Real-Time Computer-Aided Composition with bach

  title={Real-Time Computer-Aided Composition with bach},
  author={Andrea Agostini and Daniele Ghisi},
  journal={Contemporary Music Review},
  pages={41 - 48}
Environments for computer-aided composition (CAC), allowing generation and transformation of symbolic musical data, are usually counterposed to real-time environments or sequencers. The counterposition is deeply methodological: in traditional CAC environments interface changes have no effect until a certain ‘refresh’ operation is performed whereas real-time environments immediately react to user input. We shall show in this article that this distinction is by no means natural and that… Expand
Cage: a High-level Library for Real-time Computer-aided Composition
This paper is an introduction to cage, a library for the Max environment 1 including a number of high-level modules for algorithmic and computer-aided composition (CAC) including a set of tools aimed to ease manipulation of symbolic musical data and solve typical CAC problems. Expand
Computer-aided Composition of Musical Processes
The architecture of a framework comprising a scheduler, programming tools and graphical interfaces allowing for the composition of musical processes is described, allowing to perform both regular and dynamic-processes composition. Expand
Extending bach: A Family of Libraries for Real-time Computer-assisted Composition in Max
This article introduces a more ambitious project: situating the bach library inside a wider family of tools dealing with real-time computer-aided composition in Max, which it is called the ‘bach family’. Expand
i-Berlioz: Towards Interactive Computer-Aided Orchestration with Temporal Control
i-Berlioz is introduced, a proof-of-concept interactive Computer-Aided Orchestration (CAO) system that suggests combinations of musical instruments to produce timbres specified by the user by means of verbal descriptors, and its generative and exploratory engines. Expand
Fine-tuned Control of Concatenative Synthesis with CATART Using the BACH Library for MAX
Combining two of the most exciting recent packages for MAX, CATART corpus-based concatenative synthesis (CBCS) and BACH: AUTOMATED COMPOSER’s HELPER, this work proposes a rich tool for real-time creation, storage, editing, re-synthesis, and transcription of Concatenative sound. Expand
Structured observation with polyphony: a multifaceted tool for studying music composition
A technique for structured observation of expert creative behavior, as well as Polyphony, a novel interface for systematically studying all phases of computer-aided composition, are presented. Expand
Interactive-compositional Authoring of Sound Spatialization
This work tackles the challenge of authoring real-time processes in a compositional context by providing a timeline view synchronized with the spatial view of the Spatialisateur, three-dimensional editors as well as several internal and external rendering possibilities, all in a unified framework. Expand
The Intersection of ‘Live’ and ‘Real-time’
It is shown that ‘real-time’ music does not guarantee a ‘live’ performance, contrary to what is typically held to be true, and any real-time work can exist along a broad range of the liveness spectrum. Expand
Dynamic Notation – A Solution To The Conundrum Of Non-Standard Music Practice
An in-depth analysis of the methods used for equidistant scales, non-octave tunings, music in just intonation as well as for instrument-specific layouts are given and a scenario in which dynamic notation was used for the transcription and performance of Alexander Scriabin's piano poem Vers la Flamme op. 72 is described. Expand
i-Berlioz: Interactive Computer-Aided Orchestration with Temporal Control
This paper introduces the beta version of i-Berlioz, an interactive CAO system that generates orchestrations from verbal timbre descriptors. This system relies on machine learning models for timbreExpand


Computer-Assisted Composition at IRCAM: From PatchWork to OpenMusic
In recent years, IRCAM has been exploring and developing software for computer-assisted composition (CAC). These software packages allow composers and musicologists to formalize and experiment withExpand
Modeling musical anticipation: From the time of music to the music of time. (Modélisation de l'anticipation musicale: Du temps de la musique vers la musique du temps)
A novel anticipatory design for the problem of synchronizing a live performer to a pre-written music score, leading to Antescofo, a preliminary tool for writing of time and interaction in computer music. Expand
A divide between 'compositional' and 'performative' aspects of Pd ⁄
The central problem I’m struggling with today is that, while the authors have good paradigms for describing processes, and while much work has been done on representations of musical data, they lack a ∞uid mechanism for the two worlds to interoperate. Expand
Modeling musical anticipation: From the time of music to the music of time (PhD thesis in Acoustics
  • UPMC), and University of California San Diego (UCSD) (joint)
  • 2008
Interaction temps-réel/temps différé. Marseille: mémoire ATIAM
  • 2004
Patchwork, a graphical language in preform
  • Proceedings of the international computer music conference (pp. 172–175). Ann Arbor: International Computer Music Association
  • 1989
Patchwork, a graphical language in preform Ann Arbor: International Computer Music Association
  • Proceedings of the international computer music conference
  • 1989