OMChroma: Compositional Control of Sound Synthesis

Agón, Carlos; Bresson, Jean; Stroppa, Marco

doi:10.1162/comj_a_00057

Cited by 6 publications

(3 citation statements)

References 16 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…OMChroma (Agon, Stroppa and Assayag 2000) is a compositional framework for the control of sound synthesis in OpenMusic, based on Marco Stroppa’s Chroma system (Stroppa 2000). This framework provides a set of classes (in terms of object-oriented programming) referring to underlying sound synthesis processes.…”

Section: A Generic Framework For the Control Of Sound Spatialisationmentioning

confidence: 99%

Spatial Sound Synthesis in Computer-Aided Composition

Schumacher¹,

Bresson²

2010

Org. Sound

Self Cite

View full text Add to dashboard Cite

In this article we describe our ongoing research and development efforts towards integrating the control of sound spatialisation in computer-aided composition. Most commonly, the process of sound spatialisation is separated from the world of symbolic computation. We propose a model in which spatial sound rendering is regarded as a subset of sound synthesis, and spatial parameters are treated as abstract musical materials within a global compositional framework. The library OMPrisma is presented, which implements a generic system for the control of spatial sound synthesis in the computer-aided composition environment OpenMusic.

show abstract

Section: A Generic Framework For the Control Of Sound Spatialisationmentioning

confidence: 99%

Spatial Sound Synthesis in Computer-Aided Composition

Schumacher¹,

Bresson²

2010

Org. Sound

Self Cite

View full text Add to dashboard Cite

show abstract

“…A partir desta ideia, denominamos aqui a estereotopia como o deslocamento espacial de uma mesma nota ou dos parciais de um som entre instrumentos em um ensemble. O próprio Ligeti trabalha esta técnica em suas 10 peças para quinteto de sopros, de 1969, e em seu Concerto para violoncelo e orquestra, de 1966.10 "Psychoacoustic research and practical experience have shown the importance of slight deviations in the synthesis parameters, such as jitter, beatings, and vibrato, to obtain sounds that are perceptually more natural, fused, and musically better" (AGON;BRESSON; STROPPA, 2011, p.67-83).…”

unclassified

Continuidade concreta: complicatio-explicatio-implicatio

Ferraz

Teixeira

2019

Orfeu

View full text Add to dashboard Cite

Este artigo expõe a articulação entre três conceitos filosóficos como operadores da criação musical, tanto no âmbito da composição musical quanto da performance. Trata-se de uma retomada que o filósofo Gilles Deleuze faz dos conceitos de complicatio, explicatio e implicatio a partir de Giordano Bruno e outros filósofos que o antecederam. Partindo desse referencial, este trabalho apresenta de que maneira tais conceitos podem elucidar a questão da continuidade no discurso musical produzido recentemente, com ênfase no repertório brasileiro dos últimos dez anos. Dessa maneira, objetiva-se não apenas a condução de uma discussão conceitual, mas, principalmente, o vislumbre de soluções criativas para a música atual, contando, para tanto, com experiências dos próprios autores como exemplos de sua aplicabilidade.

show abstract

“…This idea and the concrete data structures used for the representation of events were inspired by earlier works on the OMChroma system[2].…”

mentioning

confidence: 99%

Reduction as a transition controller for sound synthesis events

Bresson

Foulon²,

Stroppa

2013

Proceedings of the First ACM SIGPLAN Workshop on Functional Art, Music, Modeling &Amp; Design

Self Cite

View full text Add to dashboard Cite

We present an application of reduction and higher-order functions in a recent computer-aided composition project. Our objective is the generation of control data for the Chant sound synthesizer using OpenMusic (OM), a domain-specific visual programming environment based on Common Lisp. The system we present allows to compose sounds by combining synthesis events in sequences. After the definition of the compositional primitives determining these events, we handle their sequencing, transitions and possible overlapping/fusion using a special fold operator. The artistic context of this project is the production of the opera Re Orso, premiered in 2012 at the Opera Comique, Paris.

show abstract

OMChroma: Compositional Control of Sound Synthesis

Abstract: International audienc

Cited by 6 publications

References 16 publications

Spatial Sound Synthesis in Computer-Aided Composition

Spatial Sound Synthesis in Computer-Aided Composition

Continuidade concreta: complicatio-explicatio-implicatio

Reduction as a transition controller for sound synthesis events

Contact Info

Product

Resources

About