nancarrow’s compositions for player piano [8]. -
The Evolution of Lisp
1 The Evolution of Lisp Guy L. Steele Jr. Richard P. Gabriel Thinking Machines Corporation Lucid, Inc. 245 First Street 707 Laurel Street Cambridge, Massachusetts 02142 Menlo Park, California 94025 Phone: (617) 234-2860 Phone: (415) 329-8400 FAX: (617) 243-4444 FAX: (415) 329-8480 E-mail: [email protected] E-mail: [email protected] Abstract Lisp is the world’s greatest programming language—or so its proponents think. The structure of Lisp makes it easy to extend the language or even to implement entirely new dialects without starting from scratch. Overall, the evolution of Lisp has been guided more by institutional rivalry, one-upsmanship, and the glee born of technical cleverness that is characteristic of the “hacker culture” than by sober assessments of technical requirements. Nevertheless this process has eventually produced both an industrial- strength programming language, messy but powerful, and a technically pure dialect, small but powerful, that is suitable for use by programming-language theoreticians. We pick up where McCarthy’s paper in the first HOPL conference left off. We trace the development chronologically from the era of the PDP-6, through the heyday of Interlisp and MacLisp, past the ascension and decline of special purpose Lisp machines, to the present era of standardization activities. We then examine the technical evolution of a few representative language features, including both some notable successes and some notable failures, that illuminate design issues that distinguish Lisp from other programming languages. We also discuss the use of Lisp as a laboratory for designing other programming languages. We conclude with some reflections on the forces that have driven the evolution of Lisp. -
1+1=1: an Optimizing Caml Compiler
1+1=1 : an optimizing Caml compiler Manuel Serrano, Pierre Weis To cite this version: Manuel Serrano, Pierre Weis. 1+1=1 : an optimizing Caml compiler. [Research Report] RR-2301, INRIA. 1994. inria-00074372 HAL Id: inria-00074372 https://hal.inria.fr/inria-00074372 Submitted on 24 May 2006 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. ¢¡¤£¦¥§ ¨¥ © ¥ ¡ ¥§ ¢¡ § ¡ ¡¤ !" ¥§ ¢#© $%¥& ¤©§¥ !" ¥§ ¢#© ' ( ' ) '+*-,&. /10+2§3¦4 3653¦.$7 89,&4 :<;=/>4 0?3¦:A@CB DFE§G%HJIKI¦LNMOQP RSEQTUHJV¢W X Y[Z"\"]_^ `baQVdc¨cdHJegfJhbhji k§lmonplqorrst uwvyxwz¦v{¢|¦}S~Jvy¦z K K u}}pu¨yK w§w¦yvyKyxy6v apport de recherche 1994 ISSN 0249-6399 ¢¡£ ¥¤ §¦©¨ ¨ ! " #$©%'& DFE¤G%HJI I LNMQOP§RSEQTUHJV¢W!( k*),+.-/)1023254 t6$7§08:9<;=8?>A@B2DCE+.8GF:H.;I4.JK=),+.-.)<02320L,FG+M4NLO-QP4NMIFR4'8G+.-/F:9<FG4N8 k*),+S<4NL,>"TA9<>,8:0=J=7)AFG>,L108 lO0K=KE+.),L"UB4')A49,V=4W)19,V=4MYXJt.Z/[=\]6$^.;IFR8G8G4NL'\_/_`a6$Z.[ Kb0c-.4N> d#egfWhjikblh/monp4§K=),4N>A4WMqL'0YMI4Nrs7§0c258b9t+.25KIFR8G4N)jJr§V=F:9,V5r§0>+.C=L<0FGM=4U#CB@50M5+/)AFG-.FGMb0c8b0KIK=)A+B0.9,Vvu 0O>AFG23K=8G4wKIFRKE4N8GFGM=4Cb4NLxr4N4NMDLxr+"4tyzFG>,LAFGM=-Y9<+.23K=FG8G4N)A>jJ4j0.9,V+/M=4§UB4N{.+/LA4U -
HOWTO Débuter Sous Emacs
HOWTO D´ebuter sous Emacs Jeremy D. Zawodny, [email protected] v1.7, 14 Octobre 1999 Ce document est une aide aux d´ebutants sous l’´editeur Emacs. Il prend pour acquis la manipula- tion de vi ou d’un ´editeur similaire. La derni`ere version de ce document est aussi disponible sur http://www.wcnet.org/jzawodn/emacs/ Contents 1 Introduction 3 1.1 Copyright ............................................... 3 1.2 Public et Dessein .......................................... 3 1.3 Qu’est ce qu’Emacs? ........................................ 3 1.3.1 Portages et Versions ..................................... 4 1.3.2 Obtenir Emacs ........................................ 4 2 Ex´ecuter Emacs 4 2.1 Lancer & quitter Emacs ....................................... 4 2.1.1 Ce que vous allez voir .................................... 5 2.2 Quelques Terminologies ....................................... 5 2.2.1 Tampons & Fichiers ..................................... 6 2.2.2 Points & Regions ....................................... 6 2.2.3 Fenˆetres ........................................... 6 2.2.4 Frames ............................................ 6 2.3 Les commandes de bases au clavier ................................. 7 2.3.1 Les touches de commandes(Meta, Esc, Control, and Alt) ................ 7 2.3.2 Se d´eplacer dans un Buffer ................................. 7 2.3.3 Commandes Principales q .................................. 8 2.3.4 La Compl´etionpar la touche Tab ............................. 9 2.4 Tutorials, Aides, & Informations ................................. -
Composição Assistida Por Computador: – Escolha De Estrutura Musical , Partes Computador • P.Ex
Composição não é Edição de Partituras • Ex: Musescore Computação Musical http://www.musescore.org/en Composição Assistida por • Composição Assistida por Computador: – Escolha de estrutura musical , partes Computador • p.ex. Concerto (3 movm: 'allegro-adagio-allegro') – Escolha de ritmos Prof. Marcelo Soares Pimenta – Escolha de sons, timbres, notas e sua serialização (melodia) e verticalização (harmonia, acordes) [email protected] – Edição, (re)arranjo, (re)organização, experimentação (audição) 2 Porto Alegre , 2009-2 Foundations of CAC Foundations of CAC the concept of Compositional Modeling Otto Laske, Composition Theory in Koenig's Project One and Project Two . Computer Music Journal (1981): Study, simulation, explicitation of an object (concept, concrete object, phenomenon, situation, "We may view composer-program interaction along a trajectory leading from purely manual etc.) control to control exercised by some compositional algorithm (composing machine). The zone "Modeling aims at gathering in a common coherent discourse a number of experiences and of greatest interest for composition theory is the midd le zone of the trajectory, since it allow a observations related by a means which is to determine during the modeling process itself" D. Berthier. Le great flexibility of approach. The powers of intuition and machine computation may be savoir et l’ordinateur combined." (2002) . Jean-Claude Risset, Musique, un calcul secret ? (1977) Computer model => abstract representation focusing on particular ⇒ The musician must be able to communicate with the computer in order to control and aspects of an object and supporting effective expermients and organize the details and global aspects of his musical works, and eventually to build his own operations on this object musical universe in it. -
2016-Program-Book-Corrected.Pdf
A flagship project of the New York Philharmonic, the NY PHIL BIENNIAL is a wide-ranging exploration of today’s music that brings together an international roster of composers, performers, and curatorial voices for concerts presented both on the Lincoln Center campus and with partners in venues throughout the city. The second NY PHIL BIENNIAL, taking place May 23–June 11, 2016, features diverse programs — ranging from solo works and a chamber opera to large scale symphonies — by more than 100 composers, more than half of whom are American; presents some of the country’s top music schools and youth choruses; and expands to more New York City neighborhoods. A range of events and activities has been created to engender an ongoing dialogue among artists, composers, and audience members. Partners in the 2016 NY PHIL BIENNIAL include National Sawdust; 92nd Street Y; Aspen Music Festival and School; Interlochen Center for the Arts; League of Composers/ISCM; Lincoln Center for the Performing Arts; LUCERNE FESTIVAL; MetLiveArts; New York City Electroacoustic Music Festival; Whitney Museum of American Art; WQXR’s Q2 Music; and Yale School of Music. Major support for the NY PHIL BIENNIAL is provided by The Andrew W. Mellon Foundation, The Fan Fox and Leslie R. Samuels Foundation, and The Francis Goelet Fund. Additional funding is provided by the Howard Gilman Foundation and Honey M. Kurtz. NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ JUNE 5-7, 2016 JUNE 13-19, 2016 __ www.nycemf.org CONTENTS ACKNOWLEDGEMENTS 4 DIRECTOR’S WELCOME 5 LOCATIONS 5 FESTIVAL SCHEDULE 7 COMMITTEE & STAFF 10 PROGRAMS AND NOTES 11 INSTALLATIONS 88 PRESENTATIONS 90 COMPOSERS 92 PERFORMERS 141 ACKNOWLEDGEMENTS THE NEW YORK PHILHARMONIC ORCHESTRA THE AMPHION FOUNDATION DIRECTOR’S LOCATIONS WELCOME NATIONAL SAWDUST 80 North Sixth Street Brooklyn, NY 11249 Welcome to NYCEMF 2016! Corner of Sixth Street and Wythe Avenue. -
Gsharp, Un Éditeur De Partitions De Musique Interactif Et Personnalisable
Gsharp, un éditeur de partitions de musique interactif et personnalisable Christophe Rhodes* — Robert Strandh** * Department of Computing Goldsmiths, University of London London SE14 6NW United Kingdom [email protected] ** LaBRI, Université Bordeaux 1 351, Cours de la libération 33405 Talence Cedex France [email protected] RÉSUMÉ. Dans cet article, nous présentons Gsharp, un projet dont le but est la création d’un éditeur de partitions de musique traditionnelles. Le logiciel Gsharp est écrit en Common Lisp et utilise CLIM (Common Lisp Interface Manager) comme bibliothèque pour l’interaction avec l’utilisateur. De nombreux algorithmes et structures de données ont été inventés afin d’assurer un performance acceptable pour de simples interactions comme l’insertion ou la suppression d’une note ou d’un accord. ABSTRACT. In this article, we present Gsharp, a project with the purpose of creating an editor for traditional music scores. Gsharp is written in Common Lisp, and uses the CLIM (Common Lisp Interface Manager) library for interactions with the user. Several new algorithms and data structures were invented in order to ensure acceptable performance for simple interactions such as inserting or deleting a note or a chord. MOTS-CLÉS : édition de partitions, Common Lisp, CLIM, personnalisation, logiciels interactif KEYWORDS: score editing, Common Lisp, CLIM, customization, interactive software DN – 11/2008. Documents musicaux, pages 9 à 28 10 DN – 11/2008. Documents musicaux 1. Introduction Gsharp est un projet dont le but est la création d’un éditeur de partitions de mu- sique. Il s’agit d’un logiciel interactif dans le sens qu’après chaque action de la part de l’utilisateur, le résultat final de la mise en page est visible. -
Compositional and Analytic Applications of Automated Music Notation Via Object-Oriented Programming
UC San Diego UC San Diego Electronic Theses and Dissertations Title Compositional and analytic applications of automated music notation via object-oriented programming Permalink https://escholarship.org/uc/item/3kk9b4rv Author Trevino, Jeffrey Robert Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO Compositional and Analytic Applications of Automated Music Notation via Object-oriented Programming A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Music by Jeffrey Robert Trevino Committee in charge: Professor Rand Steiger, Chair Professor Amy Alexander Professor Charles Curtis Professor Sheldon Nodelman Professor Miller Puckette 2013 Copyright Jeffrey Robert Trevino, 2013 All rights reserved. The dissertation of Jeffrey Robert Trevino is approved, and it is acceptable in quality and form for publication on mi- crofilm and electronically: Chair University of California, San Diego 2013 iii DEDICATION To Mom and Dad. iv EPIGRAPH Extraordinary aesthetic success based on extraordinary technology is a cruel deceit. —-Iannis Xenakis v TABLE OF CONTENTS Signature Page .................................... iii Dedication ...................................... iv Epigraph ....................................... v Table of Contents................................... vi List of Figures .................................... ix Acknowledgements ................................. xii Vita .......................................... xiii Abstract of the Dissertation . xiv Chapter 1 A Contextualized History of Object-oriented Musical Notation . 1 1.1 What is Object-oriented Programming (OOP)? . 1 1.1.1 Elements of OOP . 1 1.1.2 ANosebleed History of OOP. 6 1.2 Object-oriented Notation for Composers . 12 1.2.1 Composition as Notation . 12 1.2.2 Generative Task as an Analytic Framework . 13 1.2.3 Computational Models of Music/Composition . -
Next-Generation Computer-Aided Composition Environment: a New
Next-generation Computer-aided Composition Environment: A New Implementation of OpenMusic Jean Bresson, Dimitri Bouche, Thibaut Carpentier, Diemo Schwarz, Jérémie Garcia To cite this version: Jean Bresson, Dimitri Bouche, Thibaut Carpentier, Diemo Schwarz, Jérémie Garcia. Next-generation Computer-aided Composition Environment: A New Implementation of OpenMusic. International Computer Music Conference (ICMC’17), 2017, Shanghai, China. hal-01567619v2 HAL Id: hal-01567619 https://hal.archives-ouvertes.fr/hal-01567619v2 Submitted on 26 Sep 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. Next-generation Computer-aided Composition Environment: A New Implementation of OpenMusic Jean Bresson, Dimitri Bouche, Thibaut Carpentier, Diemo Schwarz Jer´ emie´ Garcia UMR STMS: IRCAM/CNRS/UPMC Sorbonne Universites,´ Paris, France Universite´ de Toulouse – ENAC, France fbresson,bouche,carpenti,[email protected] [email protected] ABSTRACT stitutes an original blend of traditional and more prospective computer-aided composition features. 3 O7 is a new implementation of the OpenMusic computer- This paper is organised as follows: In Section2 we first go aided composition environment. This paper gives a general through general characteristics of the visual programming presentation of its visual programming framework, musical environment.