Syntactical and semantical aspects of Faust

Orlarey, Yann; Fober, Dominique; Letz, Stéphane

doi:10.1007/s00500-004-0388-1

Cited by 37 publications

(29 citation statements)

References 4 publications

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“…Computer languages for programming DSP processese.g. the Music N languages (Mathews, 1969) like Csound, but also functional languages (Orlarey et al, 2004), or real time DSP visual programming systems (Puckette, 1991(Puckette, , 1996 -allow the compositional activity to deal with sound synthesis program's design. As a complete programming language, Csound provides greater possibilities than most of the precompiled synthesizers.…”

Section: Sound Processingmentioning

confidence: 99%

Musical Representation of Sound in Computer-Aided Composition: A Visual Programming Framework

Bresson

Agón

2007

Journal of New Music Research

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International audienceThis article addresses the problem of the representation and creation of sound by synthesis in the context of music composition, as seen from the computer-aided composition (CAC) perspective. An important theoretical basis of this work is the concept of computer modelling, discussed in relation to the notions of sound representation and music composition. Modelling sound as a signal is extended to the musical domain by considering as an alternative modelling composition as an activity that aims to produce sounds. The visual programming paradigm is adopted for the representation and conception of the composition models, and therefore for the musical representation of sounds. A composition framework dedicated to electro-acoustic music and sound synthesis integrated in the OpenMusic CAC environment is presented. Temporal issues are also discussed and are the object of specific developments

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Section: Sound Processingmentioning

confidence: 99%

Musical Representation of Sound in Computer-Aided Composition: A Visual Programming Framework

Bresson

Agón

2007

Journal of New Music Research

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“…Chronic (Brandt, 2000(Brandt, , 2002 was one approach to bridging this gap, but it required special conventions for expressing signal processing algorithms, almost as if using a separate language. Faust (Orlarey et al, 2004(Orlarey et al, , 2009 and Kronos (Norilo, 2015) offer very clean notations for describing unit generators, but neither includes a flexible or powerful notation for events, scores, dynamic instantiation of concurrent behaviors or time-based scheduling.…”

Section: Computer Music Language Challengesmentioning

confidence: 99%

Languages for Computer Music

Dannenberg

2018

Front. Digit. Humanit.

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Specialized languages for computer music have long been an important area of research in this community. Computer music languages have enabled composers who are not software engineers to nevertheless use computers effectively. While powerful general-purpose programming languages can be used for music tasks, experience has shown that time plays a special role in music computation, and languages that embrace musical time are especially expressive for many musical tasks. Time is expressed in procedural languages through schedulers and abstractions of beats, duration and tempo. Functional languages have been extended with temporal semantics, and objectoriented languages are often used to model stream-based computation of audio. This article considers models of computation that are especially important for music programming, how these models are supported in programming languages, and how this leads to expressive and efficient programs. Concrete examples are drawn from some of the most widely used music programming languages.

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“…Another approach to give formal semantics to audio processing is the visual audio processing language Faust [27]. Faust semantics are based on an algebra of block diagrams.…”

Section: Appendixmentioning

confidence: 99%

Probabilistic Extension to the Concurrent Constraint Factor Oracle Model for Music Improvisation

Toro¹

2015

INTARTIF

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We can program a Real-Time (RT) music improvisation system in C++ without a formal semantic or we can model it with process calculi such as the Non-deterministic Timed Concurrent Constraint (ntcc) calculus. "A Concurrent Constraints Factor Oracle (FO) model for Music Improvisation" (Ccfomi) is an improvisation model specified on ntcc. Since Ccfomi improvises non-deterministically, there is no control on choices and therefore little control over the sequence variation during the improvisation. To avoid this, we extended Ccfomi using the Probabilistic Non-deterministic Timed Concurrent Constraint calculus. Our extension to Ccfomi does not change the time and space complexity of building the FO, thus making our extension compatible with RT. However, there was not a ntcc interpreter capable of RT to execute Ccfomi. We developed Ntccrt -a RT capable interpreter for ntcc-and we executed Ccfomi on Ntccrt. In the future, we plan to extend Ntccrt to execute our extension to Ccfomi.

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Syntactical and semantical aspects of Faust

Cited by 37 publications

References 4 publications

Musical Representation of Sound in Computer-Aided Composition: A Visual Programming Framework

Musical Representation of Sound in Computer-Aided Composition: A Visual Programming Framework

Languages for Computer Music

Probabilistic Extension to the Concurrent Constraint Factor Oracle Model for Music Improvisation

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