Gerard Assayag | Institut de Recherche et Coordination Acoustique/Musique IRCAM (original) (raw)
Papers by Gerard Assayag
HAL (Le Centre pour la Communication Scientifique Directe), 2006
International Computer Music Conference, 1986
Contemporary Music Review, 2000
(2000). Technology and creation — The creative evolution. Contemporary Music Review: Vol. 19, Mus... more (2000). Technology and creation — The creative evolution. Contemporary Music Review: Vol. 19, Music: Techniques, Aesthetics and Music, pp. 61-80.
Journal of New Music Research, Mar 1, 2010
In this paper we first introduce a set of functions to predict the timbre features of an instrume... more In this paper we first introduce a set of functions to predict the timbre features of an instrument sound combination, given the features of the individual components in the mixture. We then compare, for different classes of sound combinations, the estimated values of the timbre features to real measurements and show the accuracy of our predictors. In the second part of the paper, we present original musical applications of feature prediction in the field of computer-aided orchestration. These examples all come from real-life compositional situations, and were all produced with Orchide´e, an innovative framework for computer-aided orchestration recently designed and developed at IRCAM, Paris.
Springer eBooks, 2022
Drawing inspiration from both the classical Guerino Mazzola's symmetry-based model for first-spec... more Drawing inspiration from both the classical Guerino Mazzola's symmetry-based model for first-species counterpoint (one note against one note) and Johann Joseph Fux's Gradus ad Parnassum, we propose an extension for second-species (two notes against one note).
CO-PUBLISHED WITH IMPERIAL COLLEGE PRESS eBooks, Jul 21, 2016
Creative Symbolic Interaction brings together the advantages from the worlds of interactive real-... more Creative Symbolic Interaction brings together the advantages from the worlds of interactive real-time computing and intelligent, content-level analysis and processing, in order to enhance and humanize man-machine communication. Performers improvising along with Symbolic Interaction systems experiment a unique artistic situation where they interact with musical (and possibly multi-modal) agents which develop in their own ways while "keeping in style". Symbolic interaction aims at defining a new artificial creativity paradigm in computer music, and extends to other fields as well : The idea to bring together composition and improvisation by combining mathematical symbolic structures and cognitively inspired dynamical processes belongs to a general scheme that is likely to grow in many artistic and non-artistic domains.
HAL (Le Centre pour la Communication Scientifique Directe), Dec 10, 2015
Writing music interaction systems is not easy because their concurrent processes usually access s... more Writing music interaction systems is not easy because their concurrent processes usually access shared resources in a non-deterministic order, often leading to unpredictable behavior. Using Pure Data (Pure Data) and Max/MSP, it is possible to program concurrency; however, it is difficult to synchronize processes based on multiple criteria. Process calculi such as the Non-deterministic Timed Concurrent Constraint (ntcc) calculus, overcome that problem by representing, declaratively, the synchronization of multiple criteria as constraints. In this article, we propose the framework Ntccrt, as a new alternative to manage concurrency in Pure Data and Max/MSP. Ntccrt is a real-time capable interpreter for ntcc. Using Ntccrt binary plugins in Pure Data, we executed models for machine improvisation and signal processing. We also analyzed two case studies: one of a machine improvisation system and one of a signal processing system. We found out that performance of both case studies is compatible with soft real-time music interaction; it means, a musician can interact with Ntccrt without noticeable delays during the interaction.
This third volume of the OM Composer's book series presents a new collection of essays writte... more This third volume of the OM Composer's book series presents a new collection of essays written by composers describing musical works carried out with the OpenMusic computer-aided composition environment. OpenMusic is a visual programming language dedicated to music composition, designed and developed at IRCAM. It is the result of years of research and compositional experiments, and is now used by numerous contemporary music composers worldwide. The main objective of this book is to provide an overview of the uses and applications of this environment, as well as of computer music systems in a broader sense. Several approaches are described focusing on varied aspects of musical creation and computer-aided composition, ranging from the production rhythmic or harmonic structures to sound processing and synthesis. The book also reveals composers’ thoughts on more general questions such as programming and the role of computer processes in musical creation.
HAL (Le Centre pour la Communication Scientifique Directe), 2006
We propose a formalism for the construction and performance of musical pieces composed of tempora... more We propose a formalism for the construction and performance of musical pieces composed of temporal structures involving discrete interactive events. The occurrence in time of these structures and events is partially defined according to constraints, such as Allen temporal relations. We represent the temporal structures using two constraint models. A constraints propagation model is used for the score composition stage, while a non deterministic temporal concurrent constraint calculus (NTCC) is used for the performance phase. The models are tested with examples of temporal structures computed with the GECODE constraint system library and run with a NTCC interpreter.
Computers in Entertainment, Dec 30, 2016
This article focuses on the introduction of control, authoring, and composition in human-computer... more This article focuses on the introduction of control, authoring, and composition in human-computer music improvisation through the description of a guided music generation model and a reactive architecture, both implemented in the software ImproteK. This interactive music system is used with expert improvisers in work sessions and performances of idiomatic and pulsed music and more broadly in situations of structured or composed improvisation. The article deals with the integration of temporal specifications in the music generation process by means of a fixed or dynamic "scenario" and addresses the issue of the dialectic between reactivity and planning in interactive music improvisation. It covers the different levels involved in machine improvisation: the integration of anticipation relative to a predefined structure in a guided generation process at a symbolic level, an architecture combining this anticipation with reactivity using mixed static/dynamic scheduling techniques, and an audio rendering module performing live re-injection of captured material in synchrony with a non-metronomic beat. Finally, it sketches a framework to compose improvisation sessions at the scenario level, extending the initial musical scope of the system. All of these points are illustrated by videos of performances or work sessions with musicians.
OpenMusic is an open source environment dedicated to music composition. The core of this environm... more OpenMusic is an open source environment dedicated to music composition. The core of this environment is a fullfeatured visual programming language based on Common Lisp and CLOS (Common Lisp Object System) allowing to design processes for the generation or manipulation of musical material. This language can also be used for general purpose visual programming and other (possibly extra-musical) applications.
HAL (Le Centre pour la Communication Scientifique Directe), Sep 14, 2014
Creative Symbolic Interaction brings together the advantages from the worlds of interactive real-... more Creative Symbolic Interaction brings together the advantages from the worlds of interactive real-time computing and intelligent, content-level analysis and processing, in order to enhance and humanize man-machine communication. Performers improvising along with Symbolic Interaction systems experiment a unique artistic situation where they interact with musical (and possibly multi-modal) agents which develop themselves in their own ways while keeping in style. Symbolic interaction aims at defining a new artificial creativity paradigm in computer music, and extends to other fields as well : The idea to bring together composition and improvisation through modeling cognitive structures and processes is a general idea that makes sense in many artistic and non-artistic domains.
International Computer Music Conference, 1994
The first computer experiments on musical composition were carried in the middle of the Fifties. ... more The first computer experiments on musical composition were carried in the middle of the Fifties. In 1956 R. C. Pinkerton suggested a stochastic composition system which he called the " banal tunemaker ". He used 39 existing folk melodies, as a material that he submitted to random choices by launching dices. This work, as well as an implementation of Mozart's dice game by D. A. Caplin in 1955, was a source of inspiration for J. Cohen and J. Sowa who developed soon after their so-called " Machine to Compose Music ", a computer program, which used in much the same way a set of simple piano pieces.
HAL (Le Centre pour la Communication Scientifique Directe), Dec 9, 2022
MaxEnt 2022
This article is an open access article distributed under the terms and conditions of the Creative... more This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY
2022 IEEE 5th International Conference on Multimedia Information Processing and Retrieval (MIPR)
HAL (Le Centre pour la Communication Scientifique Directe), 2006
International Computer Music Conference, 1986
Contemporary Music Review, 2000
(2000). Technology and creation — The creative evolution. Contemporary Music Review: Vol. 19, Mus... more (2000). Technology and creation — The creative evolution. Contemporary Music Review: Vol. 19, Music: Techniques, Aesthetics and Music, pp. 61-80.
Journal of New Music Research, Mar 1, 2010
In this paper we first introduce a set of functions to predict the timbre features of an instrume... more In this paper we first introduce a set of functions to predict the timbre features of an instrument sound combination, given the features of the individual components in the mixture. We then compare, for different classes of sound combinations, the estimated values of the timbre features to real measurements and show the accuracy of our predictors. In the second part of the paper, we present original musical applications of feature prediction in the field of computer-aided orchestration. These examples all come from real-life compositional situations, and were all produced with Orchide´e, an innovative framework for computer-aided orchestration recently designed and developed at IRCAM, Paris.
Springer eBooks, 2022
Drawing inspiration from both the classical Guerino Mazzola's symmetry-based model for first-spec... more Drawing inspiration from both the classical Guerino Mazzola's symmetry-based model for first-species counterpoint (one note against one note) and Johann Joseph Fux's Gradus ad Parnassum, we propose an extension for second-species (two notes against one note).
CO-PUBLISHED WITH IMPERIAL COLLEGE PRESS eBooks, Jul 21, 2016
Creative Symbolic Interaction brings together the advantages from the worlds of interactive real-... more Creative Symbolic Interaction brings together the advantages from the worlds of interactive real-time computing and intelligent, content-level analysis and processing, in order to enhance and humanize man-machine communication. Performers improvising along with Symbolic Interaction systems experiment a unique artistic situation where they interact with musical (and possibly multi-modal) agents which develop in their own ways while "keeping in style". Symbolic interaction aims at defining a new artificial creativity paradigm in computer music, and extends to other fields as well : The idea to bring together composition and improvisation by combining mathematical symbolic structures and cognitively inspired dynamical processes belongs to a general scheme that is likely to grow in many artistic and non-artistic domains.
HAL (Le Centre pour la Communication Scientifique Directe), Dec 10, 2015
Writing music interaction systems is not easy because their concurrent processes usually access s... more Writing music interaction systems is not easy because their concurrent processes usually access shared resources in a non-deterministic order, often leading to unpredictable behavior. Using Pure Data (Pure Data) and Max/MSP, it is possible to program concurrency; however, it is difficult to synchronize processes based on multiple criteria. Process calculi such as the Non-deterministic Timed Concurrent Constraint (ntcc) calculus, overcome that problem by representing, declaratively, the synchronization of multiple criteria as constraints. In this article, we propose the framework Ntccrt, as a new alternative to manage concurrency in Pure Data and Max/MSP. Ntccrt is a real-time capable interpreter for ntcc. Using Ntccrt binary plugins in Pure Data, we executed models for machine improvisation and signal processing. We also analyzed two case studies: one of a machine improvisation system and one of a signal processing system. We found out that performance of both case studies is compatible with soft real-time music interaction; it means, a musician can interact with Ntccrt without noticeable delays during the interaction.
This third volume of the OM Composer's book series presents a new collection of essays writte... more This third volume of the OM Composer's book series presents a new collection of essays written by composers describing musical works carried out with the OpenMusic computer-aided composition environment. OpenMusic is a visual programming language dedicated to music composition, designed and developed at IRCAM. It is the result of years of research and compositional experiments, and is now used by numerous contemporary music composers worldwide. The main objective of this book is to provide an overview of the uses and applications of this environment, as well as of computer music systems in a broader sense. Several approaches are described focusing on varied aspects of musical creation and computer-aided composition, ranging from the production rhythmic or harmonic structures to sound processing and synthesis. The book also reveals composers’ thoughts on more general questions such as programming and the role of computer processes in musical creation.
HAL (Le Centre pour la Communication Scientifique Directe), 2006
We propose a formalism for the construction and performance of musical pieces composed of tempora... more We propose a formalism for the construction and performance of musical pieces composed of temporal structures involving discrete interactive events. The occurrence in time of these structures and events is partially defined according to constraints, such as Allen temporal relations. We represent the temporal structures using two constraint models. A constraints propagation model is used for the score composition stage, while a non deterministic temporal concurrent constraint calculus (NTCC) is used for the performance phase. The models are tested with examples of temporal structures computed with the GECODE constraint system library and run with a NTCC interpreter.
Computers in Entertainment, Dec 30, 2016
This article focuses on the introduction of control, authoring, and composition in human-computer... more This article focuses on the introduction of control, authoring, and composition in human-computer music improvisation through the description of a guided music generation model and a reactive architecture, both implemented in the software ImproteK. This interactive music system is used with expert improvisers in work sessions and performances of idiomatic and pulsed music and more broadly in situations of structured or composed improvisation. The article deals with the integration of temporal specifications in the music generation process by means of a fixed or dynamic "scenario" and addresses the issue of the dialectic between reactivity and planning in interactive music improvisation. It covers the different levels involved in machine improvisation: the integration of anticipation relative to a predefined structure in a guided generation process at a symbolic level, an architecture combining this anticipation with reactivity using mixed static/dynamic scheduling techniques, and an audio rendering module performing live re-injection of captured material in synchrony with a non-metronomic beat. Finally, it sketches a framework to compose improvisation sessions at the scenario level, extending the initial musical scope of the system. All of these points are illustrated by videos of performances or work sessions with musicians.
OpenMusic is an open source environment dedicated to music composition. The core of this environm... more OpenMusic is an open source environment dedicated to music composition. The core of this environment is a fullfeatured visual programming language based on Common Lisp and CLOS (Common Lisp Object System) allowing to design processes for the generation or manipulation of musical material. This language can also be used for general purpose visual programming and other (possibly extra-musical) applications.
HAL (Le Centre pour la Communication Scientifique Directe), Sep 14, 2014
Creative Symbolic Interaction brings together the advantages from the worlds of interactive real-... more Creative Symbolic Interaction brings together the advantages from the worlds of interactive real-time computing and intelligent, content-level analysis and processing, in order to enhance and humanize man-machine communication. Performers improvising along with Symbolic Interaction systems experiment a unique artistic situation where they interact with musical (and possibly multi-modal) agents which develop themselves in their own ways while keeping in style. Symbolic interaction aims at defining a new artificial creativity paradigm in computer music, and extends to other fields as well : The idea to bring together composition and improvisation through modeling cognitive structures and processes is a general idea that makes sense in many artistic and non-artistic domains.
International Computer Music Conference, 1994
The first computer experiments on musical composition were carried in the middle of the Fifties. ... more The first computer experiments on musical composition were carried in the middle of the Fifties. In 1956 R. C. Pinkerton suggested a stochastic composition system which he called the " banal tunemaker ". He used 39 existing folk melodies, as a material that he submitted to random choices by launching dices. This work, as well as an implementation of Mozart's dice game by D. A. Caplin in 1955, was a source of inspiration for J. Cohen and J. Sowa who developed soon after their so-called " Machine to Compose Music ", a computer program, which used in much the same way a set of simple piano pieces.
HAL (Le Centre pour la Communication Scientifique Directe), Dec 9, 2022
MaxEnt 2022
This article is an open access article distributed under the terms and conditions of the Creative... more This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY
2022 IEEE 5th International Conference on Multimedia Information Processing and Retrieval (MIPR)