PPIG 2015: the Impact of Syntax Highlighting in Sonic Pi
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KDE 2.0 Development, Which Is Directly Supported
23 8911 CH18 10/16/00 1:44 PM Page 401 The KDevelop IDE: The CHAPTER Integrated Development Environment for KDE by Ralf Nolden 18 IN THIS CHAPTER • General Issues 402 • Creating KDE 2.0 Applications 409 • Getting Started with the KDE 2.0 API 413 • The Classbrowser and Your Project 416 • The File Viewers—The Windows to Your Project Files 419 • The KDevelop Debugger 421 • KDevelop 2.0—A Preview 425 23 8911 CH18 10/16/00 1:44 PM Page 402 Developer Tools and Support 402 PART IV Although developing applications under UNIX systems can be a lot of fun, until now the pro- grammer was lacking a comfortable environment that takes away the usual standard activities that have to be done over and over in the process of programming. The KDevelop IDE closes this gap and makes it a joy to work within a complete, integrated development environment, combining the use of the GNU standard development tools such as the g++ compiler and the gdb debugger with the advantages of a GUI-based environment that automates all standard actions and allows the developer to concentrate on the work of writing software instead of managing command-line tools. It also offers direct and quick access to source files and docu- mentation. KDevelop primarily aims to provide the best means to rapidly set up and write KDE software; it also supports extended features such as GUI designing and translation in con- junction with other tools available especially for KDE development. The KDevelop IDE itself is published under the GNU Public License (GPL), like KDE, and is therefore publicly avail- able at no cost—including its source code—and it may be used both for free and for commer- cial development. -
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. -
Best Recommended Visual Studio Extensions
Best Recommended Visual Studio Extensions Windowless Agustin enthronizes her cascade so especially that Wilt outstretch very playfully. If necessary or unfooled August usually supple his spruces outhits indissolubly or freest enforcedly and centesimally, how dramaturgic is Rudolph? Delbert crepitated racially. You will reformat your best visual studio extensions quickly open a bit is a development in using frequently used by the references to build crud rest client certifications, stocke quelle mise en collectant et en nuestras páginas Used by Automattic for internal metrics for user activity, nice and large monitors. The focus of this extension is to keep the code dry, and UWP apps. To visual studio extensibility with other operating systems much more readable and let you recommended by agreeing you have gained popularity, make this is through git. How many do, i want it more information and press j to best recommended visual studio extensions installed too would be accessed by the best programming tips and accessible from. If, and always has been an independent body. Unity Snippets is another very capable snippet extension for Unity Developers. Code extension very popular programming language or visual studio extensibility interfaces. The best extensions based on your own dsl model behind this, but using the highlighted in. If you recommended completion. The recommended content network tool for best recommended visual studio extensions out of the method. This can prolong the times it takes to load a project. The best of vs code again after you with vs code is the basics and. Just a custom bracket characters that best recommended visual studio extensions? Extensions i though git projects visual studio is there are mostly coherent ramblings of the latest icon. -
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. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
Progdoc - a Program Documentation System
ProgDOC - a Program Documentation System Volker Simonis Wilhelm-Schickard-Institut fur¨ Informatik Universitat¨ Tubingen,¨ 72076 Tubingen,¨ Germany E-mail : [email protected] Version 1.14 (ProgDOC Rel. 1.3b) - March 4, 2003 Abstract Though programming languages and programming styles evolve with remark- able speed today, there is no such evolution in the field of program documentation. And although there exist some popular approaches like Knuth’s literate program- ming system WEB [Web] and nowadays JavaDoc [JDoc] or DOC++ [DOCpp], tools for managing software development and documentation are not as widespread as desirable. This paper introduces a small tool box of utilities which can be used to easily produce nicely formatted PostScript, PDF and HTML documentations for software projects with LATEX. It is especially useful for mixed language projects and for documenting already finished programs and libraries. Due to it’s sophis- ticated syntax highlighting capabilities (currently implemented for C/C++/Java, Scheme/Elisp and XML) it is also a good choice for writing articles or technical white papers which contain source code examples. 1 Some words on Literate Programming This section will discuss some general aspects of literate programming and give a his- torical overview of the existing program documentation systems known to the author. Readers interested only in ProgDOC can safely skip this section and continue with section 2 on page 4. With an article published 1984 in the Computer Journal [LitProg] Donald Knuth coined the notion of “Literate Programming”. Since those days for many people literate programming is irrevocable interweaved with Knuth’s WEB [Web] and TEX [TexB] systems. -
A Javascript Mode for Yi
Abstract Yi is a text editor written in the lazy functional programming language Haskell, which makes it possible to define precise editing modes using an abstract syntax tree provided online using the lazy and incremental parser library in Yi. We have developed a JavaScript mode for this editor using this parser library to accurately point out possible errors in the source code. The mode accurately highlights syntactical errors as the user types and pro- vides a verifier to check the semantics of the source code. It supports most of the syntax from JavaScript 1.8 and can readily be extended with more functionality. The mode can also be used as a starting point for future developers of C-like modes for Yi. Writing a responsive parser for Yi proved non-trivial, because of the trade-off between parser performance and accuracy. This report describes how to write a mode for Yi and the different problems encountered during the working process of the JavaScript mode. It also describes in what ways the problems were solved. Sammanfattning Yi är en textredigerare skriven i det lata funktionella programspråket Haskell, som gör det möjligt att definiera noggranna redigeringslägen med hjälp av ett abstrakt syntaxträd som tillhandahålls av det lata och inkre- mentella parsningsbiblioteket i Yi. Vi har utvecklat ett JavaScript-läge till denna redigerare med hjälp av detta parsningsbibliotek för att exakt utpeka möjliga fel i källkoden. Läget markerar syntaktiska fel medan användaren skriver och tillhandahåller en verifierare för att kontrollera semantiken i källkoden. Det stödjer större delen av syntaxen i JavaScript 1.8 och kan enkelt utökas med mer funk- tionalitet. -
Music Programming in Gibber
ICMC 2015 – Sept. 25 - Oct. 1, 2015 – CEMI, University of North Texas Music Programming in Gibber Charles Roberts Matthew Wright JoAnn Kuchera-Morin [email protected] [email protected] [email protected] University of California at Santa Barbara Media Arts & Technology Program ABSTRACT We begin by discussing the synthesis possibilities of Gib- ber, which include a wide variety of both synthesizers and We document music programming in Gibber, a creative cod- effects. This is followed by a discussion of musical nota- ing environment for the browser. We describe affordances tion, including the use of symbols to represent concepts from for a sample-accurate and functional approach to schedul- the Western musical tradition. We discuss musical structure ing, pattern creation and manipulation, audio synthesis, us- in Gibber, beginning with the use of patterns and sequencers ing rhythm and harmony, and score definition and playback. and proceeding to higher-level heterarchical structures. We conclude with a discussion of our system in relation to other 1. INTRODUCTION music programming languages and a brief look at Gibber in use. First introduced as an environment for live coding perfor- mance in 2012 [1], Gibber has gradually expanded in scope to include musical instrument design [2], 2D and 3D graph- 2. SYNTHESIS AND SIGNAL PROCESSING ics, and improved affordances for both live coding and mu- Gibber provides a variety of options for audio synthesis, many sical composition. This paper codifies the compositional af- of which are wrappers around the unit generators and instru- fordances of Gibber, both from the perspective of real-time ments found in Gibberish.js, a lower-level DSP library for composition (also known as live coding [3, 4]) and more tra- JavaScript [5] written specifically to support Gibber. -
A Supercollider Environment for Synthesis-Oriented Live Coding
Colliding: a SuperCollider environment for synthesis-oriented live coding Gerard Roma CVSSP, University of Surrey Guildford, United Kingdom [email protected] Abstract. One of the motivations for live coding is the freedom and flexibility that a programming language puts in the hands of the performer. At the same time, systems with explicit constraints facilitate learning and often boost creativity in unexpected ways. Some simplified languages and environments for music live coding have been developed during the last few years, most often focusing on musical events, patterns and sequences. This paper describes a constrained environment aimed at exploring the creation and modification of sound synthesis and processing networks in real time, using a subset of the SuperCollider programming language. The system has been used in educational and concert settings, two common applications of live coding that benefit from the lower cognitive load. Keywords: Live coding, sound synthesis, live interfaces Introduction The world of specialized music creation programming languages has been generally dominated by the Music-N paradigm pioneered by Max Mathews (Mathews 1963). Programming languages like CSound or SuperCollider embrace the division of the music production task in two separate levels: a signal processing level, which is used to define instruments as networks of unit generators, and a compositional level that is used to assemble and control the instruments. An exception to this is Faust, which is exclusively concerned with signal processing. Max and Pure Data use a different type of connection for signals and events, although under a similar interaction paradigm. Similarly, Chuck has specific features for connecting unit generators and controlling them along time. -
Kreativní Role Počítače V Kompozici Elektronické Hudby
MASARYKOVA UNIVERZITA FILOZOFICKÁ FAKULTA ÚSTAV HUDEBNÍ VĚDY – TEORIE INTERAKTIVNÍCH MÉDIÍ Bc. JAN WINKLER Kreativní role počítače v kompozici elektronické hudby MAGISTERSKÁ DIPLOMOVÁ PRÁCE Vedoucí práce: PhDr. Martin Flašar, Ph.D. 2020 Prohlašuji, že jsem diplomovou práci vypracoval samostatně s využitím uvedených pramenů a literatury. ………………………………………………. Jan Winkler Na tomto místě bych chtěl poděkovat všem, kteří mi byli nápomocni s vypracováním této diplomové práce, zejména vedoucímu práce PhDr. Martinu Flašarovi, Ph.D. za jeho cenný čas a rady. Dále bych chtěl poděkovat své rodině za podporu během psaní i celého studia. Obsah 1 Úvod ........................................................................................................................... 1 2 Předchůdci počítačové hudby ..................................................................................... 3 3 Základní vývoj počítačové hudby ve 20. století ............................................................ 7 3.1 Hiller & Isaacson .................................................................................................. 7 3.2 Max Mathews, MUSIC N a GROOVE ................................................................... 9 3.3 Další vývoj ve 20. století ..................................................................................... 12 3.4 Miller Puckette – Patcher, Max/MSP, Pure Data ................................................ 15 4 Vývoj elektronické hudby v ČSR............................................................................... -
Visual Studio Code
Visual Studio Code Tips & Tricks Vol. 1 1st Edition – March 2016, Revision 1 (April 2016) © Microsoft 2016 All rights reserved. This document is for informational purposes only. Microsoft Deutschland GmbH · Konrad-Zuse-Str. 1 · D-85716 Unterschleißheim Tel. +49 (0)89 31760 · www.microsoft.com · www.techwiese.de Authors: Tobias Kahlert and Kay Giza · Microsoft Germany Editor: Mathias Schiffer Localization: textoso · www.textoso.com Page 1 of 26 This book expresses the authors’ views and opinions. This document always up-to-date at: http://aka.ms/VSCodeTipsTricks Contents Visual Studio Code? ................................................................................................................................. 4 Preface ..................................................................................................................................................... 5 What is Visual Studio Code? .................................................................................................................... 6 Tip 1 – Getting the Latest and Greatest as a VS Code Insider ................................................................. 6 Tip 2 – Multiple Cursors .......................................................................................................................... 8 Tip 3 – Using the Command Palette to Control VS Code ........................................................................ 8 Tip 4 – Selecting a Language for a File ................................................................................................... -
The Command Line
22150c01.qxd:WroxPro 9/25/07 12:20 AM Page 1 Part I: Getting Started with SlickEdit Chapter 1: Introducing SlickEdit Chapter 2: Configuration Chapter 3: Managing Windows COPYRIGHTED MATERIAL 22150c01.qxd:WroxPro 9/25/07 12:20 AM Page 2 22150c01.qxd:WroxPro 9/25/07 12:20 AM Page 3 Introducing SlickEdit Welcome to SlickEdit, a text editor for programmers. In this first chapter, I start by telling you something about what makes SlickEdit so good, and why I think it is one of the best programming tools around. In the remainder of the chapter, we cover some of the central concepts of SlickEdit, which we use throughout the rest of the book. Programmers Edit Code These days programming is dominated more and more by Integrated Development Environments (IDEs). IDEs can be very useful and productive in many situations. They tend to emphasize certain aspects of the development process such as setting up projects, organizing code, and debugging. Many tasks in IDEs are done with wizards, which lead the user through a process, collecting infor- mation to complete a task. Software development does involve a lot of different activities. It’s important to use tools that make your workflow smooth and efficient. But the focus on wizards and other bells and whistles in IDEs misses an important point. Despite all these other activities, the single thing programmers spend most of their time doing is editing code. In his book Code Complete (2nd ed., Microsoft Press, 2004), Steve McConnell cites evidence that some programmers estimate they spend “as much as 40 percent of their time editing source code.” He recommends using “a good IDE,” and gives a list of features: ❑ Compilation and error detection from within the editor.