DOCSLIB.ORG

Linux Audio Conference 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Linux Audio Conference 2017 CI EREC Linux Audio Conference 2017 Conferences - Workshops- Concerts - Installations May 18-21, 2017 Saint-Etienne University Proceedings Foreword Welcome to Linux Audio Conference 2017 in Saint-Etienne! The feld of computer music and digital audio is rich of several well-known scientifc conferences. But the Linux Audio Conference is very unique in this landscape! Its focus on Linux-based (but not only) free/open-source software development and its friendly atmosphere are perfect to speak code from breakfast to late at night, to demonstrate early prototypes of software that still crash, and more generally to exchange audio and music related technical ideas without fear. LAC offers also a unique opportunity for users and developers to meet, to discuss features, to provide feedback, to suggest improvements, etc. LAC 2017 is the frst edition to take place in France. It is co-organized by the University Jean Monnet (UJM) in Saint-Etienne and GRAME in Lyon. GRAME is a National Center for Music Creation, an institution devoted to contemporary music and digital art, scientifc research, and technological innovation. In 2016 the center hosted 26 guest composers and artists, produced 88 musical events and 25 exhibitions in 20 countries. GRAME is the organizer of the Biennale Musiques en Scène festival, one of France’s largest international festival of contemporary and new music with guest artists ranging from Peter Eötvös, Kaija Saariaho, Michael Jarrell, Heiner Goebbels, Michel van der Aa, etc. GRAME develops research activities in the feld of real-time systems, music representation, and programming languages. Since 1999 all software developed by GRAME are open source and in most cases multiplatform (Linux, macOS, Windows, Web, Android, iOS, ...). UJM is part of the University of Lyon, a consortium of higher-education and research institutions located within the two neighboring cities of Lyon and Saint-Étienne. The University of Lyon-Saint- Etienne is the main French higher-education and scientifc center outside the Paris metropolitan area, composed of 4 public universities, 7 high schools (grandes écoles) and the CNRS (the French National Center for Scientifc Research), forming a group of 12 member institutions. The University of Lyon also assembles 19 associated institutions, offering specifc disciplinary training programs. Altogether, the Université de Lyon regroups 137,600 students and 168 public laboratories. The Université Jean Monnet (UJM), founded in 1969, is a comprehensive university enrolling some 20,000 students, about 15% international students from 111 countries. A high proportion of international students come from Africa and Asia. The university is composed of 5 faculties (arts, letters and languages, humanities and social sciences, law, sciences and technology, and medicine), four institutes: Institut Supérieur d’Economie d’Administration et de Gestion, Telecom Saint-Etienne, and University Institutes of Technology (IUTs) in Saint-Etienne and Roanne. The CIEREC is a research center devoted to the feld of contemporary expression, which brings together professors, researchers and PhD students in aesthetics and sciences of art, plastics arts, design, digital arts, literature, linguistics and musicology. Its main feld is the arts and literature of the twentieth and twenty-frst centuries. The Music Department offers graduate, post-graduate and doctoral training in music and musi- cology. In the feld of technologies, it proposes, since 2011, a Professional Master's Degree in Computer Music (RIM) that is unique in France, in collaboration with GRAME, with the main audio production studio of Saint-Etienne (Le FIL) and with the National Superior Conservatory of Music in Lyon. In 2016, we have created another Professional Master for Digital Arts (RAN). The Professional Masters of RIM & RAN are aimed at developing students’ applied knowledge and understanding of electronic and digital technologies for the creation and they prepare to the professions of "Producer in Computer Music (RIM - Réalisateur en Informatique Musicale) and in Digital Arts (RAN - Réalisateur en Arts Numériques). These producers are direct actors in musical and artistic productions, and they are at the interface between software developers, applied computer scientists, composers, artists ... and all people likely to integrate video, image and sound in their activities. Most courses are available in English (see http://musinf.univ-st-etienne.fr/indexGB.html). Thanks to all the contributors who submitted papers and proposed workshops, installations and music, we will have a very interesting and varied program at the conference. We are pleased to welcome, over a period of 4 days, some twenty conferences on various subjects with speakers from different backgrounds and countries. We'd like to thank all those who contribute to the realization of this edition, and especially Albert Gräf, Philippe Ezequel, Jean-François Minjard, Stéphane Letz, Lionel Rascle, Thomas Cipierre, Sébastien Clara, Landrivon Philippe, David-Olivier Lartigaud, Jean-Jacques Girardot, Martine Patsalis, Nadine Leveque-Lair and all the reviewers and members of the scientifc and artistic committees. Thanks to our partners who helped to fnance this conference : the CIEREC, GRAME, Masters RIM & RAN, the UJM Music and Arts Departments, The Arts, Lettres, Langues Faculty, Random-Lab at ESADSE (Art School of Saint-Etienne), Le Son des Choses, Electro-M, IDjeune, the Commission Sociale et Vie Etudiante at l’UJM. LAC 2017 has been also partially funded by the FEEVER project [ANR-13-BS02-0008] supported by the Agence Nationale pour la Recherche. We hope that you will enjoy the conference and have a pleasant stay in Saint-Etienne! Vincent Ciciliato, Yann Orlarey et Laurent Pottier LAC 2017 Teams Organizers • CIEREC (Centre Interdisciplinaire d’Étude et de Recherche sur l’Expression Contemporaine), director: Danièle Méaux, directors of the Electronic Team: Laurent Pottier & Vincent Ciciliato • Music Department of Jean Monnet University (UJM), director: Anne Damon-Guillot • GRAME (National Center for Musical Creation), director: James Giroudon, scientifc director: Yann Orlarey • Random-Lab, Center for Open Researches in Art, Design and New Media at ESADSE (Art School of Saint-Etienne), director: David-Olivier Lartigaud • Association « Le son des choses » (Acousmatic Music) • Association « Electro-M » (Masters RIM RAN students) Organizing committee • Vincent Ciciliato, Lecturer (Digital Arts) at CIEREC (UJM) • Thomas Cipierre, PhD student (Musicology) at CIEREC (UJM) • Sébastien Clara, PhD student (Musicology) at CIEREC (UJM) • Philippe Ezequel, Lecturer (Computer Sciences) at CIEREC (UJM) • Jean-Jacques Girardot, Programmer (Computer Sciences) at Le son des Choses • Stéphane Letz, Researcher at GRAME • Philippe Landrivon, Audiovisual technician, ALL faculty (UJM) • David-Olivier Lartigaud, Director of Random-Lab (ESADSE) • Jean-François Minjard, Composer at Le Son des Choses • Yann Orlarey, Scientifc director of GRAME • Laurent Pottier, Lecturer (Musicology) at CIEREC (UJM) • Lionel Rascle, Professor (Musical School – St Chamond & Rive de Giers) Scientifc committee • Fons Adriaensen • Marije Baalman • Tim Blechmann • Alain Bonardi • Ivica Ico Bukvic • Guilherme Carvalho • Vincent Ciciliato • Thierry Coduys • Myriam Desainte–Catherine • Goetz Dipper • Catinca Dumitrascu • Philippe Ezequel • John Fftch • Dominique Fober • Robin Gareus • Albert Gräf • Marc Groenewegen • Florian Hollerweger • Madeline Huberth • Jeremy Jongepier • Pierre Jouvelot • David-Olivier Lartigaud • Victor Lazzarini • Stéphane Letz • Fernando Lopez-Lezcano • Kjetil Matheussen • Romain Michon • Frank Neumann • Yann Orlarey • Dave Phillips • Peter Plessas • Laurent Pottier • Miller Puckette • Elodie Rabibisoa • Lionel Rascle • David Robillard • Martin Rumori • Bruno Ruviaro • Funs Seelen • Julius Smith • Pieter Suurmond • Harry Van Haaren • Steven Yi • Johannes Zmölnig SUMMARY Special Guests Paul Davis -------------------------------------------------------------------------------------------- 1 Thierry Coduys -------------------------------------------------------------------------------------- 1 Conferences 1. OpenAV Ctrla: A Library for Tight Integration of Controllers by Harry Van Haaren -- 5 2. Binaural Floss - “ Exploring Media, Immersion, Technology by Martin Rumori ------- 13 3. A versatile workstation for the diffusion, mixing and post-production of spatial audio by Thibaut Carpentier ------------------------------------------------------------------------------ 21 4. Teaching Sound Synthesis in C/C++ on the Raspberry PI by Henrik Von Coler, David Runge. ---------------------------------------------------------------------------------------- 29 5. Open Signal Processing Software Platform for Hearing Aid Research (openMHA) by Tobias Herzke, Hendrik Kayser, Frasher Loshaj, Giso Grimm, Volker Hohmann --------- 35 6. Towards dynamic and animated music notation using INScore by Dominique Fober, Yann Orlarey, Stéphane Letz ---------------------------------------------------------------------- 43 7. PlayGuru, a music tutor by Marc Groenewegen --------------------------------------------- 53 8. Faust audio DSP language for JUCE by Adrien Albouy, Stéphane Letz ---------------- 61 9. Polyphony, sample-accurate control and MIDI support for FAUST DSP using combinable architecture files by Stéphane Letz, Yann Orlarey, Dominique Fober, Romain Michon -------------------------------------------------------------------------------------
Load more

Recommended publications
  • Recommended Formats Statement 2019-2020
    Library of Congress Recommended Formats Statement 2019-2020 For online version, see https://www.loc.gov/preservation/resources/rfs/index.html Introduction to the 2019-2020 revision ....................................................................... 2 I. Textual Works and Musical Compositions ............................................................ 4 i. Textual Works – Print .................................................................................................... 4 ii. Textual Works – Digital ................................................................................................ 6 iii. Textual Works – Electronic serials .............................................................................. 8 iv. Digital Musical Compositions (score-based representations) .................................. 11 II. Still Image Works ............................................................................................... 13 i. Photographs – Print .................................................................................................... 13 ii. Photographs – Digital ................................................................................................. 14 iii. Other Graphic Images – Print .................................................................................... 15 iv. Other Graphic Images – Digital ................................................................................. 16 v. Microforms ................................................................................................................
    [Show full text]
  • 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]
  • The Music Encoding Initiative As a Document-Encoding Framework
    12th International Society for Music Information Retrieval Conference (ISMIR 2011) THE MUSIC ENCODING INITIATIVE AS A DOCUMENT-ENCODING FRAMEWORK Andrew Hankinson1 Perry Roland2 Ichiro Fujinaga1 1CIRMMT / Schulich School of Music, McGill University 2University of Virginia [email protected], [email protected], [email protected] ABSTRACT duplication of effort that comes with building entire encoding schemes from the ground up. Recent changes in the Music Encoding Initiative (MEI) In this paper we introduce the new tools and techniques have transformed it into an extensible platform from which available in MEI 2011. We start with a look at the current new notation encoding schemes can be produced. This state of music document encoding techniques. Then, we paper introduces MEI as a document-encoding framework, discuss the theory and practice behind the customization and illustrates how it can be extended to encode new types techniques developed by the TEI community and how their of notation, eliminating the need for creating specialized application to MEI allows the development of new and potentially incompatible notation encoding standards. extensions that leverage the existing music document- 1. INTRODUCTION encoding platform developed by the MEI community. We also introduce a new initiative for sharing these The Music Encoding Initiative (MEI)1 is a community- customizations, the MEI Incubator. Following this, we driven effort to define guidelines for encoding musical present a sample customization to illustrate how MEI can documents in a machine-readable structure. The MEI be extended to more accurately capture new and unique closely mirrors work done by text scholars in the Text music notation sources.
    [Show full text]
  • Dynamic Generation of Musical Notation from Musicxml Input on an Android Tablet
    Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Laura Lynn Housley Graduate Program in Computer Science and Engineering The Ohio State University 2012 Master's Examination Committee: Rajiv Ramnath, Advisor Jayashree Ramanathan Copyright by Laura Lynn Housley 2012 Abstract For the purpose of increasing accessibility and customizability of sheet music, an application on an Android tablet was designed that generates and displays sheet music from a MusicXML input file. Generating sheet music on a tablet device from a MusicXML file poses many interesting challenges. When a user is allowed to set the size and colors of an image, the image must be redrawn with every change. Instead of zooming in and out on an already existing image, the positions of the various musical symbols must be recalculated to fit the new dimensions. These changes must preserve the relationships between the various musical symbols. Other topics include the laying out and measuring of notes, accidentals, beams, slurs, and staffs. In addition to drawing a large bitmap, an application that effectively presents sheet music must provide a way to scroll this music across a small tablet screen at a specified tempo. A method for using animation on Android is discussed that accomplishes this scrolling requirement. Also a generalized method for writing text-based documents to describe notations similar to musical notation is discussed. This method is based off of the knowledge gained from using MusicXML.
    [Show full text]
  • Scanscore 2 Manual
    ScanScore 2 Manual Copyright © 2020 by Lugert Verlag. All Rights Reserved. ScanScore 2 Manual Inhaltsverzeichnis Welcome to ScanScore 2 ..................................................................................... 3 Overview ...................................................................................................... 4 Quickstart ..................................................................................................... 4 What ScanScore is not .................................................................................... 6 Scanning and importing scores ............................................................................ 6 Importing files ............................................................................................... 7 Using a scanner ............................................................................................. 7 Using a smartphone ....................................................................................... 7 Open ScanScore project .................................................................................. 8 Multipage import ............................................................................................ 8 Working with ScanScore ..................................................................................... 8 The menu bar ................................................................................................ 8 The File Menu ............................................................................................ 9 The
    [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]
  • Methodology and Technical Methods
    Recordare MusicXML: Methodology and Technical Methods Michael Good Recordare LLC Los Altos, California, USA [email protected] 17 November 2006 Copyright © 2006 Recordare LLC 1 Outline Personal introduction What is MusicXML? Design methodology Technical methods MusicXML use today Suitability for digital music editions Recommendations Future directions 17 November 2006 Copyright © 2006 Recordare LLC 2 My Background B.S. and M.S. in computer science from Massachusetts Institute of Technology B.S. thesis on representing scores in Music11 Trumpet on MIT Symphony Orchestra recordings available on Vox/Turnabout Opera and symphony chorus tenor; have performed for Alsop, Nagano, Ozawa Worked in software usability at SAP and DEC before founding Recordare in 2000 17 November 2006 Copyright © 2006 Recordare LLC 3 What is MusicXML? The first standard computer format for common Western music notation Covers 17th century onwards Available via a royalty-free license Supported by over 60 applications, including Finale, Sibelius, capella, and music scanners Useful for music display, performance, retrieval, and analysis applications Based on industry standard XML technology 17 November 2006 Copyright © 2006 Recordare LLC 4 The Importance of XML XML is a language for developing specialized formats like MusicXML, MathML, and ODF XML files can be read in any computer text editor Fully internationalized via Unicode The files are human readable as well as machine readable Each specialized format can use standard XML tools Allows musicians to leverage the large
    [Show full text]
  • Proposals for Musicxml 3.2 and MNX Implementation from the DAISY Music Braille Project
    Proposals for MusicXML 3.2 and MNX Implementation from the DAISY Music Braille Project 11 March 2019 Author: Haipeng Hu, Matthias Leopold With contributions from: Jostein Austvik Jacobsen, Lori Kernohan, Sarah Morley Wilkins. This document provides general suggestions on the implementation of MusicXML 3.2 and MNX formats, hoping they can be more braille-transcription-friendly. But it doesn't limit to the requirement of music braille transcription. Some of the points may also benefit the common transformation of musical data to be more accurately and clearly. Note: The word “text” in this document specifically means all non-lyrics texts, such as titles, composers, credit page information, as well as expression / technique / instructional texts applied to a staff or the whole system. A. MusicXML 3.2 Suggestions 1. If possible, implement a flow to include all system-wide texts (such as tempo texts, stage indications), lines (such as a line with text “poco a poco rit.”) and symbols (such as a big fermata or breath mark above the whole system), like the "global" section of MNX, so that all things in it can affect the whole score instead of the topmost staff or (in orchestra) piccolo and first violin staves. This can also ease part extraction. The position of the elements can be placed using the forward command. (e.g. in SATB choir pieces: sometimes breathing marks, dynamics and wedges are only written once in Soprano but are meant to apply to all voices; and in orchestral scores, tempo texts and overall indications are written above piccolo and first violin; and some big fermata or breath marks appear above every instrument category).
    [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]
  • Guido Van Rossum on PYTHON 3 Get Your Sleep From
    JavaScript | Inform 6 & 7 | Falcon | Sleep | Enlightenment | PHP LINUX JOURNAL ™ THE STATE OF LINUX AUDIO SOFTWARE LANGUAGES Since 1994: The Original Magazine of the Linux Community OCTOBER 2008 | ISSUE 174 Inform 7 REVIEWED JavaScript | Inform 6 & 7 | Falcon | Sleep Enlightenment PHP Audio | Inform 6 & 7 Falcon JavaScript Don’t Get Eaten HP Media by a Grue! Vault 5150 Scalent’s Managing Virtual Operating PHP Code Environment Guido van Rossum on PYTHON 3 Get Your Sleep from OCTOBER Java www.linuxjournal.com 2008 $5.99US $5.99CAN 10 ISSUE Martin Messner Enlightenment E17 Insights from SUSE’s Lightweight Alternative 174 + Security Team Lead to KDE and GNOME 0 09281 03102 4 MULTIPLY ENERGY EFFICIENCY AND MAXIMIZE COOLING. THE WORLD’S FIRST QUAD-CORE PROCESSOR FOR MAINSTREAM SERVERS. THE NEW QUAD-CORE INTEL® XEON® PROCESSOR 5300 SERIES DELIVERS UP TO 50% 1 MORE PERFORMANCE*PERFORMANCE THAN PREVIOUS INTEL XEON PROCESSORS IN THE SAME POWERPOWER ENVELOPE.ENVELOPE. BASEDBASED ONON THETHE ULTRA-EFFICIENTULTRA-EFFICIENT INTEL®INTEL® CORE™CORE™ MICROMICROARCHITECTURE, ARCHITECTURE IT’S THE ULTIMATE SOLUTION FOR MANAGING RUNAWAY COOLING EXPENSES. LEARN WHYWHY GREAT GREAT BUSINESS BUSINESS COMPUTING COMPUTING STARTS STARTS WITH WITH INTEL INTEL INSIDE. INSIDE. VISIT VISIT INTEL.CO.UK/XEON INTEL.COM/XEON. RELION 2612 s 1UAD #ORE)NTEL®8EON® RELION 1670 s 1UAD #ORE)NTEL®8EON® PROCESSOR PROCESSOR s 5SERVERWITHUPTO4" s )NTEL@3EABURG CHIPSET s )DEALFORCOST EFFECTIVE&ILE$" WITH-(ZFRONTSIDEBUS APPLICATIONS s 5PTO'"2!-IN5CLASS s 2!32ELIABILITY !VAILABILITY LEADINGMEMORYCAPACITY 3ERVICEABILITY s -ANAGEMENTFEATURESTOSUPPORT LARGECLUSTERDEPLOYMENTS 34!24).'!4$2429.00 34!24).'!4$1969.00 Penguin Computing provides turnkey x86/Linux clusters for high performance technical computing applications.
    [Show full text]
  • Comparing Programming and Music Composing
    2020 IEEE 20th International Conference on Advanced Learning Technologies (ICALT) The Role of Music in 21st Century Education - Comparing Programming and Music Composing Samuli Laato Sampsa Rauti Erkki Sutinen Dept. of Future Technologies Dept. of Future Technologies Dept. of Future Technologies and Dept. of Education University of Turku University of Turku University of Turku Turku, Finland Turku, Finland Turku, Finland sjprau@utu.fi erkki.sutinen@utu.fi sadala@utu.fi Abstract—21st century skills are being added onto K-12 II. BACKGROUND educational curricula globally, often via integrating them into existing subjects such as math. Simultaneously music teaching A. Music Composing and Programming in K-12 education is losing relevance and popularity. Yet, music Music notations share similarities with computer program theory contains logical structures which are in many regards similar to program code. Additionally the digitization of music code. Classically trained musicians are able to read sheet production requires composers to effectively use digital music music i.e. musical code and execute it accurately based on production tools and associated technology. We investigate the how the composer intended [6]. Sheet music still leaves room opportunities technology-assisted music composing offers for for interpretation in terms of, for example, note velocity, teaching 21st skills and programming in K-12 education through type of vibrato, timbre etc [6]. In programming the computer expert interviews with professional music composers (n=4) and programmers (n=5). Analysis of the similarities and differences in executes program code, however arguably doing less errors the thought processes between creating software and composing and interpretation in the process compared to human musicians music revealed the latter to have potential for teaching the playing a score.
    [Show full text]
  • Linux As a Mature Digital Audio Workstation in Academic Electroacoustic Studios – Is Linux Ready for Prime Time?
    Linux as a Mature Digital Audio Workstation in Academic Electroacoustic Studios – Is Linux Ready for Prime Time? Ivica Ico Bukvic College-Conservatory of Music, University of Cincinnati [email protected] http://meowing.ccm.uc.edu/~ico/ Abstract members of the most prestigious top-10 chart. Linux is also used in a small but steadily growing number of multimedia GNU/Linux is an umbrella term that encompasses a consumer devices (Lionstracks Multimedia Station, revolutionary sociological and economical doctrine as well Hartman Neuron, Digeo’s Moxi) and handhelds (Sharp’s as now ubiquitous computer operating system and allied Zaurus). software that personifies this principle. Although Linux Through the comparably brisk advancements of the most quickly gained a strong following, its first attempt at prominent desktop environments (namely Gnome and K entering the consumer market was a disappointing flop Desktop Environment a.k.a. KDE) as well as the primarily due to the unrealistic corporate hype that accompanying software suite, Linux managed to carve out a ultimately backfired relegating Linux as a mere sub-par niche desktop market. Purportedly surpassing the Apple UNIX clone. Despite the initial commercial failure, Linux user-base, Linux now stands proud as the second most continued to evolve unabated by the corporate agenda. widespread desktop operating system in the World. Yet, Now, armed with proven stability, versatile software, and an apart from the boastful achievements in the various markets, unbeatable value Linux is ready to challenge, if not in the realm of sound production and audio editing its supersede the reigning champions of the desktop computer widespread acceptance has been conspicuously absent, or market.
    [Show full text]