Concept transcription problems

Transcription and representation

I. Introduction

• the importance of the computer ;
• the modern instrument industry ;
• descriptive systems (WORD + spelling) ;
• intelligent systems (WORD software + syntax + grammar);
• symbol (Bach) and sound (Ligeti).

II. Concepts

• historical representation: pressure functions → thought ;
• representation and perspective ;
• data structure
  • simple structuring (variables, arrays, etc.) ;
  • complex structuring (object-oriented) ;
• paradigm or conceptual model ;
• functional calculation (transposition, Bartok);
• constraint calculus (fugue, counterpoint, obligatory writing).

III. Applications

• real-time/deferred-time context.

Performance tools

Musical use

• composition ;
• analysis ;
• performance ;
• editing.

Data structure

a) Basic elements

• memory, variable, address/pointer.

b) Simple

• array ;
• list ;
• record, structure (c.f. frames) ;
• stack (LIFO: last in first out (stack)) ;
• queue (FIFO: first in first out (pipe)) ;
• tree ;
• graph.

c) Complex (object languages)

• encapsulation ;
• methods ;
• messages ;
• class ;
• subclass ;
• superclass ;
• inheritance (single, multiple).

Writing principles for Dialogue de l'ombre double

Transcription in time

• transcription
  • is never direct ;
  • is like a line distorted by a field;
  • it's always an adaptation to an available paradigm;
  • transcription, implementation and porting.

Double shadow dialogue: technological principles

• the two problems: triggering and level control ;
• information on both tracks (music and code);
• sMPIE code;
• mIDI code (note-on, program change, controllers);
• vCA and spatialization in general;
• speaker layout;
• the different spatialization scenarios in Dialogue
  • one discrete level (initial abbreviation v.r.) ;
  • two discrete levels (Transition 1 to 2 v.r., small notes) ;
  • one dynamic level (Transition 3 to 4 v.r., rotating sound) ;
  • two discrete dynamic levels (Sigle final v.r.).

Dialogue de l'ombre double: transcriptions since creation

• iRCAM version ‡1 (manual)
• iRCAM version ‡2 (Matrix 32 + C programs)
  • matrix 32 switch and VCA ;
  • c programming: data, triggering, sequencer.
• iRCAM version ‡3 ( Matrix 32 + Max + QSheet)
• mAX programming (language, objects, messages)
• qSheet principles (cinema post-production)
  
  • the cinema and video model (paradigm);
  • track, frame.
• chicago version ‡1 (Sandroff and Yeh) (Yamaha + Vision)
• the DMP11: MIDI-controlled mixing
• the Vision sequencer (this version was used for two years)
  • the tape and disc model (paradigm) ;
  • sequencers
    • conductor track,
    • normal track,
    • sub-sequences,
    • continuous control tracks,
• chicago version ‡2 ( Sandroff and Yeh) (Yamaha + Studio Vision + Digidesign Sound Tools + Sound Accelerator card)
  • (the DMP11: MIDI-controlled mixing);
  • studio Vision sequencer (sequencer + sound files);
  • file preparation with sound designer.
• iRCAM version ‡4 (Matrix 32 + Max + Studio Vision + Digidesign Sound Tools + Sound Accelerator card)
  • Sound Designer for cues;
  • (the Matrix 32 switch and VCA) ;
  • [MAX programming (language, objects, messages)] ;
  • the Sound Designer system.
• iRCAM version ‡5 (Yamaha DMC100 Studio Vision digital console + Digidesign Sound Tools + Sound Accelerator card)
  • dMC100 digital console (MIDI control); envelopes ;
  • (MAX programming (language, objects, messages)) ;
  • sound Designer system.

Answer: the case of mathematical models

• frequency shifter (processing unit)
  • technical function in the work ;
  • description and technical operation.
• the patch (configuration of processing units)
  • origin of the model;
  • 4X implementation.
• connection configuration (bijective application)

Explosive-Fixed: the case of specific adaptations

• looped sounds (Max + AKAI envelopes)
  • program in Max ;
  • aKAI envelopes (what dynamic scale?) ;
  • dynamics: velocity and MIDI controllers;
  • adaptation pitfalls for the composer.
• How to make a transcription possible
  • concepts and methods
    • concise, elegant (mathematical model?),
    • consensus,
    • standardized execution criteria,
  • notation
    • dynamic incorporation of vocabulary,
    • structuring,
    • expression,
    • able to be subjected to calculation
• Deterministic, random processes
• Real, virtual processes.