logo EDITE Jean BRESSON
Identité
Jean BRESSON
État académique
Thèse soutenue le 2007-11-30
Sujet: LA SYNTHESE SONORE EN COMPOSITION MUSICALE ASSISTEE PAR ORDINATEUR
Titulaire d'une HDR (ou équivalent) 2017-05-04
Laboratoire: personnel permanent
Encadrement de thèses (depuis 2007)
0
Propositions de sujets de thèse
Voisinage
Ellipse bleue: doctorant, ellipse jaune: docteur, rectangle vert: permanent, rectangle jaune: HDR. Trait vert: encadrant de thèse, trait bleu: directeur de thèse, pointillé: jury d'évaluation à mi-parcours ou jury de thèse.
Productions scientifiques
oai:hal.archives-ouvertes.fr:hal-00965747
A Reactive Extension of the OpenMusic Visual Programming Language
OpenMusic (OM) is a domain-specific visual programming language designed for computer-aided music composition. This language based on Common Lisp allows composers to develop functional processes generating or transforming musical data, and to execute them locally by demand-driven evaluations. As most historical computer-aided compositon environments, OM relies on a transformational declarative paradigm, which is hard to conciliate with reactive data-flow (an evaluation scheme more adequate to the development of interactive systems). We propose to link these two evaluation paradigms in a same and consistent visual programming framework. We establish a denotational semantics of the visual language, which gives account for its demand-driven evaluation mechanism and the incremental construction of programs. We then extend this semantics to enable reactive computations in the functional graphs. The resulting language merges data-driven executions with the existing demand-driven mechanism. A conservative implementation is proposed. We show that the incremental construction of programs and their data-driven and demand-driven evaluations can be smoothly integrated in the visual programming workflow. This integration allows for the propagation of changes in the programs, and the evaluation of graphically-designed functional expressions as a response to external events, a first step in bridging the gap between computer-assisted composition environments and real-time musical systems.
Journal of Visual Languages and Computing ISSN:1045-926Xarticle in peer-reviewed journal 2014
Bresson09b
Visual Lisp/CLOS Programming in OpenMusic
Higher-Order and Symbolic Computation, Vol. 22-1, pp. 81-111 2009
Carpentier09a
Interacting with Symbolic, Sound and Feature Spaces in Orchidée, a Computer-Aided Orchestration Environment
Computer Music Journal, Vol. 34-1, pp. 10-27 2010
Schumacher10b
Spatial Sound Synthesis in Computer-Aided Composition
Organised Sound, Vol. 15-3, pp. 271-289 2010
Agon11c
Mathematics and Computation in Music : Third International Conference, MCM 2011, Paris, France, June 15-17, 2011. Proceedings.
Mathematics and Computation in Music : Third International Conference, MCM 2011, Paris, France, June 15-17, 2011. Proceedings., Springer 2011
oai:hal.archives-ouvertes.fr:hal-00683465
OMChroma: Compositional Control of Sound Synthesis
Computer Music Journalpeer-reviewed article 2011
oai:hal.archives-ouvertes.fr:hal-00683473
Scores, Programs and Time Representations: The Sheet Object in OpenMusic
Computer Music Journalpeer-reviewed article 2008
oai:hal.archives-ouvertes.fr:hal-00683475
Musical Representation of Sound in Computer-Aided Composition: A Visual Programming Framework
Journal of New Music Researchpeer-reviewed article 2007
Soutenance
Thèse: LA SYNTHESE SONORE EN COMPOSITION MUSICALE ASSISTEE PAR ORDINATEUR
Soutenance: 2007-11-30