Editor's Note

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Editor’s Note Computer Music Journal’s 40th an- If there is a silver lining to these tional music analysis, improvisation, niversary is only one reminder of the somber clouds, it is that the presence interactive systems, live coding, ma- maturation of the field of computer of only three remaining members chine musicianship, multimedia, music. As noted in these pages earlier of our editorial advisory board has music information retrieval, music this year, 2016 brought to a close the spurred us to expand the board not representation, music software en- lives of two august members of the only in numbers but in breadth of vironments, pedagogy, performance Journal’s editorial advisory board. topical expertise. John Chowning, interfaces, programming languages, The renowned composer and conduc- F. Richard Moore, and Jean-Claude signal processing, sound synthesis, tor Pierre Boulez, who championed Risset—all of them distinguished and spatialization. The Journal’s ed- computer music in France by estab- pioneers in our field who have served itorial staff thank the new board Downloaded from http://direct.mit.edu/comj/article-pdf/40/3/4/1857145/comj_e_00368.pdf by guest on 01 October 2021 lishing the Institut de Recherche et on the board for many years—are members for agreeing to serve the Coordination Acoustique/Musique now joined by nine new members. computer music community in this (IRCAM), passed away in January We are delighted to welcome to the manner. We look forward to bene- at age 90. Within three weeks, the board Natasha Barrett, Jean-Baptiste fitting from the board’s collective noted artificial intelligence researcher Barriere,` Elaine Chew, Nick Collins, wisdom in the coming years, as new and MIT professor Marvin Minsky Roger Dannenberg, George Lewis, generations of computer music prac- had died at age 88. Their passage Miller Puckette, Carla Scaletti, and titioners and researchers continue to into the pages of history echoes that Marcelo Wanderley. These experts advance the field that their elders of other eminent figures who have bring with them a deep knowledge established. graced our board with their presence, of many aspects of computer music, such as Iannis Xenakis and Max including acousmatic composition, Mathews. algorithmic composition, computa- —Douglas Keislar doi:10.1162/COMJ e 00368 4 Computer Music Journal.

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Real-time Programming and Processing of Music Signals Arshia Cont To cite this version: Arshia Cont. Real-time Programming and Processing of Music Signals. Sound [cs.SD]. Université Pierre et Marie Curie - Paris VI, 2013. tel-00829771 HAL Id: tel-00829771 https://tel.archives-ouvertes.fr/tel-00829771 Submitted on 3 Jun 2013 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. Realtime Programming & Processing of Music Signals by ARSHIA CONT Ircam-CNRS-UPMC Mixed Research Unit MuTant Team-Project (INRIA) Musical Representations Team, Ircam-Centre Pompidou 1 Place Igor Stravinsky, 75004 Paris, France. Habilitation à diriger la recherche Defended on May 30th in front of the jury composed of: Gérard Berry Collège de France Professor Roger Dannanberg Carnegie Mellon University Professor Carlos Agon UPMC - Ircam Professor François Pachet Sony CSL Senior Researcher Miller Puckette UCSD Professor Marco Stroppa Composer ii à Marie le sel de ma vie iv CONTENTS 1. Introduction1 1.1. Synthetic Summary .................. 1 1.2. Publication List 2007-2012 ................ 3 1.3. Research Advising Summary ............... 5 2. Realtime Machine Listening7 2.1. Automatic Transcription................. 7 2.2. Automatic Alignment .................. 10 2.2.1.
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