Granular synthesis composition with StochGran and Max
Identifieur interne : 000505 ( Main/Exploration ); précédent : 000504; suivant : 000506Granular synthesis composition with StochGran and Max
Auteurs : M. Helmuth [États-Unis]Source :
- Computers and Mathematics with Applications [ 0898-1221 ] ; 1996.
English descriptors
- Teeft :
- Acoustic, Acoustic instruments, Acoustic sound, Algorithmic programs, Cello, Cello entrance, Change functions, Cmix, Cmix instruments, Cmix programming language, Cmix programs, Computer, Computer music association, Computer music journal, Computer part, Computer parts, Computer performer, Electronic part, Good tape music, Grain, Grain parameters, Grain rate, Grain waveform, Grains moves, Granular, Granular synthesis, Granular synthesis composition, Graphical, Harmonic series, Heavy room simulation, Helmuth, High values, Higher level, Huge space, Instrumental, Instrumental part, Instrumental parts, Instrumental sound, Interface, International computer music association, Ircam signal processing workstation, Last section, Many forms, Many grains, Many hours, Many levels, Musical expression, Musical language, Parameter, Performance situation, Probability function, Probability tables, Real time, Reverberation, Room simulation, Score files, Several works, Sgran, Signal processing, Software, Sound files, Sound object, Source sound, Stochastic, Stochgran, Stochgran interface, Synthesis, Synthesis instruments, Tape music, Tightness, Tightness startinglo, Timbral, Timbral evolution, Timbre, Violin entrance, Waveform, World view.
Abstract
Abstract: An approach to composition and the granular synthesis techniques used to create several works will be discussed here. Three instruments for stochastic granular synthesis have been written in the Cmix programming language. The contents of the grains are either synthesized waveforms, or sampled sound files. A NeXT graphical interface to the Cmix instruments, StochGran, currently allows the composer to manipulate graphical envelopes to control grain timing, frequency, and location parameters over time. Control over several parameters in a coordinated relationship is facilitated by the graphical display. The use of the Cmix instruments and interface in composing several works for tape is described. Real time granular synthesis is also explored using the MAX language on the IRCAM Signal Processing Workstation. The work “Evolutions,” for eight instruments and computer, uses a combination of Cmix and MAX signal processing. The consequences of these techniques for composition and performance involve differences in composition for and perception of the computer and acoustic parts, the interaction between the computer and instruments, “musicality,” timbral shaping into gestures, and philosophical implications of the techniques.
Url:
DOI: 10.1016/0898-1221(96)00087-9
Affiliations:
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Le document en format XML
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Helmuth</name><affiliation wicri:level="2"><country xml:lang="fr">États-Unis</country><wicri:regionArea>College-Conservatory of Music, University of Cincinnati Cincinnati, OH 45221-0003</wicri:regionArea><placeName><region type="state">Ohio</region></placeName></affiliation></author></analytic><monogr></monogr><series><title level="j">Computers and Mathematics with Applications</title><title level="j" type="abbrev">CAMWA</title><idno type="ISSN">0898-1221</idno><imprint><publisher>ELSEVIER</publisher><date type="published" when="1996">1996</date><biblScope unit="volume">32</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="57">57</biblScope><biblScope unit="page" to="74">74</biblScope></imprint><idno type="ISSN">0898-1221</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0898-1221</idno></seriesStmt></fileDesc><profileDesc><textClass><keywords scheme="Teeft" xml:lang="en"><term>Acoustic</term><term>Acoustic instruments</term><term>Acoustic sound</term><term>Algorithmic programs</term><term>Cello</term><term>Cello entrance</term><term>Change functions</term><term>Cmix</term><term>Cmix instruments</term><term>Cmix programming language</term><term>Cmix programs</term><term>Computer</term><term>Computer music association</term><term>Computer music journal</term><term>Computer part</term><term>Computer parts</term><term>Computer performer</term><term>Electronic part</term><term>Good tape music</term><term>Grain</term><term>Grain parameters</term><term>Grain rate</term><term>Grain waveform</term><term>Grains moves</term><term>Granular</term><term>Granular synthesis</term><term>Granular synthesis composition</term><term>Graphical</term><term>Harmonic series</term><term>Heavy room simulation</term><term>Helmuth</term><term>High values</term><term>Higher level</term><term>Huge space</term><term>Instrumental</term><term>Instrumental part</term><term>Instrumental parts</term><term>Instrumental sound</term><term>Interface</term><term>International computer music association</term><term>Ircam signal processing workstation</term><term>Last section</term><term>Many forms</term><term>Many grains</term><term>Many hours</term><term>Many levels</term><term>Musical expression</term><term>Musical language</term><term>Parameter</term><term>Performance situation</term><term>Probability function</term><term>Probability tables</term><term>Real time</term><term>Reverberation</term><term>Room simulation</term><term>Score files</term><term>Several works</term><term>Sgran</term><term>Signal processing</term><term>Software</term><term>Sound files</term><term>Sound object</term><term>Source sound</term><term>Stochastic</term><term>Stochgran</term><term>Stochgran interface</term><term>Synthesis</term><term>Synthesis instruments</term><term>Tape music</term><term>Tightness</term><term>Tightness startinglo</term><term>Timbral</term><term>Timbral evolution</term><term>Timbre</term><term>Violin entrance</term><term>Waveform</term><term>World view</term></keywords></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Abstract: An approach to composition and the granular synthesis techniques used to create several works will be discussed here. Three instruments for stochastic granular synthesis have been written in the Cmix programming language. The contents of the grains are either synthesized waveforms, or sampled sound files. A NeXT graphical interface to the Cmix instruments, StochGran, currently allows the composer to manipulate graphical envelopes to control grain timing, frequency, and location parameters over time. Control over several parameters in a coordinated relationship is facilitated by the graphical display. The use of the Cmix instruments and interface in composing several works for tape is described. Real time granular synthesis is also explored using the MAX language on the IRCAM Signal Processing Workstation. The work “Evolutions,” for eight instruments and computer, uses a combination of Cmix and MAX signal processing. The consequences of these techniques for composition and performance involve differences in composition for and perception of the computer and acoustic parts, the interaction between the computer and instruments, “musicality,” timbral shaping into gestures, and philosophical implications of the techniques.</div></front></TEI><affiliations><list><country><li>États-Unis</li></country><region><li>Ohio</li></region></list><tree><country name="États-Unis"><region name="Ohio"><name sortKey="Helmuth, M" sort="Helmuth, M" uniqKey="Helmuth M" first="M." last="Helmuth">M. Helmuth</name></region></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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