Proceedings of the Fourth International Csound Conference Edited by: Luis Jure [email protected] Published by: Escuela Universitaria de Música, Universidad de la República Av. 18 de Julio 1772, CP 11200 Montevideo, Uruguay ISSN 2393-7580 © 2017 International Csound Conference Conference Chairs Paper Review Committee Luis Jure (Chair) +yvind Brandtsegg Martín Rocamora (Co-Chair) Pablo Di Liscia John -tch Organization Team Michael Gogins Jimena Arruti Joachim )eintz Pablo Cancela Alex )ofmann Guillermo Carter /armo Johannes Guzmán Calzada 0ictor Lazzarini Ignacio Irigaray Iain McCurdy Lucía Chamorro Rory 1alsh "eli#e Lamolle Juan Martín L$#ez Music Review Committee Gusta%o Sansone Pablo Cetta Sofía Scheps Joel Chadabe Ricardo Dal "arra Sessions Chairs Pablo Di Liscia Pablo Cancela "olkmar )ein Pablo Di Liscia Joachim )eintz Michael Gogins Clara Ma3da Joachim )eintz Iain McCurdy Luis Jure "lo Menezes Iain McCurdy Daniel 4##enheim Martín Rocamora Juan Pampin Steven *i Carmelo Saitta Music Curator Rodrigo Sigal Luis Jure Clemens %on Reusner Index Preface Keynote talks The 60 years leading to Csound 6.09 Victor Lazzarini Don Quijote, the Island and the Golden Age Joachim Heintz The ATS technique in Csound: theoretical background, present state and prospective Oscar Pablo Di Liscia Csound – The Swiss Army Synthesiser Iain McCurdy How and Why I Use Csound Today Steven Yi Conference papers Working with pch2csd – Clavia NM G2 to Csound Converter Gleb Rogozinsky, Eugene Cherny and Michael Chesnokov Daria: A New Framework for Composing, Rehearsing and Performing Mixed Media Music Guillermo Senna and Juan Nava Aroza Interactive Csound Coding with Emacs Hlöðver Sigurðsson Chunking: A new Approach to Algorithmic Composition of Rhythm and Metre for Csound Georg Boenn Interactive Visual Music with Csound and HTML5 Michael Gogins Spectral and 3D spatial granular synthesis in Csound Oscar Pablo Di Liscia Preface The International Csound Conference (ICSC) is the principal biennial meeting for members of the Csound community and typically attracts worldwide attendance. After previous successful conferences in Hanover, !ermany (2011) Boston, &SA (2013) and Saint (etersburg, Russia (2015) in 2017 we had the great honour and huge responsibility of hosting the first ICSC to take place in the Southern Hemi. sphere. /rom September "0th to 1ctober $st Csound users and developers from around the world met in 2ontevideo for a series of activities that included con. certs paper sessions -eynote talks and round tables. The ICSC"#$+ was possible thanks to the financial and institutional support of the university in &ruguay &niversidad de la )epública mainly through its agen. cies 4spacio Interdisciplinario and Comisión Sectorial de Investigaci5n Cient6fica as well as through the School of 2usic and /aculty of 4ngineering. 7e also have to thank Teatro Sol6s and (residencia de la )epública for kindly providing venues for several of our activities. 8ast but not least I must express my deep gratitude to the whole team of the 4studio de 2úsica 4lectroacústica–e2e and the !(A: Audio (rocessing !roup without whose constant support hard work, and dedic. ation, the Csound conference in 2ontevideo would not have been possible. This document presents all of the papers that were selected for the conference by a committee of prestigious reviewers through a double–blind procedure. The pro. gram also featured five distinguished -eynote speakers who were especially invited for the conference; the abstracts of their tal-s are also included in these proceed. ings. 7e hope that this volume will contribute to the ever–growing esteemed body of Csound literature. 8uis <ure ICSC2017 Conference Chair Keynote talks Keynote Talk 1 The 60 years leading to Csound 6.09 Victor Lazzarini Maynooth University, Ireland Abstract Today’s Csound is but the latest link in an uninterrupted chain of development that stretches bac- ># years to $0*+ when 2ax 2athews wrote the first digital synthesis program 2&SIC I. The seeds for what we have today were sown in the early sixties with 2&SIC III and I?. The basic shape for Csound was put in place later in the decade with 2&SIC '># followed by 2&SIC $$ in the seventies. This tal- explores the history of this software, with a close look at the main developments leading to the latest version of Csound. Biography (rof. 8azzarini is a graduate of the &niversidade 4stadual de Campinas (&AICA2() in %razil where he was awarded a %2us in Composition. He completed his doctorate at the &niversity of Aottingham &B where he was received the Heyman scholarship for research progress and the Hallward composition prize for one of his works 2agnificat. His interests include musical signal processing and sound synthesis; computer music languages; electroacoustic and instrumental composition. Dr 8azzarini received the A&I Aew Researcher Award in "##" and the Ireland Canada &niversity /oundation scholarship in 2006. He currently leads the Sound and Digital 2usic Research !roup at the A&I2 and has authored over one hundred articles in peer.reviewed publications in his various specialist research areas. He is the author of Aulib an obDect.oriented library for audio signal processing, and is one of the proDect leaders for Csound. (rof. 8azzarini has also forged links with Industry providing consultancy and research support to Irish companies in the area of computer music. In addition to these activities he is active as a composer of computer and instrumental music, having won the AIC/I2)1 International Composition prize in 2006. His music is regularly performed in Ireland and abroad, and has been released on CC by /ar(oint Recordings. Recent publications include F4cologically !rounded Creative (ractices in &biquitous 2usic” (Organised Sound "" "#$+ with D. Beller) Csound: A Sound and Music Computing System (Springer "#$> with <. Itch, S. Ji <. Heint@ 1. Brandtsegg, and I. 2cCurdy) and the forthcoming Computer Music Instruments: Foundations, Design and Applications (Springer "#$+). Keynote Talk 2 Don Quijote, the Island and the Golden Age Some Experiences and Dimensions of Working “Open Source” and “Free” Joachim Heintz Hochschule für Musik, Theater und Medien Hannover, Germany Abstract I am using Csound since twenty years being more active in its community since more than ten years. I will tal- about diKerent experiences with this collaborative work in this time, and I will try to reflect some of these aspects in a more general contextM What is the situation in which we develop a software li-e Csound? Why do we do itN What are restrictions where is our freedom? Biography <oachim Heint@ studied first literature, than composition with -orean composer Jounghi (agh-(aan in Bremen, !ermany. Since "##O he is head of the 4lectronic Studio /2SBW in the Institute for Aew 2usic Incontri at Hanover &niversity for 2usic Drama and 2edia responsible for teaching electronic composition. In 2016/17 he was also invited as guest professor to IC42 at /olkwang &niversity of the Arts in 4ssen. Although in a way specialized in working with electronic media his compositions are not purely electroacoustic works. He also works for instruments alone and in particular for instruments with live electronics (e.g. "S‘io non miro non moro" for soprano and electronics "#$' or F7ege” for string quartet and electronics 2017). 4xcept for concerts he also works for installations and performances (theatre and readings). Since "##* he is part of the 1pen Source Software movement in particular the well. known audio programming language Csound. He hosted the first International Csound Conference "#$$ in Hanover and founded the Csound /81SS 2anual which is now the standard textbook to learn Csound. He is one of the authors of the new Csound Book in Springer (ublishing. He held classes in many countries recently in Tehran (Iran) 2ontevideo (&ruguay) Buenos Aires (Argentina) and Seoul (Borea). He tries to teach not only programming but to discuss questions of composition and art in general and in the field of electronic music in particular. A list of his compositions and texts can be found at [email protected]. Keynote Talk 3 The ATS technique in Csound: theoretical background, present state and prospective Oscar Pablo Di Liscia Universidad Nacional de Quilmes, Argentina Abstract The ATS technique (Analysis.Transformation-Synthesis) was developed by the composer and researcher <uan (ampin (CRA)TS &7 &SA). 4ssentially it represents two aspects of the analyzed signalM the deterministic part and the stochastic part. This model was initially conceived by <ulius 1rion Smith and Ravier Serra, but ATS refines certain aspects of it such as the inclusion of psycho-acoustic data. The deterministic part consists of sinusoidal traDectories with varying amplitude, frequency and phase. It is obtained performing high-level analysis on the spectral data obtained using Short. Time /ourier Transform analysis. The stochastic part is also termed residual because it is achieved by subtracting the deterministic signal from the original signal. Since approximately "##$ several applications were developed by a team of academics from &AS (Argentina) and &7 Seattle (&SA). These applications included stand alone programs as well as unit generators for environments li-e (ure Data, SuperCollider and Csound. The tal- will address the theoretical background of the ATS technique, the present state of the opcodes and analysis units developed in Csound and their future improvements. Biography 1scar (ablo Di 8iscia is a composer and academic born