DOCSLIB.ORG

Linux Audio Conference 2012

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Linux Audio Conference 2012 Proceedings of the Linux Audio Conference 2012 April 12th - 15th, 2012 Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, California 10111 11010 00110 101 111 11 0010111001001 01 01 100 100 00 1 01 01100101011 01 0 01 1 010 100 10 11 1 10 10 0111010 11 1 0 1 0 1 1110 001 01 10 1 0 10 01 10 10 1 1 0 0 1 0 1 00011001010 01 00 0 0 0 0 1 10 01 11 01 1 0 1 1 1 0 0 11 udio c 10 0 0 0 0 1 1 0 1 01 ux a onf 0 1 1 0 1 0 0 1 0 0 lin er 10 1 0 1 1 1 0 1 0 1 1000110 e 0 1 1 1 0 1 1 1 0 01 11 n 1 0 1 0 0 1 0 1 1 1 10 00 ce 1 0 0 0 1 0 1 1 10 c 1 1 0 1 0 1 0 0 1 01 en 0 2 0 0 1 0 1 0 1 1 0 11 te 1 0 0 0 1 0 1 r 0 0 0 0 1 0 0 1 1 1 1 1 010101 f 0 1 1 0 0 0 0 1 0 11 10 o 1 1 1 0 1 1 0 1 0 1 1 0 r 1 2 1 0 1 1 1 0 1 1 0 1 0 1 1 0 0 1 1 01011 0 c 0 0 0 0 0 0 0 01 0 o 0 0 0 0 1 1 0 1 1 0 1 01 1 0 1 1 1 1 1 0 1 1 0 m 0 1 0 1 0 0 1 1 0 10001 0 1 1 1 1 0 1 1 0 1 0 1 1 1 0 0 0 0 0 1 0 1 p 0 0 0 0 0 1 0 1 0 0 0 1 1 0 1 1 1 1 1 0 1 0 1 0 u 0 0 1 10010 1 1 0 1 1 1 0 0 0 1 1 0 1 0 0 1 0 1 1 0 1 t 0 0 0 1 0 0 1 0 0 1 1 1 0 0 1 1 1 0 1 1 0 e 1 1 0 1 1 0 0 1 1 1 0 0 0 1 0 0 1 1 1 0 0 1 1 1 0 1 0 1 0 1 1 r 1 1 0 0 1 1 1 0 0 1 1 1 0 0 1 0 0 0 0 1 0 0 1 1 01 0 0 1 0 1 1 0 r 1 1 1 0 0 1 1 0 0 0 1 1 1 1 0 1 0 0 0 1 0 1 0 0 1 0 e 0 0 0 1 1 1 1 1 0 1 1 1 0 0 0 0 1 1 1 1 0 0 1 1 1 0 1 0 0 1 s 0 0 1 1 1 0 1 1 1 1 0 1 0 1 1 1 0 0 1 1 1 0 1 1 1 0 1 1 e 0 1 1 0 1 1 1 0 0 0 0 1 1 1 0 1 0 1 1 0 1 1 1 1 0 1 1 0 0 0 0 a 1 0 1 0 1 0 0 0 1 0 0 0 1 1 1 1 1 1 0 0 1 1 0 1 0 1 1 1 0 r 1 1 1 1 1 0 1 1 1 0 0 1 0 1 1 1 1 1 0 0 0 0 1 0 1 0 0 c 0 1 0 1 1 0 0 1 1 1 a 0 0 1 0 0 0 1 1 0 0 1 1 0 h 1 1 1 1 1 1 0 0 0 0 1 1 s 1 1 0 1 0 0 1 0 1 0 0 1 1 1 1 0 1 0 1 1 0 0 1 1 1 0 1 1 0 1 0 1 i 1 u 0 0 1 0 0 0 1 0 0 1 0 1 1 1 0 n 1 1 0 0 1 1 1 0 1 1 0 0 1 0 0 , 0 1 1 0 1 1 1 1 0 1 0 0 1 0 1 1 0 1 1 1 0 1 1 1 1 1 0 0 m 0 0 a 1 0 1 1 0 0 1 1 1 1 0 0 1 0 0 0 1 0 1 1 1 0 0 0 1 0 0 c 0 0 0 1 0 0 1 0 0 1 0 u 0 1 0 1 1 0 1 1 0 1 1 0 0 , 0 0 0 0 0 1 0 0 0 1 0 s 1 1 1 0 1 0 1 1 0 1 0 0 0 0 y 0 0 0 1 1 1 1 0 0 1 i 0 1 0 t 1 0 0 0 1 0 c 0 0 1 1 1 1 1 0 i 1 1 0 1 0 1 0 0 1 0 1 1 0 0 1 0 1 0 1 1 0 1 0 0 s 0 a 0 1 0 0 1 0 1 1 1 1 0 1 r 0 0 0 1 n 1 0 1 0 0 0 1 0 1 1 1 0 1 1 1 0 1 0 0 d e 0 1 1 1 0 0 1 1 0 1 1 0 1 0 0 1 1 0 1 v 1 1 1 0 a 0 0 0 i 1 0 0 1 0 0 0 1 0 c 1 1 1 1 0 0 1 1 1 1 1 1 o 0 1 n 0 0 1 1 0 1 0 u 0 1 1 1 0 0 0 0 u s 1 1 0 0 t 1 0 0 i 0 1 1 1 0 c 0 0 s 1 0 0 0 1 1 1 1 0 0 d 0 1 1 0 1 1 0 0 r 1 0 0 1 1 1 1 1 1 0 1 0 0 1 0 o 1 1 1 1 1 0 0 f 0 1 0 1 0 0 0 0 1 1 0 1 1 n 0 1 1 1 0 1 0 0 0 0 a 1 1 0 1 1 1 t 1 1 0 1 0 0 1 s 0 1 0 1 1 1 1 0 0 0 0 1 0 0 1 0 1 1 1 0 1 0 0 1 0 1 1 1 1 0 1 1 0 1 1 1 1 0 1 0 0 0 0 0 0 0 1 1 0 1 0 1 1 1 0 1 0 0 1 0 1 1 1 0 1 0 1 0 1 1 1 0 1 0 0 1 0 0 1 1 0 1 0 1 0 1 0 1 1 0 0 1 1 0 1 0 1 1 0 Published by CCRMA, Stanford University, California, US April 2012 All copyrights remain with the authors http://lac.linuxaudio.org/2012 ISBN 978-1-105-62546-6 Credits Cover design: Fernando Lopez-Lezcano Layout: Frank Neumann Typesetting: LATEX and pdfLaTeX Logo Design: The Linuxaudio.org logo and its variations copyright Thorsten Wilms c 2006, im- ported into the "LAC 2012" logo by Robin Gareus Thanks to: Martin Monperrus for his webpage "Creating proceedings from PDF files" Printed in the US ii Partners and Sponsors CCRMA Linux Weekly News The Fedora Project SICa Stanford University LinuxAudio.org CiTU iii iv Foreword Stanford, California, March 2012 A long time ago in a country far far away, a group of Linux Audio enthusiasts got together at LinuxTag 2002 in Karlsruhe/Germany, organized a Linux Audio Developers Booth there, and plotted future plans. Little they knew (or perhaps they did?) that their initiative would have staying power and rally new people from all over the world every year. Today, the Linux Audio Conference celebrates its 10th anniversary being hosted in the United States for the first time. Read the whole story and look at the pictures at http://lac.linuxaudio.org, and you will see that most of those early enthusiasts are still around, as well as new ones that have been joining us every year. We at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA, pronounced “karma”) are very happy to be the hosts of LAC 2012. Bear with me as I tell you a bit of our history. CCRMA has been using and sharing Free Software as part of a collaborative en- vironment for research and the arts since its beginning in the early 1970’s. Mainframes were the only game in town and computer time for making music and creating new sound algorithms was so valuable that, at the beginning, it could only be borrowed at night in the Artificial Intelligence Lab at Stanford. Eventually CCRMA had its own shared computing monster and similarly-sized digital synthesizer (we called it the Samsom Box), and much music and research came out of them. But in time, mainframes, minicomputers, and mammoth synths withered away and gave way around 1990 to a network of nimble NeXT computers and pure software sound making (with Unix under the hood!, alas, not a free and open hood...).
Load more

Recommended publications
  • Proceedings 2005
    LAC2005 Proceedings 3rd International Linux Audio Conference April 21 – 24, 2005 ZKM | Zentrum fur¨ Kunst und Medientechnologie Karlsruhe, Germany Published by ZKM | Zentrum fur¨ Kunst und Medientechnologie Karlsruhe, Germany April, 2005 All copyright remains with the authors www.zkm.de/lac/2005 Content Preface ............................................ ............................5 Staff ............................................... ............................6 Thursday, April 21, 2005 – Lecture Hall 11:45 AM Peter Brinkmann MidiKinesis – MIDI controllers for (almost) any purpose . ....................9 01:30 PM Victor Lazzarini Extensions to the Csound Language: from User-Defined to Plugin Opcodes and Beyond ............................. .....................13 02:15 PM Albert Gr¨af Q: A Functional Programming Language for Multimedia Applications .........21 03:00 PM St´ephane Letz, Dominique Fober and Yann Orlarey jackdmp: Jack server for multi-processor machines . ......................29 03:45 PM John ffitch On The Design of Csound5 ............................... .....................37 04:30 PM Pau Arum´ıand Xavier Amatriain CLAM, an Object Oriented Framework for Audio and Music . .............43 Friday, April 22, 2005 – Lecture Hall 11:00 AM Ivica Ico Bukvic “Made in Linux” – The Next Step .......................... ..................51 11:45 AM Christoph Eckert Linux Audio Usability Issues .......................... ........................57 01:30 PM Marije Baalman Updates of the WONDER software interface for using Wave Field Synthesis . 69 02:15 PM Georg B¨onn Development of a Composer’s Sketchbook ................. ....................73 Saturday, April 23, 2005 – Lecture Hall 11:00 AM J¨urgen Reuter SoundPaint – Painting Music ........................... ......................79 11:45 AM Michael Sch¨uepp, Rene Widtmann, Rolf “Day” Koch and Klaus Buchheim System design for audio record and playback with a computer using FireWire . 87 01:30 PM John ffitch and Tom Natt Recording all Output from a Student Radio Station .
    [Show full text]
  • Working with Digital Video
    Working with digital video By admin Published: 10/04/2007 - 08:35 Peter Westenberg , October 2007 Working with digital video is part of many artistic disciplines. Besides single screen narratives, video productions can range from animation, multiple screen installation to interactive work. Still, many aspects of digital video can be traced back to the history of film. The interface of a timeline editing software such as Cinelerra [1] shows a multitrack timeline, a viewing monitor, a bin for clips; echoing the setup of a flatbed table for editing celluloid. A dual head set up Cinelerra work station The physical materiality of film and video are fundamentaly different: celluloid versus pixels, chemicals versus algorhytms, but the relationship between film and video has mutually matured. As outlined by Matt Hanson [1b] , video expands cinematographic traditions in new directions, filmmakers can benefit from digitisation by reclaiming the central position of creativity in the film process, as pointed out by Samira Makhmalbaf. [1c] 1 / 28 An 'Old Delft Cinemonta' 16mm editing table in use at the Filmwerkplaats in Rotterdam Digital video also roots in artistic practices of the sixties and seventies. [1a] Artists started using video to capture temporary performances (Joan Jonas [2] , Vito Acconci [3] ), they integrated video monitors in installations (Nam June Paik [4] ), experimented with filters and mixing in video paintings (Peter Campus [5] ). Compared to film cameras, video cameras had a strong feature: it became possible connect a monitor and view directly what the camera recorded. Today, artists can use softwares such as Lives [5] , Jahshaka [6] , Zone Minder [7] or Pure Data [8] and Linux distributions aimed at audio and visual creation such as Dyne:bolic [9] Apodio [10] and Ubuntu Studio [11] to further explore the possibilities of real time video, multiple camera input and live interaction.
    [Show full text]
  • “Laboratório” De T V Digital Usando Softw Are Open Source
    “Laboratório” de TV digital usando software open source Objectivos Realizar uma pesquisa de software Open Source, nomeadamente o que está disponível em Sourceforge.net relacionado com a implementação de operações de processamento de sinais audiovisuais que tipicamente existem em sistemas de produção de TV digital. Devem ser identificadas aplicações para: • aquisição de vídeo, som e imagem • codificação com diferentes formatos (MPEG-2, MPEG-4, JPEG, etc.) • conversão entre formatos • pré e pós processamento (tal como filtragens) • edição • anotação Instalação dos programas e teste das suas funcionalidades. Linux Aquisição Filtros Codificação :: VLC :: Xine :: Ffmpeg :: Kino (DV) :: VLC :: Transcode :: Tvtime Television Viewer (TV) :: Video4Linux Grab Edição :: Mpeg4IP :: Kino (DV) Conversão :: Jashaka :: Kino :: Cinelerra :: VLC Playback :: Freej :: VLC :: FFMpeg :: Effectv :: MJPEG Tools :: PlayerYUV :: Lives :: Videometer :: MPlayer Anotação :: Xmovie :: Agtoolkit :: Video Squirrel VLC (VideoLan Client) VLC - the cross-platform media player and streaming server. VLC media player is a highly portable multimedia player for various audio and video formats (MPEG-1, MPEG-2, MPEG-4, DivX, mp3, ogg, ...) as well as DVDs, VCDs, and various streaming protocols. It can also be used as a server to stream in unicast or multicast in IPv4 or IPv6 on a high-bandwidth network. http://www.videolan.org/ Kino (DV) Kino is a non-linear DV editor for GNU/Linux. It features excellent integration with IEEE-1394 for capture, VTR control, and recording back to the camera. It captures video to disk in Raw DV and AVI format, in both type-1 DV and type-2 DV (separate audio stream) encodings. http://www.kinodv.org/ Tvtime Television Viewer (TV) Tvtime is a high quality television application for use with video capture cards on Linux systems.
    [Show full text]
  • QUALM; *Quoion Answeringsystems
    DOCUMENT RESUME'. ED 150 955 IR 005 492 AUTHOR Lehnert, Wendy TITLE The Process'of Question Answering. Research Report No. 88. ..t. SPONS AGENCY Advanced Research Projects Agency (DOD), Washington, D.C. _ PUB DATE May 77 CONTRACT ,N00014-75-C-1111 . ° NOTE, 293p.;- Ph.D. Dissertation, Yale University 'ERRS' PRICE NF -$0.83 1C- $15.39 Plus Post'age. DESCRIPTORS .*Computer Programs; Computers; *'conceptual Schemes; *Information Processing; *Language Classification; *Models; Prpgrai Descriptions IDENTIFIERS *QUALM; *QuOion AnsweringSystems . \ ABSTRACT / The cOmputationAl model of question answering proposed by a.lamputer program,,QUALM, is a theory of conceptual information processing based 'bon models of, human memory organization. It has been developed from the perspective of' natural language processing in conjunction with story understanding systems. The p,ocesses in QUALM are divided into four phases:(1) conceptual categorization; (2) inferential analysis;(3) content specification; and (4) 'retrieval heuristict. QUALM providea concrete criterion for judging the strengths and weaknesses'of store representations.As a theoretical model, QUALM is intended to describ general question answerinlg, where question antiering is viewed as aerbal communicb.tion. device betieen people.(Author/KP) A. 1 *********************************************************************** Reproductions supplied'by EDRS are the best that can be made' * from. the original document. ********f******************************************,******************* 1, This work-was
    [Show full text]
  • Multimedia Systems DCAP303
    Multimedia Systems DCAP303 MULTIMEDIA SYSTEMS Copyright © 2013 Rajneesh Agrawal All rights reserved Produced & Printed by EXCEL BOOKS PRIVATE LIMITED A-45, Naraina, Phase-I, New Delhi-110028 for Lovely Professional University Phagwara CONTENTS Unit 1: Multimedia 1 Unit 2: Text 15 Unit 3: Sound 38 Unit 4: Image 60 Unit 5: Video 102 Unit 6: Hardware 130 Unit 7: Multimedia Software Tools 165 Unit 8: Fundamental of Animations 178 Unit 9: Working with Animation 197 Unit 10: 3D Modelling and Animation Tools 213 Unit 11: Compression 233 Unit 12: Image Format 247 Unit 13: Multimedia Tools for WWW 266 Unit 14: Designing for World Wide Web 279 SYLLABUS Multimedia Systems Objectives: To impart the skills needed to develop multimedia applications. Students will learn: z how to combine different media on a web application, z various audio and video formats, z multimedia software tools that helps in developing multimedia application. Sr. No. Topics 1. Multimedia: Meaning and its usage, Stages of a Multimedia Project & Multimedia Skills required in a team 2. Text: Fonts & Faces, Using Text in Multimedia, Font Editing & Design Tools, Hypermedia & Hypertext. 3. Sound: Multimedia System Sounds, Digital Audio, MIDI Audio, Audio File Formats, MIDI vs Digital Audio, Audio CD Playback. Audio Recording. Voice Recognition & Response. 4. Images: Still Images – Bitmaps, Vector Drawing, 3D Drawing & rendering, Natural Light & Colors, Computerized Colors, Color Palletes, Image File Formats, Macintosh & Windows Formats, Cross – Platform format. 5. Animation: Principle of Animations. Animation Techniques, Animation File Formats. 6. Video: How Video Works, Broadcast Video Standards: NTSC, PAL, SECAM, ATSC DTV, Analog Video, Digital Video, Digital Video Standards – ATSC, DVB, ISDB, Video recording & Shooting Videos, Video Editing, Optimizing Video files for CD-ROM, Digital display standards.
    [Show full text]
  • Guile Programmer's Manual
    Guile Programmers Manual For use with Cygnus Guile Last up dated July Mark Galassi Los Alamos National Lab oratory and Cygnus Supp ort rosalianislanlgov c Copyright Cygnus Supp ort Permission is granted to make and distribute verbatim copies of this manual provided the copyright notice and this p ermission notice are preserved on all copies Permission is granted to copy and distribute mo died versions of this manual under the conditions for verbatim copying provided that the entire resulting derived work is distributed under the terms of a p ermission notice identical to this one Permission is granted to copy and distribute translations of this manual into another language under the ab ove conditions for mo died versions except that this p ermission notice may b e stated in a translation approved by Free Software Foundation Chapter What go es in this manual What go es in this manual You might b e wondering why there are two separate manuals for Guile It is customary to split the do cumentation for ma jor packages into a user manual a gentle and intro ductory do cument and a reference manual Sometimes p eople go a step farther and make a separate tutorial other times the tutorial is part of the user manual In this framekwork what you are supp osed to do is use the user manual until you have under sto o d all that it has to oer you and then use the reference manual for the rest of your life except when you are teaching This Guile Programmers Manual is indeed a reference manual so I assume that you know everything thats in the Guile
    [Show full text]
  • Informatique Et MAO 1 : Configurations MAO (1)
    Ce fichier constitue le support de cours “son numérique” pour les formations Régisseur Son, Techniciens Polyvalent et MAO du GRIM-EDIF à Lyon. Elles ne sont mises en ligne qu’en tant qu’aide pour ces étudiants et ne peuvent être considérées comme des cours. Elles utilisent des illustrations collectées durant des années sur Internet, hélas sans en conserver les liens. Veuillez m'en excuser, ou me contacter... pour toute question : [email protected] 4ème partie : Informatique et MAO 1 : Configurations MAO (1) interface audio HP monitoring stéréo microphone(s) avec entrées/sorties ou surround analogiques micro-ordinateur logiciels multipistes, d'édition, de traitement et de synthèse, plugins etc... (+ lecteur-graveur CD/DVD/BluRay) surface de contrôle clavier MIDI toutes les opérations sont réalisées dans l’ordinateur : - l’interface audio doit permettre des latences faibles pour le jeu instrumental, mais elle ne nécessite pas de nombreuses entrées / sorties analogiques - la RAM doit permettre de stocker de nombreux plugins (et des quantités d’échantillons) - le processeur doit être capable de calculer de nombreux traitements en temps réel - l’espace de stockage et sa vitesse doivent être importants - les périphériques de contrôle sont réduits au minimum, le coût total est limité SON NUMERIQUE - 4 - INFORMATIQUE 2 : Configurations MAO (2) HP monitoring stéréo microphones interface audio avec de nombreuses ou surround entrées/sorties instruments analogiques micro-ordinateur Effets logiciels multipistes, d'édition et de traitement, plugins (+
    [Show full text]
  • The Book of Audacity
    THE BOOK OF AUDACITY Record, Edit, Mix, and Master with the Free Audio Editor by Carla Schroder San Francisco THE BOOK OF AUDACITY. Copyright © 2011 by Carla Schroder. All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system, without the prior written permission of the copyright owner and the publisher. 15 14 13 12 11 1 2 3 4 5 6 7 8 9 ISBN-10: 1-59327-270-7 ISBN-13: 978-1-59327-270-8 Publisher: William Pollock Production Editor: Serena Yang Cover and Interior Design: Octopod Studios Developmental Editor: Tyler Ortman Technical Reviewer: Alvin Goats Copyeditor: Kim Wimpsett Compositor: Serena Yang Proofreader: Paula L. Fleming Indexer: Nancy Guenther For information on book distributors or translations, please contact No Starch Press, Inc. directly: No Starch Press, Inc. 38 Ringold Street, San Francisco, CA 94103 phone: 415.863.9900; fax: 415.863.9950; [email protected]; www.nostarch.com Library of Congress Cataloging-in-Publication Data Schroder, Carla. The book of Audacity : record, edit, mix, and master with the free audio editor / by Carla Schroder. p. cm. Includes bibliographical references. ISBN-13: 978-1-59327-270-8 ISBN-10: 1-59327-270-7 1. Audacity (Computer file) 2. Digital audio editors. I. Title. ML74.4.A84S37 2010 781.3’4536-dc22 2010037594 No Starch Press and the No Starch Press logo are registered trademarks of No Starch Press, Inc. Other product and company names mentioned herein may be the trademarks of their respective owners.
    [Show full text]
  • Photo Editing
    All recommendations are from: http://www.mediabistro.com/10000words/7-essential-multimedia-tools-and-their_b376 Photo Editing Paid Free Photoshop Splashup Photoshop may be the industry leader when it comes to photo editing and graphic design, but Splashup, a free online tool, has many of the same capabilities at a much cheaper price. Splashup has lots of the tools you’d expect to find in Photoshop and has a similar layout, which is a bonus for those looking to get started right away. Requires free registration; Flash-based interface; resize; crop; layers; flip; sharpen; blur; color effects; special effects Fotoflexer/Photobucket Crop; resize; rotate; flip; hue/saturation/lightness; contrast; various Photoshop-like effects Photoshop Express Requires free registration; 2 GB storage; crop; rotate; resize; auto correct; exposure correction; red-eye removal; retouching; saturation; white balance; sharpen; color correction; various other effects Picnik “Auto-fix”; rotate; crop; resize; exposure correction; color correction; sharpen; red-eye correction Pic Resize Resize; crop; rotate; brightness/contrast; conversion; other effects Snipshot Resize; crop; enhancement features; exposure, contrast, saturation, hue and sharpness correction; rotate; grayscale rsizr For quick cropping and resizing EasyCropper For quick cropping and resizing Pixenate Enhancement features; crop; resize; rotate; color effects FlauntR Requires free registration; resize; rotate; crop; various effects LunaPic Similar to Microsoft Paint; many features including crop, scale
    [Show full text]
  • El Oído Pensante- Año 1
    Artículo / Artigo / Article La investigación del timing en la interpretación: el software como herramienta en el análisis de la música clásica tonal Igor Saenz Abarzuza, Universidad Pública de Navarra, Pamplona, España [email protected] Resumen La mayoría de los trabajos de investigación sobre interpretación musical se enfocan en la medición de parámetros de la interpretación, si bien están aumentando los artículos sobre modelos de interpretación, planificación de la interpretación musical y sobre la propia práctica interpretativa. El tempo ha sido probablemente el aspecto de la interpretación más estudiado. En este artículo se revisan los estudios sobre la agógica desde una perspectiva computacional a través de algunos de los artículos más relevantes, así como los principales retos a los que se enfrenta la disciplina y las dificultades que hay que solventar en su estudio. Se le concede especial importancia al programa libre Sonic Visualiser, una de las herramientas más útiles para llevar adelante este tipo de investigaciones. Palabras clave: timing, interpretación, Sonic Visualiser, análisis musical, análisis computacional Investigação do timing na interpretação: o software como uma ferramenta para a análise da musica clássica tonal Resumo A maioria das pesquisas sobre interpretação musical se concentra na medição de parâmetros de interpretação, ainda que trabalhos sobre modelos de interpretação, planejamento da interpretação musical e sobre a própria prática interpretativa venham aumentando nos últimos anos. O tempo tem sido provavelmente o aspecto da interpretação mais estudado. Neste artigo se revisam os principais estudos sobre a agógica a partir do ponto de vista computacional, bem como os principais desafios que a disciplina enfrenta e as dificuldades que devem ser resolvidas em seu estudo.
    [Show full text]
  • Scummvm Documentation
    ScummVM Documentation CadiH May 10, 2021 The basics 1 Understanding the interface4 1.1 The Launcher........................................4 1.2 The Global Main Menu..................................7 2 Handling game files 10 2.1 Multi-disc games...................................... 11 2.2 CD audio.......................................... 11 2.3 Macintosh games...................................... 11 3 Adding and playing a game 13 3.1 Where to get the games.................................. 13 3.2 Adding games to the Launcher.............................. 13 3.3 A note about copyright.................................. 21 4 Saving and loading a game 22 4.1 Saving a game....................................... 22 4.2 Location of saved game files............................... 27 4.3 Loading a game...................................... 27 5 Keyboard shortcuts 30 6 Changing settings 31 6.1 From the Launcher..................................... 31 6.2 In the configuration file.................................. 31 7 Connecting a cloud service 32 8 Using the local web server 37 9 AmigaOS 4 42 9.1 What you’ll need...................................... 42 9.2 Installing ScummVM.................................... 42 9.3 Transferring game files.................................. 42 9.4 Controls........................................... 44 9.5 Paths............................................ 44 9.6 Settings........................................... 44 9.7 Known issues........................................ 44 10 Android 45 i 10.1 What you’ll need.....................................
    [Show full text]
  • How to Create Music with GNU/Linux
    How to create music with GNU/Linux Emmanuel Saracco [email protected] How to create music with GNU/Linux by Emmanuel Saracco Copyright © 2005-2009 Emmanuel Saracco How to create music with GNU/Linux Warning WORK IN PROGRESS Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. A copy of the license is available on the World Wide Web at http://www.gnu.org/licenses/fdl.html. Revision History Revision 0.0 2009-01-30 Revised by: es Not yet versioned: It is still a work in progress. Dedication This howto is dedicated to all GNU/Linux users that refuse to use proprietary software to work with audio. Many thanks to all Free developers and Free composers that help us day-by-day to make this possible. Table of Contents Forword................................................................................................................................................... vii 1. System settings and tuning....................................................................................................................1 1.1. My Studio....................................................................................................................................1 1.2. File system..................................................................................................................................1 1.3. Linux Kernel...............................................................................................................................2
    [Show full text]