Towards a Borgean Musical Space: An Experimental Interface for Exploring Musical Models

Musical compositions can be the object of advanced computational modelling. We develop this idea by creating formal models allowing the study of musical works from the repertoire and conceiving corresponding computational tools. From this perspective, one can aim to model, produce and evaluate different instances and configurations of such models. In this paper we discuss an experimental tool, as an attempt to visualise the space of instances that can be generated from a musical piece’s model. This tool consists in an interface attached to a class in the OpenMusic environment, where parameter values are compared with the result of analytical descriptors, as that of ‘cognitive-sonance’ from the “Sonic Object Analysis Library” (SOAL). We demonstrate how this interface works by exploring it with a previously built model of James Tenney’s piece, the Spectral Canon for Conlon Nancarrow.

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Author and article information

Contributors

Charles de Paiva Santana

Jônatas Manzolli

Jean Bresson

Moreno Andreatta

Conference

Publication date: July 2015

Publication date (Print): July 2015

Pages: 72-79

Affiliations

[0001]UNICAMP Núcleo Intedisciplinar de Comunicação Sonora Rua da Reitoria 165, Campinas, Brasil

[0002]UMR STMS IRCAM – CNRS – UPMC 1, place Igor Stravinsky, 75004 Paris, France

Article

DOI: 10.14236/ewic/eva2015.8

SO-VID: 58490482-e96d-471e-b687-95e7184d2e5a

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Electronic Visualisation and the Arts (EVA 2015)

Conference acronym: EVA

Conference number:

Conference location: London, UK

Conference date: 7 & 9 July 2015

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/eva2015.8

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

G Assayag 1993 Cao: vers la partition potentielle Les Cahiers de l'Ircam: La composition assistée par ordinateur 1 3)
J Bresson 2007 La synthèse sonore en composition musicale assistée par ordinateur: Modélisation et écriture du son Thèse de doctorat, Université Pierre et Marie Curie (Paris 6) Paris
J BressonC AgonG Assayag 2011 OpenMusic Visual Programming Environment for Music Composition, Analysis and Research Proc. ACM MultiMedia 2011 (OpenSource Software Competition) Scottsdale, AZ, USA
C De Paiva SantanaJ BressonM Andreatta 2013 Modeling and Simulation: The Spectral CANON for CONLON Nancarrow by James Tenney Proceedings of Sound and Music Computing Conference 2013 Stockhom, Sweden
D Guigue 2010 Sonic Object Analysis Library (SOAL) Universidade Federal da Paraíba (UFPB) João Pessoa
F Levy 2004 Complexité grammatologique et complexité aperceptive en musique Thèse de doctorat, Ecoles des Hautes Etudes en Sciences Sociales Paris
J.-J Nattiez 1987 Musicologie générale et sémiologie Christian Bourgeois Paris
A RiotteM Mesnage 2008 Formalismes et modèles musicaux (2 volumes) Editions Delatour Paris
L Rokita 1996 Modèle Rythmique d'une piece pour clarinette d'Igor Stravinsky Journées d’Informatique Musicale (JIM 96)
A ShvetsC De Paiva Santana 2014 Modelling Arvo Pärt’s music with OpenMusic Proceedings of Electronic Visualisation and the Arts (EVA 2014) London, UK 8–10 07 2014 .p9 16 British Computer Society London
C TruchetG Assayag 2011 Constraint Programming in Music Wiley – ISTE

Comments

Comment on this article

[1] G Assayag 1993 Cao: vers la partition potentielle Les Cahiers de l'Ircam: La composition assistée par ordinateur 1 3)

[2] J Bresson 2007 La synthèse sonore en composition musicale assistée par ordinateur: Modélisation et écriture du son Thèse de doctorat, Université Pierre et Marie Curie (Paris 6) Paris

[3] J BressonC AgonG Assayag 2011 OpenMusic Visual Programming Environment for Music Composition, Analysis and Research Proc. ACM MultiMedia 2011 (OpenSource Software Competition) Scottsdale, AZ, USA

[4] C De Paiva SantanaJ BressonM Andreatta 2013 Modeling and Simulation: The Spectral CANON for CONLON Nancarrow by James Tenney Proceedings of Sound and Music Computing Conference 2013 Stockhom, Sweden

[5] D Guigue 2010 Sonic Object Analysis Library (SOAL) Universidade Federal da Paraíba (UFPB) João Pessoa

[6] F Levy 2004 Complexité grammatologique et complexité aperceptive en musique Thèse de doctorat, Ecoles des Hautes Etudes en Sciences Sociales Paris

[7] J.-J Nattiez 1987 Musicologie générale et sémiologie Christian Bourgeois Paris

[8] A RiotteM Mesnage 2008 Formalismes et modèles musicaux (2 volumes) Editions Delatour Paris

[9] L Rokita 1996 Modèle Rythmique d'une piece pour clarinette d'Igor Stravinsky Journées d’Informatique Musicale (JIM 96)

[10] A ShvetsC De Paiva Santana 2014 Modelling Arvo Pärt’s music with OpenMusic Proceedings of Electronic Visualisation and the Arts (EVA 2014) London, UK 8–10 07 2014 .p9 16 British Computer Society London

[11] C TruchetG Assayag 2011 Constraint Programming in Music Wiley – ISTE

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