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La Synth`Ese Sonore En Composition Musicale Assistée Par Ordinateur

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La Synth`Ese Sonore En Composition Musicale Assistée Par Ordinateur UNIVERSITE PARIS VI – PIERRE ET MARIE CURIE Ecole Doctorale d’Informatique, T´el´ecommunications et Electronique de Paris Th`ese de Doctorat en Informatique Jean BRESSON La synth`ese sonore en composition musicale assist´ee par ordinateur Mod´elisation et ´ecriture du son Th`ese dirig´ee par Carlos AGON tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 Soutenue le 30 Novembre 2007 Jury : - M. Philippe DEPALLE (Rapporteur) - M. Miller PUCKETTE (Rapporteur) - M. Carlos AGON - M. G´erard ASSAYAG - M. Michel BEAUDOUIN-LAFON - M. Claude CADOZ - M. Jean-Dominique POLACK tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 Th`ese pr´epar´ee `al’IRCAM – CNRS UMR 9912 Equipe Repr´esentations Musicales 1, place Igor Stravinsky 75004 Paris http ://www.ircam.fr tel-00807656, version 1 - 4 Apr 2013 R´esum´e Cette th`ese porte sur la question de la repr´esentation et de la cr´eation du son par la synth`ese dans le contexte de la composition musicale. Si de nombreux travaux ont ´et´er´ealis´es dans le domaine de la synth`ese sonore, in- troduisant des ouvertures significatives li´ees `ala production des sons par le calcul, peu d’entre eux permettent cependant de d´etacher r´eellement le son de son caract`ere physique (en tant que signal) pour en proposer une repr´esentation plus “musicale”. L’utilisation des outils correspondants n´ecessite g´en´eralement la maˆıtrise de syst`emes dont le param´etrage, en vue de la production des sons de synth`ese, s’ins`ere difficilement dans les pratiques et pr´eoccupations des compositeurs. La repr´esentation musicale du son est un probl`eme complexe, mettant en jeu des as- pects et probl´ematiques pluridisciplinaires, et impliquant une r´eflexion fondamentale sur la pratique compositionnelle et ses rapports aux nouvelles technologies. La dualit´eentre le niveau symbolique de la composition musicale et celui du signal sonore, en particulier, est une question ouverte, `alaquelle se rattachent les principales probl´ematiques trait´ees dans cette th`ese. Nous verrons qu’il est possible de mettre celle-ci en parall`ele avec d’autres questions r´ecurrentes dans les domaines informatique et musical, comme par exemple la distinction entre temps discret et temps continu. tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 Apr`es avoir d´etermin´eles termes et les enjeux du sujet, nous proposons une approche inspir´ee des principes de la composition assist´ee par ordinateur (CAO). La CAO s’int´eresse aux formalismes musicaux et calculatoires mis en relation dans des environnements infor- matiques de composition. Elle met en avant une d´emarche interactive du compositeur vis-`a-vis des processus de composition r´ealis´es par ordinateur, que nous mettons en pa- rall`ele avec l’id´ee de mod´elisation. Les langages de programmation se pr´esentent d`es lors comme des outils privil´egi´es pour le d´eveloppement des mod`eles et processus composition- nels dans le cadre de la CAO. En reportant ces id´ees au domaine de la synth`ese sonore, nous envisageons une nouvelle conception du son en tant qu’objet d’un mod`ele, repr´esent´esous forme de programmes unifiant donn´ees et processus musicaux. Cette approche, qui constitue la principale origi- nalit´ede cette th`ese, permet alors de reconsid´erer le ph´enom`ene sonore `al’int´erieur de la dualit´esignal / symbolique. v Des propositions concr`etes sont apport´ees, permettant d’ins´erer notre d´emarche dans une mise en œuvre musicale et e↵ective. Nous pr´esentons un syst`eme int´egr´e`al’environne- ment de CAO OpenMusic, et permettant aux compositeurs d’y d´evelopper des processus et mod`eles compositionnels orient´es vers le son et la synth`ese. Les outils constituant cet environnement permettent d’une part de traiter et manipuler donn´ees et processus li´es au domaine du signal, principalement `al’aide de la programmation visuelle, et d’autre part de contrˆoler des niveaux plus abstraits, impliquant notamment des structures et repr´esentations symboliques, et permettant d’organiser des formes musicales. La question des structures temporelles occupera notamment une place significative dans ce travail. Associ´eaux outils existants dans OpenMusic pour la programmation et le traitement symboliques des structures musicales, ce syst`eme permettra ainsi d’envisager de nouvelles modalit´es d’´ecriture dans le domaine de la composition musicale ´electroacoustique. tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 vi Abstract This thesis addresses the problem of the representation and creation of sound with sound synthesis in the context of musical composition. Although many works have been carried out in the field of digital sound synthesis and processing techniques, which introduced significant openings related to the sound production by computer, few of them actually allow to dissociate the sound from its physical/signal character in order to propose a more “musical” representation. The cor- responding systems generally require a complex control which makes it harder to integrate the composer’s musical practices and concerns. The musical representation of sound is a complex problem, involving interdisciplinary aspects, and requires a fundamental reflection about music composition and its relations to new technologies. The duality between the symbolic level of music composition and the level of sound signals is for example an important question which underlies the principal problematic dealt with in this thesis. We will see that it is possible to put this matter in relation with other recurring problems in the computer music field, such as the distinction between discrete and continuous time representations. After determining the key issues of the problem, we follow an approach inspired by tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 the principles of computer-aided composition (CAC). CAC brings together musical and computing formalisms in computer composition environments, and puts forward an inter- active approach from the composer regarding the computer composition processes, which we relate to the notion of compositional modelling. Programming languages thus represent privileged means for the development of compositional models and processes within the framework of CAC. By translating these ideas in the field of sound synthesis, we propose a new concep- tion of sound considered as the object of a model, and represented as a program uniting description data and musical processes. This approach, which constitutes one of the main contribution of this thesis, will then allow one to consider sound in the context of this duality between the signal level and the symbolic level. A new framework that we developed is presented, which allows to deal with these pro- blems in a practical implementation. This system is integrated in the CAC environment OpenMusic, and allows composers to extend the compositional domain of this environ- ment to the field of sound signals, hence leading to the development of musical models and vii processes related to sounds and sound synthesis. The tools developed thus concern the low level of sound description structures and processing using visual programming techniques, and also integrate more abstract levels, including symbolic structures and representations. The question of the time structures will also be an important aspect of this work. Combined with the previously existing tools of the CAC environment for the program- ming and symbolic processing of musical structures, this system will therefore allow to consider new possibilities of creation in the field of electroacoustic music composition. tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 viii Merci... ... `aCarlos Agon, sans qui cette th`ese n’aurait certainement pas exist´e, et qui repr´esente bien plus que le simple directeur de ce travail ; ... `aG´erard Assayag pour son acceuil au sein de l’´equipe Repr´esentations Musicales, ainsi qu’`aHugues Vinet pour la confiance qu’il m’a accord´een me permettant de r´ealiser cette th`ese `al’Ircam ; ... aux membres du jury qui ont aimablement accept´ed’´evaluer mon travail ; ... `aKarim Haddad, Marco Stroppa, qui ont ´et´ed’une aide pr´ecieuse, mais aussi `aClaude Cadoz, Hugues Dufourt, Philippe Manoury, `aTolga T¨uz¨un, Jean Lochard, Hans Tutschku et aux autres collaborateurs qui ont `aun moment particip´e`ace travail ; ... `atous ceux qui m’ont aid´epar leurs lectures et conseils avis´es, Moreno Andreatta, Olivier Warusfel, Isabelle Viaud-Delmon, Mikha¨ıl Malt, Xavier Rodet, Maman et Gyl, Manouel Van Slaghmolen, Daniel Pressnitzer ; tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 ... `aceux qui ´etaient l`aaussi pour le soutien, dont beaucoup ont ´et´ecit´es plus haut, mais aussi Olivier et Elodie, Guillaume, Maria, Jeremy, Coralie, Marion ; les doctorants de RepMus ; les toulousains (les vrais) Benoit, Manu, Manouel ; Marie et Miguel, dans les moments difficiles de la r´edaction, Marga, mˆeme au bout du monde ; ... et surtout `ames parents, grands-parents, et `atoute ma famille. ix tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 x Table des mati`eres Introduction 1 I Contexte et aspects th´eoriques (1) Synth`ese sonore et applications musicales 13 1 Synth`ese sonore 15 1.1 Sonetsynth`esenum´eriques . 15 1.1.1 El´ementsd’historique . 15 1.1.2 Le support num´erique . 16 1.2 Techniquesetmod`elesdesynth`ese . 17 1.2.1 Techniques bas´ees sur des signaux num´eriques . 18 1.2.2 Techniquesspectrales .......................... 21 1.2.3 Mod`eles abstraits ou non lin´eaires . 31 1.2.4 Mod`elesphysiques ............................ 33 1.3 Conclusion .................................... 34 tel-00807656, version 1 - 4 Apr 2013 tel-00807656, version 1 - 4 2 Syst`emes de synth`ese sonore et de contrˆole de la synth`ese 35 2.1 Synth`ese sonore et repr´esentations du son .
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