Marco Stroppa - Academia.edu (original) (raw)

Papers by Marco Stroppa

Re Orso is an opera merging acoustic instruments and electronics. Voice and electronics are essen... more Re Orso is an opera merging acoustic instruments and electronics. Voice and electronics are essential elements of the dramaturgy and of the composition in this piece. Both have been written and organised with computer-aided compositional tools. This text explores some of the representative OpenMusic patches developed for this project.

Computer Music Journal, 1986

Parameters, 2011

The specific model and control paradigm of the CHANT synthesizer raise interesting issues and pos... more The specific model and control paradigm of the CHANT synthesizer raise interesting issues and possibilities for the control of continuous aspects in sound synthesis. New objects for the control of CHANT in OpenMusic and in the OMChroma library provide ...

Chroma est l'environnement d'aide à la composition et de contrôle de la synthèse développé par Ma... more Chroma est l'environnement d'aide à la composition et de contrôle de la synthèse développé par Marco Stroppa depuis 1980 pour la réalisation de ses pièces. Nous décrivons dans cet article l'intégration et les nouvelles extensions du système Chroma dans l'environnement OpenMusic. Nos principaux buts sont : la mise à disposition de l'environnement à d'autres compositeurs et la réalisation d'un système souple qui puisse servir de cadre de travail pour de futures recherches dans le domaine de la composition du son.

Bruno Maderna - Heinz Holliger

L’« espace », qu’entendons-nous par ce mot ? S’agit-il d’une dimension unique, ou plutôt d’une mu... more L’« espace », qu’entendons-nous par ce mot ? S’agit-il d’une dimension unique, ou plutôt d’une multitude de dimensions entassées ? Sans entrer dans une analyse scientifique et sans prendre en considération les paramètres caractérisant l’acoustique des salles, il faut néanmoins distinguer trois composantes primaires de l’espace, toutes musicalement exploitables : la localisation, qui est la perception du placement d’une source par rapport à un auditeur situé au centre d’une sphère idéale de ra..

This paper deals with the first musical usage of anexperimental system dedicated to the optical d... more This paper deals with the first musical usage of anexperimental system dedicated to the optical detection ofthe position of a trombone's slide.

Proceedings of the SMC Conferences, Jul 11, 2007

This article presents a system created in the computer-aided composition environment OpenMusic in... more This article presents a system created in the computer-aided composition environment OpenMusic in order to handle complex compositinal data related to sound synthesis processes. This system gathers two complementary strategies: the use of sound analysis data as basic material, and the specification of abstract rules in order to automatically process and extend this basic material.

« Miniatures » comme petit, mais pas banal, comme simple, mais simpliste, comme profond mais pas ... more « Miniatures » comme petit, mais pas banal, comme simple, mais simpliste, comme profond mais pas inaccessible ; « estrose » - intraduisible en français dans toutes les nuances de l’italien - comme fantaisie, mais sans excentricité, comme créativité, intuition, surprise. Cet ensemble de courtes pièces pour piano, composé grâce à l’impulsion de Pierre-Laurent Aimard, marque mon retour à l’instrument acoustique seul, après un long parcours en contact avec la technologie électronique et, surtout,..

DESCRIPTION The “sound diffusion” (or “sound projection”), that is, “the projection and the sprea... more DESCRIPTION The “sound diffusion” (or “sound projection”), that is, “the projection and the spreading of sound in an acoustic space for a group of listeners”, of works for solo electronics or for acoustic instruments and electronics (so called, “mixed pieces”), has always raised the issue of notating the levels to be reproduced during a concert or the correct balance between the electronics and the instruments. If, in the last decades, some attempts were made by few composers or computer-music designers, mostly in the form of scores, none of these managed to establish a common practice. In addition, little theoretical work has been done so far to address the performative aspects of a piece, that is, to provide just the useful information to the person in charge of the sound diffusion. Through the discussion of three historical examples and the analysis of two experiences we developed, we will try to identify some possibly general solutions that could be adopted independently on the ...

Proceedings of the first ACM SIGPLAN workshop on Functional art, music, modeling & design, 2013

We present an application of reduction and higher-order functions in a recent computer-aided comp... more We present an application of reduction and higher-order functions in a recent computer-aided composition project. Our objective is the generation of control data for the Chant sound synthesizer using OpenMusic (OM), a domain-specific visual programming environment based on Common Lisp. The system we present allows to compose sounds by combining synthesis events in sequences. After the definition of the compositional primitives determining these events, we handle their sequencing, transitions and possible overlapping/fusion using a special fold operator. The artistic context of this project is the production of the opera Re Orso, premiered in 2012 at the Opera Comique, Paris.

Spectral delays have been used for a long time as a way to colour and shape spectral characterist... more Spectral delays have been used for a long time as a way to colour and shape spectral characteristics of sound. Most of available software is controlled by drawing an envelope on a window that represents spectral bins, and by setting a maximum delay time. Despite its comfort, such a simplistic approach does not imply any methods for allowing symbolic manipulations on spectral data that are often required by composers and sound designers. Chromax proposes an alternative dynamic parameterization of spectral delays, allowing fine and complex compositional manipulations. It implements a bin-synchronous spectral processing using the new Gen~ technology available in Max6 [1], and provides algorithms to dynamically specify a filter, a delay and a feedback level for each bin of a processed sound.

Re Orso is an opera merging acoustic instruments and electronics. Voice and electronics are essen... more Re Orso is an opera merging acoustic instruments and electronics. Voice and electronics are essential elements of the dramaturgy and of the composition in this piece. Both have been written and organised with computer-aided compositional tools. This text explores some of the representative OpenMusic patches developed for this project.

Computer Music Journal, 1986

Parameters, 2011

The specific model and control paradigm of the CHANT synthesizer raise interesting issues and pos... more The specific model and control paradigm of the CHANT synthesizer raise interesting issues and possibilities for the control of continuous aspects in sound synthesis. New objects for the control of CHANT in OpenMusic and in the OMChroma library provide ...

Chroma est l'environnement d'aide à la composition et de contrôle de la synthèse développé par Ma... more Chroma est l'environnement d'aide à la composition et de contrôle de la synthèse développé par Marco Stroppa depuis 1980 pour la réalisation de ses pièces. Nous décrivons dans cet article l'intégration et les nouvelles extensions du système Chroma dans l'environnement OpenMusic. Nos principaux buts sont : la mise à disposition de l'environnement à d'autres compositeurs et la réalisation d'un système souple qui puisse servir de cadre de travail pour de futures recherches dans le domaine de la composition du son.

Bruno Maderna - Heinz Holliger

L’« espace », qu’entendons-nous par ce mot ? S’agit-il d’une dimension unique, ou plutôt d’une mu... more L’« espace », qu’entendons-nous par ce mot ? S’agit-il d’une dimension unique, ou plutôt d’une multitude de dimensions entassées ? Sans entrer dans une analyse scientifique et sans prendre en considération les paramètres caractérisant l’acoustique des salles, il faut néanmoins distinguer trois composantes primaires de l’espace, toutes musicalement exploitables : la localisation, qui est la perception du placement d’une source par rapport à un auditeur situé au centre d’une sphère idéale de ra..

This paper deals with the first musical usage of anexperimental system dedicated to the optical d... more This paper deals with the first musical usage of anexperimental system dedicated to the optical detection ofthe position of a trombone's slide.

Proceedings of the SMC Conferences, Jul 11, 2007

This article presents a system created in the computer-aided composition environment OpenMusic in... more This article presents a system created in the computer-aided composition environment OpenMusic in order to handle complex compositinal data related to sound synthesis processes. This system gathers two complementary strategies: the use of sound analysis data as basic material, and the specification of abstract rules in order to automatically process and extend this basic material.

« Miniatures » comme petit, mais pas banal, comme simple, mais simpliste, comme profond mais pas ... more « Miniatures » comme petit, mais pas banal, comme simple, mais simpliste, comme profond mais pas inaccessible ; « estrose » - intraduisible en français dans toutes les nuances de l’italien - comme fantaisie, mais sans excentricité, comme créativité, intuition, surprise. Cet ensemble de courtes pièces pour piano, composé grâce à l’impulsion de Pierre-Laurent Aimard, marque mon retour à l’instrument acoustique seul, après un long parcours en contact avec la technologie électronique et, surtout,..

DESCRIPTION The “sound diffusion” (or “sound projection”), that is, “the projection and the sprea... more DESCRIPTION The “sound diffusion” (or “sound projection”), that is, “the projection and the spreading of sound in an acoustic space for a group of listeners”, of works for solo electronics or for acoustic instruments and electronics (so called, “mixed pieces”), has always raised the issue of notating the levels to be reproduced during a concert or the correct balance between the electronics and the instruments. If, in the last decades, some attempts were made by few composers or computer-music designers, mostly in the form of scores, none of these managed to establish a common practice. In addition, little theoretical work has been done so far to address the performative aspects of a piece, that is, to provide just the useful information to the person in charge of the sound diffusion. Through the discussion of three historical examples and the analysis of two experiences we developed, we will try to identify some possibly general solutions that could be adopted independently on the ...

Proceedings of the first ACM SIGPLAN workshop on Functional art, music, modeling & design, 2013

We present an application of reduction and higher-order functions in a recent computer-aided comp... more We present an application of reduction and higher-order functions in a recent computer-aided composition project. Our objective is the generation of control data for the Chant sound synthesizer using OpenMusic (OM), a domain-specific visual programming environment based on Common Lisp. The system we present allows to compose sounds by combining synthesis events in sequences. After the definition of the compositional primitives determining these events, we handle their sequencing, transitions and possible overlapping/fusion using a special fold operator. The artistic context of this project is the production of the opera Re Orso, premiered in 2012 at the Opera Comique, Paris.

Spectral delays have been used for a long time as a way to colour and shape spectral characterist... more Spectral delays have been used for a long time as a way to colour and shape spectral characteristics of sound. Most of available software is controlled by drawing an envelope on a window that represents spectral bins, and by setting a maximum delay time. Despite its comfort, such a simplistic approach does not imply any methods for allowing symbolic manipulations on spectral data that are often required by composers and sound designers. Chromax proposes an alternative dynamic parameterization of spectral delays, allowing fine and complex compositional manipulations. It implements a bin-synchronous spectral processing using the new Gen~ technology available in Max6 [1], and provides algorithms to dynamically specify a filter, a delay and a feedback level for each bin of a processed sound.