Meloncillo – Eine Graphische Benutzeroberfl¨Ache Zur Musikalischen Raumklangsteuerung Mit Implementierung Einer OSC-Schnittstelle Zur Klangsynthese

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Meloncillo – Eine Graphische Benutzeroberfl¨Ache Zur Musikalischen Raumklangsteuerung Mit Implementierung Einer OSC-Schnittstelle Zur Klangsynthese Meloncillo – eine graphische Benutzeroberfl¨ache zur musikalischen Raumklangsteuerung mit Implementierung einer OSC-Schnittstelle zur Klangsynthese Magisterarbeit von Hanns Holger Rutz, Matr.-Nr. 192946 Technische Universit¨at Berlin Kommunikationswissenschaft Betreuer: Prof. Dr. Stefan Weinzierl La musique du futur? Sˆurement bas´ee sur le son et au-del`ades notes“ ” (Edgard Var`ese 1947) Var`eses Denken war empirisch. Er interessierte sich dafur,¨ ” wie es klang – nicht wie es gemacht war.“ (Morton Feldman 1966) Die selbst¨andige Anfertigung versichere ich an Eides Statt. Inhaltsverzeichnis 1 Einfuhrung¨ 5 1.1 Begriff der Raumklangsteuerung . 5 1.1.1 Abgrenzung zu Auralisationsverfahren . 8 1.1.2 Abgrenzung zu Live-Diffusionsverfahren . 8 1.2 Historische Wurzeln . 9 1.3 Vorhandene Software zur Raumklangsteuerung . 10 1.3.1 APB-Tools Σ 1 . 10 1.3.2 zplane.development z.matrix . 12 1.3.3 Wonder . 13 1.3.4 Surround Panning Objekte . 13 1.4 Hardware basierte Raumklangsteuerung . 14 1.5 Raumklang-Synthese Plug-Ins . 16 1.5.1 VBAP – Vector Based Amplitude Panning . 16 1.5.2 IRCAM Spat˜ . 17 1.5.3 Spatialisierung mit CSound . 18 1.6 Notwendigkeit einer neuen Raumklangsteuerung . 19 2 Entwicklung des Programms Meloncillo 20 2.1 Tendenzen in der Entwicklung von Musiksoftware . 20 2.2 Designspezifikation fur¨ eine neue Raumklangsteuerung . 21 2.2.1 Trennung von Oberfl¨ache und Signalverarbeitung . 21 2.2.2 Abstraktion vom Synthesemodell . 22 2.2.3 Anwender mit und ohne Programmiererfahrung . 23 2.2.4 Unabh¨angigkeit vom Betriebssystem . 23 2.2.5 Zwei grundlegende Objekttypen . 24 2.2.6 Echtzeit und Offline Modus . 24 2.2.7 Diskrete Datenstr¨ome . 25 3 Programmarchitektur 26 3.1 Sprache und Arbeitsumgebung . 26 3.2 Packages Uberblick¨ . 28 3.3 Session . 28 3.4 Receiver, ReceiverCollection . 30 3.5 Transmitter, TransmitterCollection . 31 3.6 Timeline . 32 3.7 Events . 32 3.8 Threads . 33 3 Inhaltsverzeichnis 4 Graphische Benutzeroberfl¨ache 35 4.1 Surface : zweidimensionale Momentansicht . 35 4.1.1 Hilfs-Paletten und Werkzeuge . 37 4.1.2 ReceiverEditor . 39 4.1.3 Matrix Meter . 40 4.2 Timeline : horizontale Zeitdarstellung . 40 4.2.1 Trajektorien Daten-Format . 41 4.2.2 Transport Palette . 43 5 Plug-In Schnittstellen 44 5.1 Offline (Nicht-Echtzeit) . 44 5.2 Realtime (Echtzeit) . 46 5.3 Common Lisp furJava...............................¨ 49 5.3.1 Die LispPlugIn Klasse . 50 5.3.2 Ein Beispielscript . 51 5.4 Open Sound Control . 54 5.4.1 Protokollubersicht¨ . 54 5.4.2 Implementierung in Meloncillo . 56 5.4.3 Anbindung an SuperCollider . 57 6 Resum´e 62 6.1 Anwendungsbeispiel . 62 6.2 Probleme . 67 6.3 Ausblick . 68 Literaturverzeichnis 70 Anhang: Abbildungen, Quelltexte 73 4 1 Einfuhrung¨ Die vorliegende Magisterarbeit beschreibt den Entwurf und die Realisierung einer Software- Applikation zur musikalischen Raumklangsteuerung. Das im wesentlichen aus einer graphi- schen Benutzeroberfl¨ache bestehende Programm mit dem Namen Meloncillo“ erlaubt die ” Gestaltung von Trajektorien in einem zweidimensionalen Raum und kann in Verbindung mit einem existierenden Klangsynthese-Programm wie SuperCollider dazu verwendet werden, verr¨aumlichte Kl¨ange zu berechnen oder in Echtzeit abzuspielen. Fur¨ die Echtzeit-Steuerung ist eine Open Sound Control (OSC) Schnittstelle vorgesehen. Eine script-gesteuerte Plug-In Schnittstelle erm¨oglicht es, unterschiedliche Modelle der Verr¨aumlichung zu benutzen. Die Arbeit ist dadurch motiviert, daß die Raumklangsteuerungen, die dem Autor bekannt sind, zu wenig gestalterische Freiheiten bieten oder nicht ohne weiteres fur¨ die heute g¨angigen Computer-Plattformen verfugbar¨ sind. Das hier vorgestellte Programm soll neue Sichtweisen auf musikalische R¨aumlichkeit ¨offnen. CD-ROM Der Quelltext und die Quelltext-Dokumentation k¨onnen aus Platzgrunden¨ nicht abgedruckt werden. Eine CD-ROM ist beigefugt,¨ die alle n¨otigen Dateien enth¨alt: • Quelltext • HTML Dokumentation aller Pakete und Klassen (javadoc) • Xcode IDE Projekt-Datei • kompiliertes Programm und Mac OS X Application Wrapper • externe Bibliotheken • Beispiel-Script, -Session und -Kl¨ange 1.1 Begriff der Raumklangsteuerung Der Begriff Raumklang enth¨alt bereits ein musikalisches Element, w¨ahrend die englische Ubersetzung,¨ etwa spatial sound, einen physikalischeren Charakter bekommt – sound kann ruck¨ ubersetzt¨ auch Schall heißen. Physikalische Begriffe w¨aren Raumschall oder Raumakustik.1 Zwischen Raumklang und Raumakustik besteht ein wesentlicher Unterschied: Raumakustik beschreibt den Klang des Raumes, w¨ahrend Raumklang die Gestaltung von Klang im Raum meint. Da eine musikalische Auffuhrung¨ meist in einem geschlossenen Raum stattfindet, muß 1vgl. [Haller 1995], S. 75 5 1 Einfuhrung¨ sich der Komponist naturlich¨ auch mit Raumakustik befassen. Das ist jedoch nicht Gegen- stand dieser Arbeit. Raumakustik tritt beispielsweise nicht bei Kopfh¨orerubertragung¨ oder Beschallung im offenen Feld auf. Ein anderer Fall ohne ¨außere Raumeinwirkung sind K¨orper- schallubertragung¨ und K¨orperstimulation durch Aktuatoren.2 Die ganz unterschiedlich akzentuierten Aspekte von R¨aumlichkeit sind eines der Hauptmerk- male von Klangkunst und Klanginstallation. Fur¨ einen Uberblick¨ sei auf die Artikel des Katalogs Klangkunst zum Festival Sonambiente 1996 hingewiesen3. Ein paar Beispiele: In Bill Fontanas Klangbrucke¨ K¨oln-Tokyo wird das akustische Bild zweier sehr weit voneinan- der entfernter Orte auf der Welt durch Satelliten-Transmission ausgetauscht. Die Arbeit steht in gewissem Kontext zu der von Murray Schafer entwickelten Idee der Klang¨okologie. Alvin Lucier l¨aßt dagegen in I’m Sitting in a Room die Resonanzen der Auffuhrungsorte¨ sprechen, La Monte Young verwendete stehende Wellen. In soundbits von Robin Minard wird die R¨aum- lichkeit nicht nur durch dem Objekt Gegenuberstehen,¨ sondern gleichfalls durch Herantreten und Entlangschreiten an diesem ausgedehnten und in die Architektur integrierten Gebilde erfahren. Die begriffliche N¨ahe von Raumklang und Raumakustik kann leicht zu Verwirrungen fuhren:¨ Der Komponist orientiert sich am geometrischen Raum und versucht, in dessen ” erkennbaren Grenzen einen ebenfalls erkennbaren, d.h. erh¨orbaren Klangraum zu schaffen. Dieser Klangraum kann dem geometrischen Raum entsprechen, er muß es nicht.“4 Raum“ wird in zwei unterschiedlichen Bedeutungen benutzt, obwohl Hans Peter Haller ver- ” sucht, die Verschiedenheit durch die Attribute geometrisch respektive klanglich zu betonen.5 Viele Metaphern in der Musik sind r¨aumlich-geometrischer Natur, so spricht man beispiels- weise von einer hohen Tonlage, einer melodischen Linie oder Kontur; die Menge der verwende- ten T¨one bildet den Ton-Raum6. Herbert Eimert unterscheidet neben diesem metaphorischen Raum zwischen dem Musik-Raum, der durch die Raumakustik bestimmt ist, und dem musi- ” kalischen Vorstellungsraum, wie er in der Phantasie des Komponisten besteht, wie er vom H¨orer nachvollzogen wird und wie er sich in den Noten, im Notationsraum der aufgezeich- neten Musik niederschl¨agt.“7 Wird Musik r¨aumlich verteilt wiedergegeben, so kann dieser neue Raum fur¨ das Ohr ein gekrummter,¨ nicht euklidischer Raum“ sein. Eimert nennt die- ” sen Raum einen Raummusik-R[aum], in dem die Tonbewegung in die r¨aumlich-plastische ” Konfiguration der Klangfelder uberf¨ uhrt¨ wird.“ Die Verortung dieser Arbeit wird klarer, wenn wir den Begriff der Steuerung betrachten. Haller gibt eine sehr ingenieursm¨aßige Beschreibung von Klangsteuerung: 2Beim Klanganzug der Kunstlerin¨ Lynn Pook werden sechzehn Lautsprecher am K¨orper befestigt – Der ” menschliche K¨orper wird zum Klangraum“. Das Beispiel zeigt, daß Raumerfahrung nicht nur durch (echte oder simulierte) von unterschiedlichen Seiten auf das Ohr treffende Schallwellen gemacht werden kann. Dazu z¨ahlen auch einige Arbeiten von Bernhard Leitner. 3[de la Motte-Haber 1996] 4[Haller 1995], S. 75. Kurz davor geht Haller explizit darauf ein, daß bei der Gestaltung von Klangwegen die Interaktion mit der Raumakustik bedacht werden muß. 5Bezeichnenderweise beginnt Martin Supper in seinem Buch uber¨ Elektronische Musik ([Supper 1997]) das Kapitel uber¨ Raumklang mit einem Zitat von Rudolf Carnap uber¨ die Konfusion, die durch die unter- schiedliche Verwendung des Raumbegriffs entsteht. 6[Eimert/Humpert 1973], S. 271f 7ebd. 6 1 Einfuhrung¨ Klangsteuerung in der Elektronischen Klangumformung bedeutet weder Trans- ” formation noch Selektion einer Tonquelle. Sie kann fur¨ beide eine kontrollierende Funktion ubernehmen,¨ hat jedoch auf die direkte Erweiterung eines Klangspek- trums keinen Einfluß. Klangsteuerung heißt – wie der Name aussagt – Steuerung von Klanginformationen jeglicher Art, von Instrumenten oder Stimmen, original oder elektronisch bearbeitet.“8 Anders ausgedruckt¨ ist Klangsteuerung ein formgebender Prozeß, der auf einer hierarchisch ubergeordneten¨ Ebene stattfindet. Die Prozeßhaftigkeit, der dynamische Charakter der Klang- steuerung, wird durch weitere Bezugnahme auf Regelungstechnik wie auch die kontrollie- ” rende Funktion“ unterstrichen.9 In Hallers Ger¨aten wird zur Kontrolle oft ein Mikrophon benutzt, das w¨ahrend der Performance eine Klangumformung steuert. In den klassischen nach MUSIC V modellierten Musiksprachen bezeichnen Kontrolldaten diejenigen Daten, die dynamisch uber¨ die Zeit – und in der Regel mit konstanter Rate abgetastet – Einfluß auf Klangparameter und -transformationen nehmen.10 Raumklangsteuerung wird nun definiert als ein Mittel zur dynamischen Formgebung von Bewegungen, Verteilungen und Transformationen von Kl¨angen, die r¨aumlich,
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